My artwork represents my admiration and criticisms of car culture I have gathered throughout my personal experiences beginning at a very early age. The work exists in the form of drawings, paintings, prints, collage and sculpture. This work is created through the elements of personal narrative, desires, obsessions, and questions surrounding car culture and its influences. My intention to refurbish the icons of this culture has involved creating work that is both obsessive and critical for personal exploration and understanding of past memories.

Denna undersökning syftar till att undersöka vilka attribut som ska tas hänsyn till vid skapande av ikoner. Undersökningen utgår från en taiwanesisk undersökning där attribut har identifierats och undersökts med hjälp av grafiska designers. Som grund för ikonförståelse appliceras semiotik och Charles Sanders Peirces triadiska modell på ikoner. Intervjuer och enkäter har utförts för att rangordna attribut, samt diskutera dess relevans vid ikonskapande. Resultatet visar att kontext (kultur, ikonens placering, medium etc.) och målgrupp har mycket stor betydelse vid ikonskapande och respondenterna uppvisade därför svårigheter med att rangordna attributen. / This study aims to investigate what attributes to take into consideration when designing computer icons. The study is based on a Taiwanese study where attributes are identified and investigated by Taiwanese graphic designers. The theoretical basis is semiotics, Charles Sanders Peirces triad model in particular, applied on icons. Interviews and surveys has been executed to rate attributes as well as discussing their relevance to icon design. The results shows that context (culture, the placement of the icon, medium etc.) and target group is a high priority when creating icons and the respondents showed difficulties with rating the attributes.

Made available in DSpace on 2016-12-12T20:34:09Z (GMT). No. of bitstreams: 1 capa.pdf: 93779 bytes, checksum: 63e98b6a62455decabd828311e628e9e (MD5) Previous issue date: 2004-12-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper has the objective of studying the use of the English language to name commercial organizations in Joinville, state of Santa Catarina Brazil, considering the notion of postmodernity, and using as an analysis device the Peircean semiotics. Taking into account the ideas of Fredric Jameson, Jean-François Lyotard and Stuart Hall, I regard as postmodern elements: the loss of cultural identity, the disbelief in ancestors tradition, and the capitalism allied with globalization. Therefore, I relate these elements to the occurrence of the linguistic phenomenon that I study here. The city context shows a cultural fragmentation that can be understood, considering the rupture in relation to the German culture, inherited from the immigrants, and associating it with the contact to other cultures, because of the constant migration. The corpus analyzed was a set of streets that are situated in the central area of the city, and some neighborhoods. It includes a considerable number of businesses, so it was possible to have a significant figure, in terms of percentage. This analysis made use of semiotics to categorize the signs, according to the trichotomic Peircean classification and, it identified: icons, indexes and symbols. The conclusion of this paper is that, the commercial use of the English language in this community refers more to the visual context, than to the linguistic one, so it does not indicate that the foreign language has being used as means of communication to the detriment of the Portuguese language. / Este trabalho tem por objetivo estudar o uso da língua inglesa nas denominações dos estabelecimentos comerciais da cidade de Joinville, Santa Catarina, Brasil, a partir da noção de pós-modernidade e, utilizando como instrumento de análise, a semiótica peirceana. A partir de Frederic Jameson, Jean-François Lyotard e Stuart Hall considero como elementos da pós-modernidade, a perda da identidade cultural, o descrédito pelas tradições dos antepassados e o capitalismo aliado à globalização. Relaciono esses elementos à ocorrência do fenômeno lingüístico que estudo aqui. O contexto joinvilense apresenta uma fragmentação cultural que, através de um resgate histórico, foi possível entender, tendo em vista a ocorrência de uma ruptura em relação à cultura alemã, herdada dos colonizadores, associada à exposição a outras culturas advindas da constante migração. O corpus selecionado, um conjunto de ruas que compreende a região central da cidade e alguns bairros adjacentes, agrega um número considerável de estabelecimentos comerciais, o que permitiu uma amostragem significativa em termos percentuais. É apresentada uma análise semiótica dos signos que utilizam a língua inglesa, segundo a classificação tricotômica peirceana, de tal forma a identificar ícones, índices e símbolos. A conclusão do trabalho é que o uso comercial da língua inglesa na comunidade joinvilense tem um comprometimento mais visual do que lingüístico, sendo assim, ele não é um indício de que a língua estrangeira está sendo usada como meio de comunicação, em detrimento da língua portuguesa.

Ícones urbanos são elementos que compõem a paisagem de grandes metrópoles globais na forma de atributos que as tornam singulares e especiais no bojo de processos articuladores de fluxos socioeconômicos em que a simbologia se faz relevante na cultura visual. Diante da história de São Paulo, desde a pequena aglomeração, em 1554, até a primeira década do século XXI, em que fases marcadas se sucederam, nossos questionamentos se concentram na perspectiva pela qual os ícones urbanos são representativos para a produção da imagem da metrópole de São Paulo, por quê o uso da memória coletiva se constitui como um instrumento de legitimação e como os agentes hegemônicos de mercado se beneficiam desse processo excludente de elaboração das representações sociais do espaço urbano. A opção abrangente do período histórico analisado se deu em virtude de viabilizar o objetivo geral de analisar os ícones urbanos na história de São Paulo, considerando as representatividades históricas desde sua fundação, em 1554 até a primeira década do século XXI, sob a ótica da exclusão nas representações sociais, sobretudo em relação à memória coletiva, proporcionando a estruturação de uma cronologia em que ícones urbanos surgiram, se fixaram e até deixaram de existir, no movimento de expansão urbana de São Paulo. A pesquisa privilegiou, além das fontes bibliográficas, um rico material iconográfico, em que o cartão-postal foi o elemento principal. Além disso, entrevistas com representantes de órgãos públicos e privados vinculados ao turismo, bem como de projetos de resgate da memória foram realizados para compreender os ícones urbanos na metrópole de São Paulo. No processo em que ícones urbanos podem ser considerados sínteses de espaços urbanos como grandes metrópoles globais, eles são dotados de funções de divulgar uma totalidade que, no caso de São Paulo, oculta outras facetas em que há discrepâncias sociais latentes, privilegiando espaços em que o poder hegemônico de mercado é dominante. Desta forma, o debate acerca dos ícones urbanos na metrópole de São Paulo traz instigantes reflexões sobre a fragmentação das relações sociais no espaço urbano e seus significados. / Urban icons are elements that compose the landscape of major global cities as attributes that make them unique and special in the core processes for articulating socio economic flows in which the symbolism becomes relevant visual culture. Given the history of São Paulo, from the small crowd in 1554 until the first decade of this century, which market succeeding phases, our questions focus on the perspective through which urban icons are representative for the production of the image of the metropolis São Paulo, why the use of collective memory is constituted as an instrument of legitimacy exclusive on the social representations of urban space. A comprehensive choice of historical period analyzed occurred due to reaching the overall goal of analyzing the urban icons in the history of São Paulo, considering the historical representativeness since its founding in 1554 until the first decade of this century, from the perspective of exclusion in social representations especially in relation to collect memory, providing a chronology of the structure in which urban icons appeared, and settled until there are no longer in the movement of urban sprawl of São Paulo. The research focused, in addition to bibliographical sources a rich iconographic material where the postcard was the main element. Furthermore, interviews with representatives of public and private agencies related to tourism as well as projects to rescue the memory were performed to understanding the urban icons in metropolis of São Paulo. In the process of urban icons that can be considered as a synthesis of urban global big cities, they are equipped with functions to disclose all that in the case of São Paulo hidden in other facets are there discrepancies hidden social emphasizing areas where hegemonic power of the market is dominant. Thus, the debate about the urban icons in the metropolis of São Paulo features provocative reflections on the fragmentation of social relations in urban space and its meaning.

I denna rapport kommer jag gå igenom hur ikoner kan bli informationsbärare i den visuella hierarkin, med hjälp utav projekt Framtidens läromedel. Syftet med denna studie är att ta reda på hur dessa ikoner bör vara utformade för att bidra till en bättre navigering i kontext. Två enkätundersökningar utförs för att se hur testpersonerna uppfattar budskapet med metaforer. Genom att titta på teorier från tidigare forskning, studerade jag andra attribut för ikonen. När resultatet kom in blev det tydligt att bild och text i samverkan skapade en bättre förståelse för ikonens budskap. Andra studier visade också att beroende på ikonens attribut så läser användaren av det snabbare. Det är bättre att ha en fyrkantig eller rund ikon, tjockare linjer och med en färg som inte slås ut av en komplementfärg i bakgrunden. Färgen ska variera från ikon till ikon för ge läsaren chansen att stänga av andra färger i hjärnan och ska fokusera på t.ex. röd, vilket leder till den enskilda specifika ikonen med färgen röd. / In this report I’ll go through how to make icons an information carrier in a visual hierarchy, with help from project Framtidens läromedel. The purpose of the study is to find out how the appearance of icons will contribute to a better navigation in context. Two surveys were executed to review how the test subjects comprehend the message with metaphors. By looking at earlier research I examined other attributes for the icon. When the results came out it was clear that picture and text combined gave a better understanding of the icon’s message. Other studies also gave the conclusion that depending on the icon’s attribute the reader will scan it quickly. It’s better to make an icon square shaped or round, thicker lines and with a color that doesn’t complete with its complementary color in the background. The color should also vary from icon to icon to give the reader the opportunity to filter out the other colors in their mind and focus on the specific icon, for an example red, which leads to that specific icon with the color red. / Projekt Framtidens läromedel

The thesis examines the relationship between (photographic) image and text in two novels accompanied by photographs: Georges Rodenbach's Bruges-la-Morte and The Rings of Saturn by W. G. Sebald. As in the essence of photographic image lies the question of its relation to reality, we decided to make from the theme of relation between reality and fiction, which differs according the type of representation, our central theme. The thesis is also concerned with the themes of passing, mourning and order, which connect examined novels. Our interpretation is based mainly on Roland Barthes' theoretical text Le message photographique in which he defines various types of photographic connotation that we search in analyzed phototexts. Concerning the partial theme of connection between photograph and death we base our analysis on Barthes' Camera Lucida, than we proceed mainly from the essays of the collection Co je to fotografie which concern with photographic pose (Thierry de Duve), photograph and remembering (André Bazin), photograph and mirror (Craig Owens).

The objective of this thesis " Medial icon of casualty animals' central rescue stations "is to find out the medial icon of central rescue stations engaged in protection of free-living animals and medical icon of the others ecologic enterprises in regional journal Deník. The intention of this thesis will be assignment by the contentual analysis of articles issued in regional journal how media in Czech republic presented acivities of the central rescue stations engaged in protection of free-living animals as compared with the presentation of others ecologic enterprises. The articles will be lied under the quantitative and qualitative contentual analysis, when first the articles will be chosen and filtered. In qualitative part the articles will be analysed according to selected criterions, that contribute to formation of medial presentation of researched organisation and their medial icon conception. Availabe objective of the thesis I have selected 3 hypotesis, that will be affirmed or controverted by folow-up research.

In the first chapter we will have a look at the transformation and evolution of a photo-camera which on its way to become a medium ofcommunication came a long way from cumbersome glass-plate machinery to the current ubiquitous day-to-day personal digital companion. In the second chapter we will explore the effects of digitisation on the theoretical notion of photography and its position in the present context. Next we will touch on the movement of pragmatism (primarily those versions ofCharles Sanders Peirce and William James) that will allow us to regard our matter as a more holistic interactive problem than dissected pieces of a puzzle; and we will also recapitulate parts of Peirce's theory of signs that are relevant to our cause. The fourth chapter is about the ability of symbolic reasoning - a feature so unique in the world that it is only found in humans and whose principles are very close to the thought-sign system that Peirce devised. In the fifth and last chapter we will see how all that connects to the photographs themselves when they are used in the current digital intention-laden semiotic manner. I

In this exploration of the human battery interface, the way in which battery information and notifications effect interaction are analyzed through two small scale studies and a design proposal which is then user tested. With the first study, an attempt is made to gauge user’s feelings toward the current battery information display on their smartphones through a brief online questionnaire. Participants who were selected for further study installed battery monitoring software on their devices and shared the resulting data. This data was then analyzed and some usage patterns were extrapolated. After surveying current market solutions and research in the field, design opportunities were explored and a final design proposal was created and tested with possibilities for further applications being discussed.

One idea common in the computer industry today is that by the time a technological innovation reaches the mass market it is already obsolete. News of recent technological developments race quickly through the computer industry, creating large scale competition among various businesses for the dollars of both educational institutions and industries. In an effort to produce sophisticated and powerful software readily accessible to users whose area of expertise is not programming, software developers have increasingly turned toward the simplest form of language and concept representation--the icon. As icons become increasingly sophisticated and their function grows, so will their availability in various interfaces. The number of users who operate them will also increase. Advanced help systems and animation will assist in relieving some difficulties while creating others. In either case, icon recognizability will be a crucial factor for anyone (novice or expert) who will use them. The purpose of this study was to verify whether all users unfamiliar with a graphical user interface (GUI) system, specifically icons, will require assistance with 40' "W those icons that are unrecognizable in either form or function. Based on the results of this study, an icon recognizability does exist among different groups of computer users. This recognizability is based upon the experience of the users and not upon the type of software they may use most often.