Thesis (Ph.D.)--Brown University, 2005. / Vita. Thesis advisor: Andries van Dam. Includes bibliographical references (leaves 204-217). Also available online.

Representing the human body ??? science as social meaning adopts and develops systemic functional social semiotics to analyse the popular science texts, The Human Body, Superhuman, Human Instinct, Brain Story, The Secret Life of Twins and How to Build a Human. These are predominantly produced through the resources of the Wellcome Trust and/or the BBC/TLC (The Learning Channel), and feature celebrity doctors (Robert Winston) or scientists (Susan Greenfield) as presenters. Adopting a modified and expanded systemic functional semiotics derived from Kress and van Leeuwen (1996, 2001), it is argued that these texts share a logic that displaces social/historical time (including broader historical and social struggles) by constructing the apparent timelessness of middle-class families, by metaphor and abstraction. Central to the temporalities of these programmes is the notion of ???going back??? to the familial in which conscious (patriarchal) time is seen as ???male??? and the unconscious timeless is seen as ???female???. Second, the penetrative digital modes of the programmes imagine different, if conventional, genders, emphasising the interior and inertial female. The popular medical science discourses highlighted in the analysis constitute an unconscious set of taken-for-granted socio-political contexts in which medical and bioscientific knowledge is paraded and celebrated. Narrative resolution of the contradictions inherent in the contextual refrain of contemporary global capitalism is largely achieved through time by the semiotic realisation of ???going back??? to evolutionary, genetic, and (hence to) essential time and to abstracted spatial metaphors. The production origins (British, multi-national) of the factual science documentary prefigure or pre-structure the genre???s conservative colonising discourse around gender, ???race??? and evolution that are developed as social, political or even military metaphors.

Representing the human body ??? science as social meaning adopts and develops systemic functional social semiotics to analyse the popular science texts, The Human Body, Superhuman, Human Instinct, Brain Story, The Secret Life of Twins and How to Build a Human. These are predominantly produced through the resources of the Wellcome Trust and/or the BBC/TLC (The Learning Channel), and feature celebrity doctors (Robert Winston) or scientists (Susan Greenfield) as presenters. Adopting a modified and expanded systemic functional semiotics derived from Kress and van Leeuwen (1996, 2001), it is argued that these texts share a logic that displaces social/historical time (including broader historical and social struggles) by constructing the apparent timelessness of middle-class families, by metaphor and abstraction. Central to the temporalities of these programmes is the notion of ???going back??? to the familial in which conscious (patriarchal) time is seen as ???male??? and the unconscious timeless is seen as ???female???. Second, the penetrative digital modes of the programmes imagine different, if conventional, genders, emphasising the interior and inertial female. The popular medical science discourses highlighted in the analysis constitute an unconscious set of taken-for-granted socio-political contexts in which medical and bioscientific knowledge is paraded and celebrated. Narrative resolution of the contradictions inherent in the contextual refrain of contemporary global capitalism is largely achieved through time by the semiotic realisation of ???going back??? to evolutionary, genetic, and (hence to) essential time and to abstracted spatial metaphors. The production origins (British, multi-national) of the factual science documentary prefigure or pre-structure the genre???s conservative colonising discourse around gender, ???race??? and evolution that are developed as social, political or even military metaphors.

The rapid proliferation of 3D volume data, including MRI and CT scans, is prompting the search within computer graphics for more effective volume visualisation techniques. Partially because of the traditional association with medical subjects, concepts borrowed from the domain of scientific illustration show great promise for enriching volume visualisation. This thesis describes the first general system dedicated to creating user-directed, variable-detail, scientific illustrations directly from volume data. In particular, using volume segmentation for explicit abstraction in non-photorealistic volume renderings is a new concept. The unique challenges and opportunities of volume data require rethinking many non-photorealistic algorithms that traditionally operate on polygonal meshes. The resulting 2D images are qualitatively different from but complementary to those normally seen in computer graphics, and inspire an analysis of the various artistic implications of volume models for scientific illustration.

This diploma thesis deals with Bryophyta studies as a part of curriculum at primary schools as well as at lower and upper grammar schools. It determines the field of studies and the expected outcomes in the Human and Nature subject matter, it searches for the link between bryophyta and cross-sectional topics. The relation of pupil's key competences to bryophyta is being reflected, too. It compares the subject range of Bryophyta in school books. Furthermore, the thesis sums up the history of botanical illustration in the world as well as in our country, it inquires into basic rules of botanical illustration and line drawing techniques. The contemporary field guides are completed by the means of the research of students' books, popular and specialist literature and internet portals. Based on the theoretical part, this diploma thesis determines the teaching methodology of bryophyta drawing. The list of bryophyta, which are suitable for line drawings and usable as a teaching aid, is based on the practical part of this diploma thesis. 43 author's drawings with uniform measuring scale are attached.

The rapid proliferation of 3D volume data, including MRI and CT scans, is prompting the search within computer graphics for more effective volume visualisation techniques. Partially because of the traditional association with medical subjects, concepts borrowed from the domain of scientific illustration show great promise for enriching volume visualisation. This thesis describes the first general system dedicated to creating user-directed, variable-detail, scientific illustrations directly from volume data. In particular, using volume segmentation for explicit abstraction in non-photorealistic volume renderings is a new concept. The unique challenges and opportunities of volume data require rethinking many non-photorealistic algorithms that traditionally operate on polygonal meshes. The resulting 2D images are qualitatively different from but complementary to those normally seen in computer graphics, and inspire an analysis of the various artistic implications of volume models for scientific illustration.

Orientador: Jose Carlos Pinto de Oliveira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-07T02:48:14Z (GMT). No. of bitstreams: 1 Penna-Forte_MarcelodoAmaral_D.pdf: 33078007 bytes, checksum: d5814e0c2de9c5cefde73b485db17b1e (MD5) Previous issue date: 2006 / Resumo: A presente tese elabora um quadro geral para o estudo das representações visuais, tal como são utilizadas na atividade científica, na perspectiva de uma filosofia naturalista da ciência. Para tanto, é encaminhado um questionamento acerca das funções das representações visuais que passa pela consideração, orientada para este fim, da pertinência das análises funcionais, de uma noção adequada de representação e da caracterização da ciência como um sistema de representações. Conclui-se, finalmente, que as funções das representações visuais concernem à elaboração, ao desenvolvimento e, por vezes, à modificação da rede de similaridades que constitui a ciência / Abstract: This dissertation is concerned with the exposition of a naturalistic general framework for the study of visual representations as they are used in the scientific activity. It raises the question ci the role played by the visual representations in science. In order to do so, it argues for a functional analysis as a philosophical approach, suggests a suitable notion of representation, and describes science as a representational system. Finally, it concludes that visual representations can contribUte to the establishment, to the improvement, and to the revision of the network of similarities that constitutes science / Doutorado / Doutor em Filosofia

Submitted by Natalie Mendes (nataliermendes@gmail.com) on 2015-07-25T15:40:02Z No. of bitstreams: 1 disserta??o 2014.pdf: 4189035 bytes, checksum: 8382dcfb4670b8f26d284db7a6282f24 (MD5) / Made available in DSpace on 2015-07-25T15:40:02Z (GMT). No. of bitstreams: 1 disserta??o 2014.pdf: 4189035 bytes, checksum: 8382dcfb4670b8f26d284db7a6282f24 (MD5) Previous issue date: 2014-02-17 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Drawing is a form of two-dimensional representation made by lines and lines in a given area, however, it goes beyond that designation and covers larger meanings. This research deals with the design and its relationship to the registry, memory and science. The form of graphical representation has undergone some changes since the early ages to the present. During the Middle Ages, the design had religious function and was overwhelmed with symbols and elements, with the Renaissance new ways of graphically representing reality emerged, and as a category of Design, Scientific Illustration, which is characterized by transmitting information emerged objectively. The work addresses the Illustrations of British artist Margaret Mee, who lived in Brazil and represented fauna and flora, being recognized for the quality of her illustrations, relating the artistic and scientific rigor. / O Desenho ? uma forma de representa??o bidimensional, feitas por tra?os e linhas em uma determinada superf?cie, por?m, ele ultrapassa essa denomina??o e abrange significados maiores. Esta pesquisa aborda o Desenho e sua rela??o com o Registro, a Mem?ria e a Ci?ncia. A forma de representa??o gr?fica sofreu algumas altera??es desde eras primitivas at? a atualidade. Durante a Idade M?dia, o Desenho tinha fun??o religiosa e era sobrecarregado de simbologias e elementos fantasiosos; com o Renascimento, novas formas de representar a realidade graficamente surgiram, e como categoria do Desenho, surgiu a Ilustra??o Cient?fica, que se caracteriza por transmitir informa??es de maneira objetiva. O trabalho desenvolvido aborda as Ilustra??es da artista brit?nica Margaret Mee, que viveu no Brasil e representou fauna e flora, sendo reconhecida pela qualidade de suas Ilustra??es, relacionando a Arte e o rigor Cient?fico.

(in English): The diploma thesis focuses on the Czech contemporary scientific zoological illustration since 20th century till today. In the beginning it describes history and development of the scientific zoological illustration in Czech Republic. The main part of the thesis describes in detail the scientific zoological illustration in period since the 20th century till today. It reveals it's form, influences, techniques used and the work of it's main representatives. Thesis introduces realistic zoological illustration as used in professional and educational literature. It will try to uncover influence of computer-created imagery to conventional artistic techniques in the scientific zoological illustration. It will bring attention to the role of the scientific realistic illustration as well as its possibility to go beyond the educational purpose to boost reader's affinity for nature. It weighs the overall importance of the contemporary scientific zoological illustration.

This thesis investigates the changes and challenges technology has created in the field of technical illustration. Technical illustration includes the fields of technical drawing as well as scientific and medical illustration. Previously, technical illustrators learned and used traditional illustration methods, without the aid of computers. However, technology has rapidly entered the field and has changed the education, work environment, skills, and role of the technical illustrator. I note both the benefits and disadvantages that current technical illustrators are facing in their work. I explore both sides of the digital media and traditional art debate while focusing on the technical illustrator's role, tools and methods used in the illustration process, education, idea-generation, and the future of technical illustration. By emphasizing the issues associated with the incorporation of digital media into traditional methods, I hope to bring awareness to the transformation of technical illustration and the future of this discipline.