The focus of this study is the exploration and interpretation of women's visual and textual experiences of menopause. It is a conversational mapping of embodied space and time as they re-imagine memories and actual experiences which have informed their changing sense of self during the transitional stages of menopause. The research examines the ways in which artwork, visual diaries, journals, creative writing and poetry make visible a fresh perception of their female sense of the lived body. The project examines the contemporary cultural meanings of femininity, sexuality and identity which have informed women's understanding of their bodies and gender during the transformative years of menopause, and it explores the ways in which these forms of knowledge have influenced their artistic modes of self-representation.In the first chapter I acquaint the reader with the context of the research, and outline my understandings of the human body and social theories. I direct the exploration of texts towards a range of feminist theoretical perspectives which suggest women's biological and reproductive bodies provide spaces for re-visioning personal and social change.The next two chapters explain how I develop theoretical and methodological arts-based approaches enabling an innovative and appropriate investigation of the phenomenon in question. I explain how I have blended various textual expressive genres with interpretive research methodologies and philosophical viewpoints. In these chapters I recount the imaginative strategies and techniques used to portray the ontological, phenomenological and epistemological perspectives of the lived experience of menopause.Following this, I present seven stories. Each story portrays how artistic genres grasp particular experiences and transform them into imaginative expressive inter-textual representations. / The stories also demonstrate how this type of research is done, and how the meaning-making processes of collaborative research draw out resonances towards real and imagined, and internal and external sites of personal and political significance.Accompanying the stories is a fourth chapter entitled Menopause Perspecta X 5. In writing this section, I adopt a different narrational approach and voice as I move from the realm of storyteller to that of art curator presenting a series of visual images and the poetic writings of five women. As well as portraying different voices speaking at different levels, each presentation continues the task of opening spaces for translation between word and image.The thesis concludes with a reflective overview of the menopausal body, image and text. In the coda, Notes Towards A Work In Progress, I express my thoughts on creating alternative spatial practices, and tell another story. Through its poetic and lyrical content, I attempt to offer possibilities for restoring a sense of menopausal self, love, hope, and a meaningful relationship with the world.

In the late twentieth century, science and technology facilitated exploration beyond the Solar System and extended human knowledge through messages comprised of pictures and mathematical symbols, transmitted from radio telescopes and inscribed on material artifacts attached to spacecraft. ‘Interstellar communication’ refers to collective efforts by scientists and co-workers to detect and transmit intelligible messages between humans and supposed extraterrestrial intelligence in remote star systems. Interstellar messages are designed to communicate universal knowledge without recourse to text, human linguistic systems or anthropomorphic content because it is assumed that recipients have no prior knowledge of humankind or the planet we inhabit. In addition to tracing and examining the history of interstellar communication during the period 1957-1977, I present an overview of scientific research on ‘interplanetary communication’ with the supposed inhabitants of Mars and other planets in the Solar System during the first half of the twentieth century. I show that it was not until the late 1950s that space exploration research provided the resources for humans to engage in systematic attempts to contact extraterrestrial civilizations in other star systems. My thesis focuses on two interstellar messages incorporated on specially designed material artifacts –NASA’s Pioneer plaque and Voyager Record—dispatched from Earth on board space probes during the 1970s. I critically examine how scientists designed and mobilized interstellar messages both to convey meaning and simultaneously support rhetorical claims about the universality of science and mathematics. I analyze how situated practices, craft skills and graphical technologies associated with scientific research on interstellar messages were deployed by scientists to produce and disseminate knowledge and support the claim that science and mathematics are universal. I examine the histories of technologies linked to space exploration including radio astronomy, television, communication satellites and space probes, tracing how knowledge practices and discourse associated with these technologies are enmeshed with the history of interstellar communication. In particular, I explain how and why television and other display technologies were appropriated by researchers working on interstellar communication to create visual representations of knowledge. I argue that televisual displays and radio telescopes constitute graphical technologies or ‘inscription devices’ deployed by scientists, media producers and others to translate natural objects, agency and culture into legible forms constituted in and through inscriptions, predominantly pictures and mathematical symbols, that convey knowledge within communication networks.

The visual appearance of video game characters carries great importance in regards to how a player perceives them. This also holds true for characters that are meant to represent the player in games, their avatars. In this thesis, the topic of preferences regarding visual appearance in relation to age of player avatars is explored. Interviews were held with participants from two age demographics in order to find potential differences and analyse them. The two age demographics consisted of middle aged swedes and young adult swedes. In the interviews, the respondents were given choices between eight different characters sketches. These eight sketches consisted of two groups, one meant to appear as being in the same age group as the young adult swedes and one meant to appear as being part of the middle aged swedes age group. After having made their choices, the respondents were asked to explain the motivation behind them. In order to gain a deeper understanding of the thought process that fueled their answers, the respondents were also prompted to answer question regarding their gaming habits, and their preferences in characters in other mediums than games. Results from the interviews indicated that there were trends in the choices made by the participants that differed between the two demographics. A majority of the demographic consisting of young adult swedes chose characters that were designed to appear closer to their age. Similarly, a majority of the middle aged demographic chose characters that were designed to appear closer to their age group. In short, a majority of the participants from both demographics showed a preference towards characters that were closer to their own age group.

This diploma thesis tries to reflect and clarify the technical images produced by the polygraphic industry with specific methods of production and try find relationship between printer as an apparatus and printer house as an institucion. The technical image is understood as an elementary imaging model, which serves as a means of visual representation and communication tool. The printer can also be the essence of creative work that has the ability to clarify or determine readings and finally has the power to change the meaning and context of information.

This study explores how the terms ‘refugee’ and ‘migrant’ relate to the visual representation of these individuals and groups in five Danish newspapers. This study is particularly concerned with how the visual representation constructs an ‘us’ and ‘them’ between Danish society and these individuals. This study draws on a conceptual outline of ‘racialization’ that understands the concept as a ‘lens’ that ‘race’-thinking operates through in the process of constructing group boundaries. This study will draw on Gillian Rose’s visual discourse analysis in the study of Danish newspaper images. It is argued that the ‘refugee’ and ‘migrant’ are represented as a racialized ‘Other’ to the Dane, in particular the Muslim identity. It is shown that a Muslim identity is a main racialized identity. Moreover, it is pointed out that the use of the term ‘refugee’ is dominant which indicates that this term is in danger of becoming a catch-all category.

In this project I explore visual representation, abstraction, and the interpretation of violence as transformed aesthetic forms. Through drawing and film, I develop a visual language to interpret the subject of war, to allow my audience to experience the dynamics of conflict and to reflect upon the devastating toll that war takes on humanity.

Wet : a Project is a ficto-critical essay, a writer's diary, concerned with language, trauma, the body and image. A complement to Wet, it is greatly informed by Probyn's model of 'belonging' as a writing subject, and psychoanalytic theorisation such as Gibb's analysis of psychosomatic speech, Pines' and Anzieu's conceptualisations of the 'skin ego', Kristeva's account of sensation and its relation to language and Lacan's development of the ego in the mirror stage. In addition, it engages Herman's analysis of trauma and Scarry's account of pain, and their relationships to language, the body and subjectivity. Interspersed with autobiographical accounts, Wet : a Project explores the milieus, spaces and specific geographical sites in which trauma, language, forms of identity, desire, belonging and becoming, emerge or assert their visibility. / Doctor of Philosophy (PhD)

The Reformed tradition, following Zwingli and especially Calvin, excluded images from the churches. Calvin rejected the sacred images of his day as idolatrous on the grounds that they were treated as making God present, that the necessary distinction between God and God’s material creation was not maintained, and because an image, which rightly was to be mimetic of visible reality, could not truthfully depict God. Calvin approved the Renaissance notion of visual art as mimetic and he understood that artists’ abilities were gifts of God and were to be used rightly. He also had a very keenly developed visual aesthetic sense in relation to nature as the “mirror” of God’s glory. However, the strong human tendency towards idolatry before images, he believed, meant that it was not expedient to place any pictures in the churches. Reinterpretation of key biblical passages, particularly the first and second commandments (Calvin’s numbering), together with changes in the understanding of what constitutes visual art, of the relationships between words and visual images, and of the processes of interpretation and reception not only of texts but of all perceived reality, lead to a re-thinking of the issues. The biblical narrative with its theological insights can be interpreted into a visual language and used by the church as complementary to, but never replacing, biblical preaching and teaching in words. Attention to the visual aesthetic dimensions of the worship space is important to allow for this space to function as an invitation and call to worship. Its form, colour, light and adorning may give aesthetic delight, which leads to praise and thanksgiving, or it may provoke other response which helps people prepare to offer worship to God. The world and its people depicted in visual art/image may inform the praying of the church and the visual representation of the church (the saints) may provide congregations with an awareness of the breadth of the church at worship in heaven and on earth. In the present diversity of views about visual art and the work of the artist there is freedom for the artist to re-think the question of vocation and artists may find new opportunities for understanding and exercising their vocation not only in secular art establishments and the community but also in relation to the worship of the church.

All plane curves can be described at an abstract level by a sequence of five primitive elemental shapes, called "condons", which capture the sequential relations between the singular points of curvature. The condon description provides a basis for enumerating all smooth 2D curves. Let each of these smooth plane be considered as the si lhouette of an opaque 3D object. Clearly an in finity of 3D objects can generate any one of ou r "condon" silhouettes. How then can we p redict which 3D object corresponds to a g iven 2D silhouette? To restrict the infinity of choices, we impose three mathematical properties of smooth surfaces plus one simple viewing constraint. The constraint is an extension of the notion of general position, and seems to drive our preferred inferences of 3D shapes, given only the 2D contour.

The purpose of this study was to examine differences in math problem solving among students with learning disabilities (LD), low-achieving (LA) students, and average-achieving (AA) students. The primary interest was to analyze the problem representation processes students use to translate and integrate problem information as they solve math word problems. Problem representation processes were operationalized as (a) paraphrasing the problem and (b) visually representing the problem. Paraphrasing accuracy (i.e., paraphrasing relevant information, paraphrasing irrelevant linguistic information, and paraphrasing irrelevant numerical information), visual representation accuracy (i.e., visual representation of relevant information, visual representation of irrelevant linguistic information, and visual representation of irrelevant numerical information), and problem-solving accuracy were measured in eighth-grade students with LD (n = 25), LA students (n = 30), and AA students (n = 29) using a researcher-modified version of the Mathematical Processing Instrument (MPI). Results indicated that problem-solving accuracy was significantly and positively correlated to relevant information in both the paraphrasing and the visual representation phases and significantly negatively correlated to linguistic and numerical irrelevant information for the two constructs. When separated by ability, students with LD showed a different profile as compared to the LA and AA students with respect to the relationships among the problem-solving variables. Mean differences showed that students with LD differed significantly from LA students in that they paraphrased less relevant information and also visually represented less irrelevant numerical information. Paraphrasing accuracy and visual representation accuracy were each shown to account for a statistically significant amount of variance in problem-solving accuracy when entered in a hierarchical model. Finally, the relationship between visual representation of relevant information and problem-solving accuracy was shown to be dependent on ability after controlling for the problem-solving variables and ability. Implications for classroom instruction for students with and without LD are discussed.