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Jag vill undersöka och ge några exempel på hur människor genom sin egen personliga symbolvärld kan komma i kontakt med den omedvetna kunskapen om sig själva och världen. Jag vill även belysa några sätt på vilket människan kan göra detta och hur hon i så fall kan praktiskt gå till väga. Hur kan den personliga symbolvärlden bidra till att människor förstår sig själva, sin miljö och omgivning bättre? Hur kan man komma i kontakt med denna värld? Jag kommer att titta närmare på några aspekter av dessa frågor, några olika perspektiv på hur symbolvärlden kan vara till nytta för människor. Jag kommer sedan att ha delfrågor som ytterligare tar upp några exempel på detta tema, alla leder de fram till de övergripande svaren. Vad är symboler? Hur kan symboler vara ett verktyg för utveckling? Vad är drömmar? Hur kan vi använda oss av drömmar? Vilka andra metoder finns det för att utforska symbolvärlden?

<p>Uppsatsen undersöker retoriken runt konst på fyra konstverksamheters hemsidor. Konsthallarna och gallerierna som undersöks är alla belägna på landsbygden eller i mindre samhällen i Sverige. Dessa är Bjurbäcks konsthall, Virserums konsthall, Neon Gallery samt Galleri Astley. De frågor som ställs till materialet är: Vilken konst är det som presenteras och hur lyfts den fram? Vilka retoriska medel använder man sig av, och vem vänder man sig till? I vilka sammanhang presenteras konst? Vilken relation och vilket synsätt till konst förmedlas? Vilken relation till platsen och miljön där konsthallen och galleriet är belägen förmedlas?</p><p>För att undersöka hur konstverksamheternas retorik är upplagd på hemsidorna har framförallt de klassiska begreppen ethos, logos och pathos fungerat som analysverktyg så som de används i metoden retorikanalys. Retorikanalys menar Brigitte Mral är en användbar metod som kan hjälpa oss att försöka förstå och tolka budskap. Hur bilder och design på olika sätt samspelar med texten har också varit viktigt att undersöka. Den redovisade analystexten i uppsatsen visar på samband mellan bild- och textretorik och hur dessa tillsammans bildar en gemensam retorik.</p><p>Teorier som används i uppsatsen ger perspektiv på begreppet konst. Förutom filosofiska definitionsförsök av vad konst är eller kan vara, presenteras här föreställningar om konst i relation till tre områden: företag, teknologi och media.</p><p>Ytterligare en teoretisk ingång som tolkats som relevant i uppsatsen, är att se på den lokala platsen i relation till nationen, EU och den globala världen.</p><p>Resultatet i uppsatsen visar att de fyra konstverksamheterna valt olika sätt att marknadsföra konst på sina respektive hemsidor, men trots detta är retoriken för samtidskonst ofta ganska traditionell. Hemsidan kan uppfattas som en kombinerad informations- och marknadsföringskanal. Den måste kunna fungera för olika målgrupper, såsom samarbetspartners, finansiärer, skolor, med mera. Detta är något som problematiseras i uppsatsen.</p> / <p>The essay examines the rhetoric around art on four art galleries´ homepages. The art galleries that are examined are all located on the countryside or in smaller towns in Sweden. With their Swedish names the examined objects are the following: Bjurbäcks konsthall, Virserums konsthall, Neon Gallery and Galleri Astley. The questions that are set to the material are: What kind of art is presented and how is it conveyed? Which rhetorical instruments are used and which target groups do they aim at? In which context is art presented? Which relation to art and which perspective on art is mediated? Which relation to the site and the environment where the art galleries are located is conveyed?</p><p>The classical concepts ethos, logos and pathos - as they are used in Rhetorical analysis - have been used as instruments to investigate how the rhetoric about art is applied. Brigitte Mral means that Rhetorical analysis is a useful method to help us understand and interpret messages. How pictures and design in different ways interplay with the text, has also been important to investigate. The presented analysis in the essay shows the connections between text- and visual rhetoric, and how these elements together form a common rhetoric.</p><p>Theories that are used in the essay give perspectives on the concept of art. Definitions about what art can be are presented mainly from a philosophical perspective. But the idea of art is also presented in relation to three other spheres such as companies, technology and the media.</p><p>Another theoretical input interpreted as relevant in the essay, is the perspective on the local place in relation to the nation, EU and the global world.</p><p>The result in the essay shows that the four art galleries have chosen different ways to market art on their respective homepages. Despite this is the rhetoric on contemporary art mainly traditional. The homepage can be considered as a combined information- and marketing channel. It must function for different target groups such as collaborative partners, financiers, schools, etc. This is examined and discussed in the essay.</p>

In the late 1990s, motion picture and television production began a process of rapid digitalization with profound implications for cinematographers in Hollywood, as new tools for “digital cinematography” became part of the traditional production process. This transition came in three waves, starting with a post-production technique, the digital intermediate, then the use of high-definition video and digital production cameras, and finally digital exhibition. This dissertation shows how cinematographers responded to the technical and aesthetic challenges presented by digital production tools as they replaced elements of the film-based, photochemical workflow. Using trade publications, mainstream press sources, and in-depth interviews with cinematographers and filmmakers, I chronicle this transition between 1998 and 2005, analyzing how cinematographers’ responded to and utilized these new digital technologies. I analyze demonstration texts, promotional videos, and feature films, including Pleasantville, O Brother Where Art Thou, Star Wars: Attack of the Clones, The Anniversary Party, Personal Velocity, and Collateral, all of which played a role in establishing a discourse and practice of digital cinematography among cinematographers, producers and directors. The challenges presented by new collaborators such as the colorist and digital imaging technician are also examined. I discuss cinematographers’ work with standards-setting groups such as the Society of Motion Picture and Television Engineers, Academy of Motion Picture Arts and Sciences, and the studio consortium Digital Cinema Initiatives, describing it as an effort to protect “film-look” and establish look-management as a prominent feature of their craft practice. In an era when digitalization has made motion pictures more malleable and mobile than ever before, this study shows how cinematographers attempted to preserve their historical, craft-based sense of masterful cinematography and a structure of authority that privileges the cinematographer as “guardian of the image." / text

The creative class, creative economy and creative cities are all heralds of current North American planning directions. My research seeks to understand how the Art Factory, a multi-tenant and multi-purpose artist space, contributes to the lives of artists and the general creative potential of a city. This research is a case study of cre8ery, an art factory located in Winnipeg’s Exchange District, the gentrifying cultural quarter of the city. I interviewed ten artists, exploring how cre8ery affected their social, professional and economic lives. cre8ery serves as a gateway into the art world for emerging artists by providing stability and opportunities to them. In general, Art Factories are centres of cultural entrepreneurship, an activity essential to the health of artists and the city. I also explore the shift of the artist populations in Winnipeg due to gentrification, offering several policy initiatives that would either stem or support this shift.

The thesis analyses the continuously changing discourse of cultural diversity. The focus of this study is the ways in which this discourse is shaped within contemporary Swedish cultural politics in general, and how it unfolds and further changes through the specific activities performed by a cultural institution in Stockholm – Södra teatern. Where as the cultural diversity inspired cultural politics seems to be caught in the tension between defending the autonomous position of culture in society and arguing for the supposed positive integrative consequences of such a perspective the Södra teatern mirrors a similar complexity in their ways of performing cultural diversity. This complexity is expressed through the three aspects of cultural diversity the thesis analyses – the real, the good and the cool cultural diversity. Each of the three aspects expresses a search for authenticity as well as a resistance towards the very same notion; a belief in the enlightenment of knowledge at the same time as the content of the very same knowledge is questioned; and finally that ethnic differences some times is enforced through utterances that stresses tradition where as the supposed hybrid forms in other situations is celebrated. The three aspects of cultural diversity analysed here all express how cultural diversity works as a hyper complex concept within cultural policy where no single possible meaning erases other potential meanings. On the contrary: different and even contradictory meanings of the concept exist side by side. Thus the thesis argues that the discourse of cultural diversity expresses a hyper complex problem. / Avhandlingen analyserer hvordan mangfoldsdiskursen formes på det kulturpolitiske området ved å studere hvordan denne formes i så vel Södra teaterns virksomhet som i den statlige kulturpolitikken. Mens den statlige mangfoldsorienterte kulturpolitikken preges av en spenning mellom på den ene siden å forsvare kulturens autonome stilling og på en andre siden å forsvare det man kan kalle for integrasjonspolitiske hensyn, så uttrykker Södra teaterns arbeid med kulturelt mangfold en lignende kompleksitet. Denne kompleksiteten uttrykks gjennom de tre ulike aspekter av den mangfoldsdiskursen avhandlingen analyserer – det ekte, det gode og det coole mangfoldet. De tre aspektene uttrykker hver for seg både en søken etter autentisitet og en motstand mot autentisitet; en opplysningstro så vel som en selvrefleksivitet i forhold til hva det opplyses om; og til slutt at etnisitetsforskjeller i visse situasjoner forsterkes gjennom ytringer som vektlegger tradisjon, mens andre ytringer snarere hyller det som oppfattes som hybride uttrykk. Disse tre delanalysene visere hvordan kulturelt mangfold fungerer som et hyperkomplekst begrep innenfor kulturpolitikken da tilsynelatende ulike og motsigelsesfulle tolkninger kan eksistere side ved side. Således argumenterer avhandlingen for at mangfoldsdiskursen uttrykker et hyperkomplekst problem.

The creative class, creative economy and creative cities are all heralds of current North American planning directions. My research seeks to understand how the Art Factory, a multi-tenant and multi-purpose artist space, contributes to the lives of artists and the general creative potential of a city. This research is a case study of cre8ery, an art factory located in Winnipeg’s Exchange District, the gentrifying cultural quarter of the city. I interviewed ten artists, exploring how cre8ery affected their social, professional and economic lives. cre8ery serves as a gateway into the art world for emerging artists by providing stability and opportunities to them. In general, Art Factories are centres of cultural entrepreneurship, an activity essential to the health of artists and the city. I also explore the shift of the artist populations in Winnipeg due to gentrification, offering several policy initiatives that would either stem or support this shift.

An unprecedented production of discourses on contemporary Indian architects and architecture occurred in the 1980s. Published in a period of political transition and conspicuous new cultural production and debate in many fields, four decades after India’s independence from colonial rule in 1947, these architectural discourses have become privileged references that have shaped but also limited perception of late-twentieth century architectural production in India. While subsequent writers have addressed some of these limitations, the small but growing critical literature in this field still exhibits many of the same problems of representation. Despite problematising the construction of ‘Indian architecture’ in colonial and postcolonial discourse, these critiques have nevertheless taken for granted (as in the more popular and professionally oriented discourses of the 1980s) the existence of a pan-Indian community of architects, united in their search for a collective identity. Such monolithic perceptions of contemporary ‘Indian architecture’ have yet to be interpreted with regard to the conspicuous contexts in which they were produced — that is, from an ‘Indian’ point of view. Through a selective focus on a particularly productive site of discourse in 1980s India, I investigate complexities that have not yet been examined in the formation and reproduction of a dominant consensus on the identity of contemporary Indian architecture. The argument draws attention not only to the agency of particular contemporary Indian architects in the construction of this identity, but also the relativity of region in the architectural production of India during the 1980s. Specifically, I focus on an influential architectural magazine, Architecture + Design (A+D) that began publishing in 1984 from a dominant region of architectural production, Delhi. I provide an account of the manner in which history, context, agency and agents, came together at a point in time, within this architectural magazine, as a complex set of historically constituted social relations, to authorise and sustain particular viewpoints about contemporary Indian architecture. Using the French sociologist, Pierre Bourdieu’s theory of the field of cultural production, I relate issues of dominance and marginalisation observable in the production of this particular discourse on contemporary Indian architecture to the space of the positions held by its producers. Despite its avowed agenda of viewing contemporary Indian architecture differently in the 1980s, I argue, the selection and judgement of exemplary contemporary work deemed worthy of discussion in A+D as ‘Indian Architecture’ functioned (and continues to function) through established categories of perception and appreciation. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331621 / Thesis (Ph.D.) - University of Adelaide, School of Architecture, 2008

An unprecedented production of discourses on contemporary Indian architects and architecture occurred in the 1980s. Published in a period of political transition and conspicuous new cultural production and debate in many fields, four decades after India’s independence from colonial rule in 1947, these architectural discourses have become privileged references that have shaped but also limited perception of late-twentieth century architectural production in India. While subsequent writers have addressed some of these limitations, the small but growing critical literature in this field still exhibits many of the same problems of representation. Despite problematising the construction of ‘Indian architecture’ in colonial and postcolonial discourse, these critiques have nevertheless taken for granted (as in the more popular and professionally oriented discourses of the 1980s) the existence of a pan-Indian community of architects, united in their search for a collective identity. Such monolithic perceptions of contemporary ‘Indian architecture’ have yet to be interpreted with regard to the conspicuous contexts in which they were produced — that is, from an ‘Indian’ point of view. Through a selective focus on a particularly productive site of discourse in 1980s India, I investigate complexities that have not yet been examined in the formation and reproduction of a dominant consensus on the identity of contemporary Indian architecture. The argument draws attention not only to the agency of particular contemporary Indian architects in the construction of this identity, but also the relativity of region in the architectural production of India during the 1980s. Specifically, I focus on an influential architectural magazine, Architecture + Design (A+D) that began publishing in 1984 from a dominant region of architectural production, Delhi. I provide an account of the manner in which history, context, agency and agents, came together at a point in time, within this architectural magazine, as a complex set of historically constituted social relations, to authorise and sustain particular viewpoints about contemporary Indian architecture. Using the French sociologist, Pierre Bourdieu’s theory of the field of cultural production, I relate issues of dominance and marginalisation observable in the production of this particular discourse on contemporary Indian architecture to the space of the positions held by its producers. Despite its avowed agenda of viewing contemporary Indian architecture differently in the 1980s, I argue, the selection and judgement of exemplary contemporary work deemed worthy of discussion in A+D as ‘Indian Architecture’ functioned (and continues to function) through established categories of perception and appreciation. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331621 / Thesis (Ph.D.) - University of Adelaide, School of Architecture, 2008

BENEVIDES, Márcio Fonseca. Dos subterrâneos aos holofotes: os nomadismos do rock Fortalezense. 2008. 140f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2008. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-23T12:41:28Z No. of bitstreams: 1 2008-DIS-MFBENEVIDES.pdf: 868746 bytes, checksum: 02dadc4b48ecc505df94eabe4a69938d (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-23T13:13:34Z (GMT) No. of bitstreams: 1 2008-DIS-MFBENEVIDES.pdf: 868746 bytes, checksum: 02dadc4b48ecc505df94eabe4a69938d (MD5) / Made available in DSpace on 2013-10-23T13:13:34Z (GMT). No. of bitstreams: 1 2008-DIS-MFBENEVIDES.pdf: 868746 bytes, checksum: 02dadc4b48ecc505df94eabe4a69938d (MD5) Previous issue date: 2008 / The present study interprets, under the aegis of the Social Sciences, the search for acknowledgement and the various displacements (both in space and time) of young individuals that play in rock bands - of multiple ethical-esthetical characterizations - and socialize in Fortaleza (capital of the Ceará State – Brazil), the stage of their cultural production. Proceeding by two dialogical poles, Undergrounds (alternative) and Spotlights (mainstream), this ethnographical research intends to understand, by theory and empiricism, the nomadisms of the rockers by places, shows, tours and life experiences. Also interprets how these social actors create strategies to disseminate their works (above all, on the Internet) and to exceed obstacles like decrease of appropriated places to play, lack of resorts and incentives, derisory remuneration, absent audience and preconceptions. / O presente estudo interpreta, sob a égide das Ciências Sociais, a busca pelo reconhecimento e os variados deslocamentos espaço-temporais de jovens indivíduos que tocam em bandas de rock em múltiplas caracterizações ético-estéticas que se socializam em Fortaleza-CE, o palco de suas produções culturais. A partir de dois pólos dialógicos, Subterrâneos (underground) e Holofotes (mainstream), esta pesquisa etnográfica tenciona compreender, na teoria e na empiria, os nomadismos dos roqueiros por entre lugares, shows, turnês e vivências. Também interpreta como estes atores sociais criam estratégias para divulgar suas obras (sobretudo pela Internet) e para ultrapassar obstáculos como a diminuição de espaços apropriados para tocar, falta de recursos e incentivos, parca remuneração, público ausente e preconceitos.