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Uppsatsen analyserar kameravinklar i förhållande till illustrationer som finns i ett onlinespel. Diskussion förs kring fyra bilder. Detta görs utifrån en bildanalys med inslag av semiotisk analys. Undersökningen kunde inte visa på om kameravinklar i sig själva kan uttrycka visuellt berättande eller ej. Dock visar studien att kameravinklar kan öka det visuella berättandet som en bild har. / The essay analyzes camera angles in relation to illustrations found in an online game. Discussion is conducted around four pictures. This is done on the basis of an image analysis with elements of semiotic analysis. The study could not show whether camera angles in themselves can express visual narrative or not. However, the study shows that camera angles can increase the visual narrative meaning of an image.

In this text I retell the story of a close friend of mine that went missing a few years ago. I also dive into world geographies and how they interconnect unexpectedly, for example through water.  In the Hindu scripture Shatapatha Brahmana, written between the 6th and 8th centuries BCE, one encounter scientific knowledge of geometry, observational astronomy, and many tales, where time is told in a cyclical, nonlinear way. The book recounts how the sweat dripping down the god Shiva’s head is the water of Ganges River, where the ashes of generations of deceased people travel along the currents like a miniature collection of the past. I depart from a lens-based practice to explore remains of traces of stories, contrasts between inherited cultures and gay love.  Through the migratory movement from India to Norway made by my father in the 80’s, the same period as the fathers of my Norwegian cousin’s migrated from, Algeria, Morocco, and Argentina. I came to know about the importance of the permanence as some of them stayed and influenced our cultural microcosmos of diaspora perspective. While some of them departed back again to their birth countries leaving mythical-like aura behind. From the get-go our shared upbringing in the Scandinavian landscape made us witness the ever-shifting kaleidoscope of our human existence and filling a gap between having two cultures. And a question to the difference between being of or having a minority background.  The artistic expression can be intricately intertwined with the nuanced language of gestures, transcending linguistic and cultural motifs. Through a local Indian newspaper shipped to my hometown in Norway ever since I was a child, arised a playful game of trying to understand and learn these symbols and cultural motifs.

Narratives are there in everyone's lives. They are made up of stories that interest us, stories that we want to share with others. However, narrative is not only limited to the written or spoken word. It is made up of a complex system of units and devices which can be explored in many different genres and media. One such medium is Architecture. This thesis is an investigation in decoding the elements that are essential for a narrative. Comparing and analyzing the concept using other medium especially the cinematic medium as a point of reference to understand how it can be applied to architecture. Testing out these discoveries to create a visual arts school in Lugano. / Master of Architecture

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[ES] A pesar del creciente desarrollo de estudios sobre personas transgénero en campos particulares desde principios de la década de 1990, solo en la última década se ha experimentado un crecimiento explosivo de la visibilidad de personas transgénero en la cultura popular de Occidente. La rapidez del progreso, en comparación con los movimientos sociales anteriores, se debe en gran parte a la ubicuidad de las tecnologías de comunicación en línea y digitales. El acceso a dichos medios también ha brindado oportunidades de producción y publicación para los artistas, especialmente aquellos que se identifican con demográficos marginados, excluidos o previamente ignorados, como la comunidad transgénero. Dada la relación situacional entre estas tecnologías y los artistas trans, esta investigación pregunta cómo y qué utiliza, produce o publica un artista trans como yo, como parte de una práctica creativa multimedia, y postula que existen características compartidas que existen entre muchas experiencias transexuales y experiencias postmedia. Para responder a estas preguntas de investigación, este texto despliega y combina voces subjetivas y críticas dentro de un modelo exegético conectivo. Analizo los nuevos conocimientos representados por el trabajo y los procesos de la práctica creativa relacionada a través del desarrollo y la aplicación de conceptos existentes de fenomenología transgénero. Y, en última instancia, la propia misión de este texto se presenta como una acción autoetnográfica y una declaración política de la experiencia vivida. / [CA] Malgrat el creixent desenvolupament d'estudis sobre persones transgènere a àmbits particulars, des de principi de la dècada de 1990, sols a l'última dècada s'ha experimentat un creixement explosiu de la visibilitat de persones transgènere a la cultura popular d'occident. La rapidesa del progrés, en comparació amb els moviments socials anteriors, és deguda en gran part a la ubiqüitat de les tecnologies de comunicació en línia i digitals. L'accés als susdits mitjans també ha brindat oportunitats de producció i publicacions per als artistes, especialment aquells que s'identifiquen amb demografies marginals, exclosos o prèviament ignorats, com la comunitat transgènere. Donada la relació situacional entre aquestes tecnologies i els artistes trans, aquesta investigació pregunta com i què utilitza, produeix o publica un artista trans com jo, com part d'una pràctica creativa multimedia i postula que existeixen característiques compartides entre nombroses experiències transexuals i postmedia. Pera respondre aquestes qüestions d'investigació, aquest text desenvolupa i combina veus subjectives i crítiques dintre d'un model exegètic connectiu. Analitze els nous coneixements representats pel treball i els processos de la pràctica creativa relacionada mijantçant el desenvolupament i l'aplicació de conceptes existents de fenomenologia transgènere. I, en última instància, la pròpia missió d'aquest text es presenta com una acció autoetnogràfica i una declaració política de l'experiència viscuda. / [EN] Despite an increasing development of transgender studies within particular fields since the early 1990's, it has only been in the last decade or so that an explosive growth of transgender visibility has been experienced in popular culture in the West. The rapidity of progress, compared to previous social movements, is due in large part to the ubiquity of online and digital communication technologies. Access to such media has also provided production and publishing opportunities for artists, especially those identifying with marginalized, ostracized or previously overlooked demographics like the transgender community. Given the situational relationship between these technologies and trans artists, this research asks how and what a trans artist such as myself utilizes, produces or publishes as part of a multimedia creative practice, and posits that there are shared characteristics that exist between many transgender and postmedia experiences. In order to answer these research questions, this text deploys and blends both subjective and critical voices within a connective exegetical model. I analyse the new knowledge represented by the work and processes of the related creative practice through the further development and application of extant concepts of transgender phenomenology. And, ultimately, the very undertaking of this text itself is presented as an autoethnographic action and a political statement of lived experience. / Koss, KB. (2020). Transgender Identities in Postmedia Audiovisual Narratives [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/140555

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: The archive as mnemonic device and taxonomic structure plays a significant role in the visualisation of identity. This thesis draws on the example of the personal photographic archives of three trans men to suggest ways of understanding archives as discursive and visual practices through which fluctuating narratives of self can be uncovered, traced, erased, renegotiated and fictionalised. This thesis considers how these participants negotiate the roles of author, archivist and photographer in the creation of their personal photographic archives, and how such archives intersect with discourses on the social, somatic and political. / AFRIKAANSE OPSOMMING: Die argief speel as beide ‘n mnemoniese apparaat en ‘n taksonomiese struktuur ‘n beduidende rol in die voorstelling van identiteit. In hierdie tesis word die fotografiese argiewe van drie trans mans bespreek om maniere voor te stel waarop argiewe as diskursiewe en visuele praktyke funksioneer waardeur veranderlike narratiewe van self ontbloot, nagespoor, uitgewis, heroorweeg en verbeel kan word. Hierdie studie oorweeg die manier waarop hierdie deelnemers die rolle van outeur, argivaris en fotograaf onderhandel tydens die skep van hul persoonlike fotografiese argiewe, sowel as die wyse waarop hierdie argiewe as kruispunte dien waar diskoerse rondom die sosiale, liggaamlike en politiese bymekaarkom.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006. / This investigation uses an object relations psychoanalytic framework to explore ways that art embodies both social and personal meaning. The relationship between the non- verbal experience of art and the pre-verbal realm of infancy is explored and linked to bodily, perceptual and inner forms of non-discursive knowledge which are of value for the subject. The study investigates how this inner experience is related through art to language and representation as aspects of external experience. The study argues that these two dimensions, the inner/bodily and the outer/linguistic, are held together in the art object which, as metaphor, is a conjoined structure that embodies the maternal and paternal realms in paradoxical and dynamic interplay. The art object, which elicits imaginary and phantasied responses from the viewer, serves both the self (through presentational symbols) and social needs (through representational symbols), thus allowing the creation and communication of new meanings.