We know very little about the ecology of our designed world. Contrary to all appearances, design is not about making objects. It is rather about structuring the conditions for life. Design is our second nature, naturalising changes in our ways of living. Yet it also conceals dangers and diminishes our sensitivity to respond to them. The security offered by the televisual image � and the solace of design�s promise to remove all environmental risks � are fictions. Ecology of the Image is a critical exploration of idealism in design. Drawing on hermeneutic phenomenology, socio-cultural and design theory, it argues that design is not a value-free practice but structures epistemological attitudes into the world. Ideas are material elements of our environments. This thesis offers an explanation of how idealism circulates within the designed world, fashioning our minds, bodies and environments. The televisual is analysed as a normative phenomenon that inducts us into a way of seeing and understanding the world. Its vision of the affluent good life inspires and gives purpose to desire, and sustains what Manzini has called �product based well being�. The thesis argues that the televisual puts us out of touch with the consequences of its vision; it diminishes our capacity for forethought. This results in the generation of unacknowledged, yet self-endangering environmental feedback. Environmental problems force us to take account of design�s hidden rationales. Only at five minutes to midnight, for example, do we realise that the stock and supply of potable water is endangered. The problem is not so much this late recognition, but that design led us to believe in water�s abundance. This situation demands the development of an ecological understanding of our designed worlds that can inform future actions. The sign, particularly as it has been mobilised in cultural theory, plays a leading role in this design situation and the perceptions it supports. The sign is utilised for its ability to denaturalise appearances � to �read� design�s claims on the world. Finally, the thesis turns to the designer-in-training in the process of acquiring instrumental skills and worldviews. It proposes a research strategy that inscribes environmental consciousness into the design process � situating the designer in the midst of semiotic and material worlds. Through its observational methodology it outlines ways of first understanding, then of intervening and generating changes in our �ideal� world.

We know very little about the ecology of our designed world. Contrary to all appearances, design is not about making objects. It is rather about structuring the conditions for life. Design is our second nature, naturalising changes in our ways of living. Yet it also conceals dangers and diminishes our sensitivity to respond to them. The security offered by the televisual image � and the solace of design�s promise to remove all environmental risks � are fictions. Ecology of the Image is a critical exploration of idealism in design. Drawing on hermeneutic phenomenology, socio-cultural and design theory, it argues that design is not a value-free practice but structures epistemological attitudes into the world. Ideas are material elements of our environments. This thesis offers an explanation of how idealism circulates within the designed world, fashioning our minds, bodies and environments. The televisual is analysed as a normative phenomenon that inducts us into a way of seeing and understanding the world. Its vision of the affluent good life inspires and gives purpose to desire, and sustains what Manzini has called �product based well being�. The thesis argues that the televisual puts us out of touch with the consequences of its vision; it diminishes our capacity for forethought. This results in the generation of unacknowledged, yet self-endangering environmental feedback. Environmental problems force us to take account of design�s hidden rationales. Only at five minutes to midnight, for example, do we realise that the stock and supply of potable water is endangered. The problem is not so much this late recognition, but that design led us to believe in water�s abundance. This situation demands the development of an ecological understanding of our designed worlds that can inform future actions. The sign, particularly as it has been mobilised in cultural theory, plays a leading role in this design situation and the perceptions it supports. The sign is utilised for its ability to denaturalise appearances � to �read� design�s claims on the world. Finally, the thesis turns to the designer-in-training in the process of acquiring instrumental skills and worldviews. It proposes a research strategy that inscribes environmental consciousness into the design process � situating the designer in the midst of semiotic and material worlds. Through its observational methodology it outlines ways of first understanding, then of intervening and generating changes in our �ideal� world.

Thesis (Ph.D.)--Ohio University, March, 2003. / Title from PDF t.p. Includes bibliographical references (leaves 157-169)

Fragmented speech, the discovery of which forms the basis of this dissertation, provides the aim and direction of our thesis. The aim is to clarify precisely what fragmented speech is, and subsequently define its application. In this thesis, we begin by providing the historical background to the initial collision between psychoanalysis and literature. This broad base provides the impetus needed in order to formulate certain conclusions regarding the unconscious and the dialogic. Our methodology involves a combination of Freudo-Lacanian theory and Bakhtinian linguistics. As we approach an understanding of our subject, it becomes increasingly necessary to develop the issues surrounding the significance of fragmented speech. The significance of our work becomes focused when we provide an analysis of a `psychotic discourse', namely, the Memoirs of My Nervous Illness, by President Schreber – using the methodology described. In the final stages of our thesis fragmented speech becomes a symptom of psychosis. Under pressure from the unconscious, the image of speech may fragment. It is the interaction between the body image and the speech image that provides us with a speech complex. Consequently, this dissertation discovers fragmented speech at the very heart of the psychoanalytic session.

In the early twentieth century, the modernists problematized ornament in their refashioning of architecture for the industrial age. Today, architects are formulating different responses to image and its (re)production in the information age. In both discourses of ornament and image, surfaces are often the perpetrators: visual boundaries that facilitate false appearances, imprisoning humanity in a shadowy cave of illusion. Such views follow a familiar metaphysical model characterized by the opposition between inside and outside and the opaque boundary that acts as a barrier. This model determines the traditional (Platonic) philosophical approach that follows a distinct hierarchical order and a perpendicular movement of thought that seeks to penetrate appearances in order to arrive at the essence of things. This thesis deploys Gilles Deleuze’s philosophy to advance a different understanding of surface, image and appearance in architecture. Using the Bilbao Guggenheim Museum as a catalyst, the thesis argues that many of the concepts with which commentators and critics analyse contemporary architecture follow models of thought that consider surfaces and their effects as secondary categories. Given the significance of visual (re)production and communication for contemporary society, the thesis proposes a different model based on surface as that which simultaneously produces, connects and separates image and reality. This non-hierarchical approach is inspired by surficial philosophy, which relates to Earth, to geology and topology, conjuring up a diversity of concepts from the thickness of the crust to the smooth fluidity of the seas. The result is an unfamiliar, polemical model of thought that does not define surface as a limit or barrier, rather a medium, a pliable space of smooth mixture. In this model, difference is not in the opposition between the two sides of a boundary line, rather it occurs upon and within the surficial landscape that consumes categories, promoting nomadic movements of thought that offer greater flexibility towards creativity and new possibilities. In surficial thought, images and appearances are not artificial copies of an originary reality, rather they possess a unique reality of their own. This approach allows architectural imagery to be theorised as a positive surfacing of architecture beyond disciplinary lines and the locality of a specific time and place.

Thesis (MSc)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

Please read the abstract in the section 00front of this document Copyright 1990, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Barnard, G 1990, High quality coding and reconstruction for transmission of single video images, MEng dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-10312007-110001/ > / Dissertation (M Eng (Electronic Engineering))--University of Pretoria, 2007. / Electrical, Electronic and Computer Engineering / unrestricted

Made available in DSpace on 2016-04-26T18:10:50Z (GMT). No. of bitstreams: 1 Mauricio Soares Capela.pdf: 1234136 bytes, checksum: 14d628bcf9bfdab208ad32e8144116e3 (MD5) Previous issue date: 2011-05-09 / The present dissertation has dealt about the Japan s image using such as the support the economic, politic, legislation, cultural and social relationships between the nation and the Japanese companies, whose the connection has happened through media s speech. By the way, that connection creates a unique environmental for media companies assume the role of adherence into Japanese society post Second War. From that perception, this dissertation identifies some new elements which are in intense dialogue. And these fundamentals don t follow any order. In other words, fluctuate amid generation and sedimentation of conceptions, without sequential movement, but perennial in society. Then, this dialogue should be to serve in a foundation of a fresh cultural relationship, in a bigger meaning, which congregates the rise of women in the labor market, the family dislocation, the entry of foreign capital in the Japanese company, the labor mobility, amongst others. And this innovative scenario demands a new speech from Japanese media companies. The belief in this dazzling relationship, including the new media speech, has substantiated the current visible gap among the old media speech and the society. This gap has been coming from economic crisis, which has served to create a disconnection involving the role of media adherence, principally when its talks about the main user, the Japan Government. There is an absence in this dialogue amid culture, politics, economy, legislation, citizen and media. Therefore, this present dissertation seeks to solidify this perception using articles from Brazilian and foreign newspapers, magazines, web sites, besides looking for some information in press room of other companies. And, besides those, there are numbers and information from the Japan Government, communications researchers, amongst others / A presente dissertação trata da imagem do Japão, tendo como suporte tradutório as relações econômicas, políticas, legais, culturais e sociais entre a nação e a empresa, cujo fio condutor se dá no discurso dos veículos de comunicação. Sendo assim, observam-se as imbricações que formatam o discurso midiático nipônico e seu papel de promover a aderência junto à sociedade japonesa do período após a Segunda Guerra Mundial. Desta forma, tal dissertação identifica novos elementos que se encontram ora em geração ora em sedimentação, em um movimento não sequencial, tampouco justaposto, mas perene na sociedade. E, em intenso diálogo, deverão servir à construção de novas relações culturais, no seu maior sentido, contemplando a ascensão da mulher no mercado de trabalho, a desarticulação familiar, a entrada do capital estrangeiro nas companhias, a mobilidade laboral, o quase fim da associação automática do indivíduo para com a empresa, entre outros. E esses aspectos demandam também nova concepção do discurso dos veículos de comunicação do país. A crença no surgimento dessas novas relações fundamentase em um visível descompasso entre o discurso midiático das décadas de 50 e 90 do século XX e a sociedade. Tal desarranjo deriva, em larga medida, das crises econômicas que acometem o Japão desde a década de 90 do século XX, servindo à desarticulação social e ao paralelo esvaziamento da aderência do discurso midiático por parte de quem o utiliza, o Estado. Ou seja, ausência de diálogo entre cultura, política, economia, legislação, indivíduo e mídia. Portanto, tal trabalho acadêmico solidifica essa percepção com artigos de jornais, revistas, sites brasileiros e do exterior, além de consultas às salas de imprensa das companhias. E também se utiliza de textos de comunicólogos sobre o funcionamento da mídia e dados oficiais do governo japonês

Made available in DSpace on 2016-04-26T18:17:11Z (GMT). No. of bitstreams: 1 Renato Veras Baptista.pdf: 10351172 bytes, checksum: 8dabe9208337bf77d9e7ad619d64b4f1 (MD5) Previous issue date: 2008-05-05 / Servico Social do Comercio / O presente trabalho tem como objeto a exposição "Templos Politeístas:" são fotografias panorâmicas do fotógrafo Dimitri Lee que apresenta estádios de futebol como arenas vazias e distorcidas. Faz parte do objeto um conjunto de depoimentos do fotógrafo, colhidos para um melhor entendimento de suas intenções na produção destas imagens. O trabalho analítico das imagens foi feito recorrendo-se à literatura do estudo da imagem fotográfico, da história da fotografia e da teoria da imagem, considerando conceitos como o conceito de 'estranhamento' de Viktor Shklovsky, o conceito do 'fotógrafo como funcionário e jogador 'de Vilém Flusser. A discussão sobre a presença da imagem é baseada nas reflexões de Hans Belting e Norval Baitello. Neste processo, apresentamos as imagens com destaque para as características de negação dos recursos de sedução como opção do autor, levantamos as técnicas utilizadas para à produção destas imagens, e sugerimos sistemas de classificação, como uma forma de situar estas imagens em um universo mais amplo, no qual as imagens dialogam entre si e podem ser avaliadas a partir de outras imagens

Cette thèse porte sur l’éloquence sacrée telle que le prédicateur franciscain Francesco Panigarola, l’une des figures majeures de l’art oratoire post-tridentin, la conçut en tant que rhéteur et la pratiqua du haut de la chaire. De son œuvre nous avons retenu les textes en italien : d’une part les écrits polémiques, les traités rhétoriques et pédagogiques, où s’exprime la réflexion de Panigarola sur le statut et les finalités de l’éloquence sacrée, d’autre part ceux qui attestent des procédés oratoires mis en œuvre dans l’exercice de la prédication. L’étude associe à la fois une approche chronologique, centrée sur le profil biographique, et une approche systématique concernant quelques grandes questions rhétoriques et stylistiques. L’objectif est de restituer l’orateur franciscain à la culture de son temps et de mettre en lumière certaines constantes de son style oratoire asian, notamment le statut privilégié accordé aux ressources de l’imagination visuelle. La première partie suit les étapes de la formation humaniste et religieuse de Panigarola ; la présentation de quelques documents inédits permet de jeter une lumière nouvelle sur ses activités de controversiste et de diplomate. La seconde partie analyse la théorie du discours oratoire sacré qu’il développe dans ses traités rhétoriques à l’usage des prédicateurs : Il Predicatore, les Regole per far la memoria locale et le Modo di comporre una predica. L’étude vise à mettre en évidence l’originalité des initiatives stylistiques et des procédés rythmiques, lexicaux et morphosyntaxiques de Panigarola, qui marquèrent l’entrée de la prédication dans le domaine de la littérature italienne. La dernière partie est consacrée à la définition de la doctrine panigarolienne de l’image ainsi qu’à la description des stratégies visuelles et auditives déployées dans ses sermons. Comment le franciscain réussissait-il à « faire voir », par les mots et à travers eux, les concepts qu’il voulait transmettre ? Quelles étaient les ressources du style qu’il déployait pour rendre son discours « visualisable » ? Ces questions ont été examinées du point de vue de l’enargeia « visuelle » et « sonore », et des procédés techniques dont elles sont le fruit. / Our theme in this thesis is sacred eloquence, such as that of the Franciscan preacher Francesco Panigarola, a major figure of post tridentine oratory art, envisaged it as a rhetor and practised it from his pulpit. We have selected texts in Italian from his works: on the one hand, controversial writings, rhetorical and pedagogical treatises, where Panigarola reflects upon the status and finalities of sacred eloquence, and on the other hand, those which bear witness of the oratorical procedures utilized for sermons. Our study links, at one and the same time, a chronological approach, focussing on the biographical profile and a systematic approach to a few major rhetorical and stylistic questions. Our objective is to replace the Franciscan orator within the culture of his times and throw light on certain recurrent themes in his asianic style, particularly the pre-eminent status granted to the resources of visual imagination. Our first part takes us through the stages of Panigarola’s humanistic and religious formation; the presentation of a few previously unpublished documents sheds new light on his activities as a controversialist and diplomat. The second part analyses the theory of sacred oratory art, which he developed in his rhetorical treatises for the use of preachers: Il Predicatore, the Regole per far la memoria locale and the Modo di comporre una predica. The aim of our study is to show the originality of his stylistic initiatives and the rhythmic lexical and morpho-syntaxic methods of Panigarola, which marked the arrival of preaching in the world of Italian literature. The last section is devoted to the definition of Panigarola’s doctrine of the image, together with the description of the visual and auditory strategies employed in his sermons. How did the Franciscan succeed in “bringing to sight”, by his words, and through them, the concepts he wished to transmit? What were the stylistic resources he used to make his speech “seeable”? These questions have been examined from the point of view of “visual” and “resounding” enargeia, and the technical procedures which gave it birth.