Propaganda conceived for distribution via the medium of the pictorial poster creates artwork that can be productively examined from an aesthetic as well as political perspective. When this artwork is primarily restricted to conflict propaganda from the second decade of the twentieth century, the temporal and contextual considerations assist in focussing the poster’s role as a functional object, not only within a propaganda campaign but also within the wider visual ecology of an era. For the poster to operate as an effective means of propaganda distribution, the propagandist requires composition that incorporates constructs capable of attracting the viewer. In isolating a particular construct, its manifestation has the potential to be utilised as a tool in the unpacking of the imagery; consequently the concept of a propagandist promotion of an alternate reality as a challenge to a current real, and the prospective movement from one to the other, can be literally and figuratively conveyed via its employment as a pictorial trope. In this regard, the construct deemed to represent not only movement, but movement at its most beautiful thereby forming a focus for attraction, is the serpentine curve that in 1745 William Hogarth scribed and titled the line of beauty (Hogarth, 1997 p6). In concentrating on the poster within the wider genre of early twentieth century visual conflict propaganda, and creating new associations with aesthetic and metaphoric concepts pertaining to the line of beauty, this research becomes the articulation of how each contributory element within the artwork’s construction ‘respectively influences the identity and the economies of the other’, thereby providing ‘a model by which to focus and rethink’ these relationships (Ostrow, 2005 p226). The line of beauty serves as both cause and effect of the process by which the relationships are reconsidered, thus provoking an innovative discourse as to the potential impact of the whole upon the visual culture field.

acase@tulane.edu / 1 / Emily C Floyd

The study looks at how the library users at Zamukulungisa Campus of the Walter Sisulu University (WSU) in the Eastern Cape in South Africa perceive the print media versus electronic media as sources of information for their requirements. The study is aimed at investigating the extent of use of these media by the users of the institution under study and their reaction to print versus electronic media. It is understood that the Zamukulungisa Campus of the WSU users come from different backgrounds. Some come from underdeveloped rural areas where there are no basic amenities available such as running water, toilets, telephones or even electricity and libraries. These types of users depended on information from text books and from their teachers only. The rationale for the study is to examine the students‟ use of print and electronic materials available in the library of the institution under study with the view to identifying the gaps that need to be addressed in order to make recommendations to enhance the effectiveness of the service provision of information to the users by the librarians. With this purpose in mind, the study looks at: the frequency of library use; the nature of the media available in the library; the tools utilized by the users to access the media in the library; the preference of the library users for media usage; the users‟ perceptions and reactions to print and electronic media; the effects on users and; the background to the use of print and electronic media. A questionnaire was used to collect data for this research study from sampled students at Zamukulungisa Campus of the WSU. The findings may lead to potential solutions based on the users‟ reactions to the recommendations of their use of the print and electronic media. The references used are shown in the bibliography. Keywords: print media, electronic media, library users, different backgrounds, underdeveloped rural areas, basic needs, recommendation of the use of print and electronic media, service provision, provision of information, media usage, users‟ perceptions, users‟ reactions, study operations, presentation of findings, analysis of data, discussion of results, levels of study.

This project explores the notion of a world experienced and mediated through the image. The focus is on issues related to representation of that world to self through image-based narrative. Central to the creation of these worlds is imagery published in various public access media such as television, the internet, print publishing. Although filtered and interpreted personally, because of their ubiquity and familiarity, these images collectively constitute representation of our culture. Our construction of the world (the way we represent it to ourselves) is contingent on our encounter with such images.Sited within the milieu of a media-fixated age, the project aims to deal with our desire to make sense of the litter of images that people our visual horizon. The project seeks to employ these images as objects of direct experience and to consider the subjective frameworks and cultural narratives through which they are filtered.The work will play on the desire to make relational sense of images, often by invoking narrative. Painting will be used as a means to provoke encounter between imagery, with the performative act of painting, itself a narrative, both being and representing a process of mediation

<p>Liquid alloy circuitry is an exciting new field of research. It is one of the technologies that strives to make a commercial production of reliable, stretchable circuits possible. The making of liquid alloy circuits is, today, a somewhat tedious handicraft that is time-consuming and not suited for mass production. In this diploma thesis a new method to produce liquid alloy circuitry is presented; print and roll. The circuits consists of Galinstan paths embedded in polydimethylsiloxane (PDMS). Conductive paths are printed in a two step sequence on semi-cured PDMS and then covered with uncured PDMS and exposed to a final curing step. Print and roll produces circuits that are of equal quality as the circuits made with the old method, with a speed and ease superior to the old method. Furthermore advantages and disadvantages with printing on partly cured PDMS substrates are discussed. Partly cured PDMS substrates is important for the print and roll process since it enables the use of uncured PDMS to cover the printed circuit. Using uncured PDMS as a cover-material makes it possible to print the circuits on flat substrates and to use a pick and place machine to place components on the circuit-paths. Some tests with pick and place placing of both large and small components were conducted with varying results.</p>

Liquid alloy circuitry is an exciting new field of research. It is one of the technologies that strives to make a commercial production of reliable, stretchable circuits possible. The making of liquid alloy circuits is, today, a somewhat tedious handicraft that is time-consuming and not suited for mass production. In this diploma thesis a new method to produce liquid alloy circuitry is presented; print and roll. The circuits consists of Galinstan paths embedded in polydimethylsiloxane (PDMS). Conductive paths are printed in a two step sequence on semi-cured PDMS and then covered with uncured PDMS and exposed to a final curing step. Print and roll produces circuits that are of equal quality as the circuits made with the old method, with a speed and ease superior to the old method. Furthermore advantages and disadvantages with printing on partly cured PDMS substrates are discussed. Partly cured PDMS substrates is important for the print and roll process since it enables the use of uncured PDMS to cover the printed circuit. Using uncured PDMS as a cover-material makes it possible to print the circuits on flat substrates and to use a pick and place machine to place components on the circuit-paths. Some tests with pick and place placing of both large and small components were conducted with varying results.

This project explores the notion of a world experienced and mediated through the image. The focus is on issues related to representation of that world to self through image-based narrative. Central to the creation of these worlds is imagery published in various public access media such as television, the internet, print publishing. Although filtered and interpreted personally, because of their ubiquity and familiarity, these images collectively constitute representation of our culture. Our construction of the world (the way we represent it to ourselves) is contingent on our encounter with such images.Sited within the milieu of a media-fixated age, the project aims to deal with our desire to make sense of the litter of images that people our visual horizon. The project seeks to employ these images as objects of direct experience and to consider the subjective frameworks and cultural narratives through which they are filtered.The work will play on the desire to make relational sense of images, often by invoking narrative. Painting will be used as a means to provoke encounter between imagery, with the performative act of painting, itself a narrative, both being and representing a process of mediation

During the early part of the eighteenth century, the growth of the book trades depended upon a series of technological advances. With each innovation, new forms of printed material, such as newspapers, essays, novels, and biographies became available and in many cases, extremely popular. Cultural perceptions of popularity among the growing body of readers, however, immediately relegated most of these new forms to a subaltern status. As the new readers became new writers, subcultures developed around each new form, which then changed the perceived social status of both the members of the subculture and the textual form. Even though printed materials has often been seen as simple commodities, reading subcultures of the eighteenth century had the power to redefine the social meaning of a given textual form and they often did so because in changing the status of the text they could also alter their own status. The members of these various subcultures used their associated textual form as a means to redefine their own identity as well as the social status of the text itself. Each of the varieties of publications gained or lost social status based upon their association with particular subcultures. In this way, the formation of textual subcultures provided a conduit through which individuals could create, maintain, and renegotiate personal identity. By examining the creation of specific textual subcultures in conjunction with shifts in technology, my work offers a new, empirically supported model for understanding the precise relationship between reading and identity formation at the moment when modern, market-based culture came into existence. Challenging the interpretive tradition established by Ian Watt in the 1950s, I formulate a dynamic model of identity creation based upon the perception of technological membership. Because Watt's focus, as well as those of many succeeding critics, was upon a single genre rather than upon individuals' interaction with new print mediums, the current understanding of eighteenth-century identity is a progressively static model of reading which cannot be applied beyond that specific historical period. My work directly challenges current ideas of subculture formation and the inherent bonds between members by establishing how writers negotiated their own self-perceptions through authorial participation and, ultimately, defined their own social status. By determining how people created their own cultural identities through associations with forms of printed material and evolving technologies, my work reconsiders previous interpretations of literary history based upon economic class formation and prompts re-evaluations of basic critical literary terms, such as `literature,' `popular,' and `aesthetic worth.' With a new model for understanding identity formation in market culture, my research offers models extending beyond the eighteenth century and informing current debates about textual cultures. In recent years, the mass digitization of printed material has prompted announcements of both the death of the book and a decrease in mass literacy; yet, online communication, particularly social networking sites such as Facebook or Twitter, has grown dramatically. Computer technology, in this respect, is no more than another phase of printing innovations, which itself is fostering the creation of new reading subcultures.

Published Article / Typography and layout are two powerful graphic tools in print advertising. They are used to arrest the attention of the target market by creating a positive association, a controversy or stimulate some kind of intellectual game. This means that much of the message has already been conveyed by creatively expanding and diversifying the conventional values embedded in certain graphic means and basing the advertisements on prevailing textual norms and our past experiences before the message itself has even been read, by just focusing on the typography used (e.g. compare the text layout and typography of a newspaper or a cell phone SMS). Based on a randomly selected South African dataset, aspects of the graphological options with their functional values will be described.

This PhD explores the experience of female journalists working in the Saudi Arabian press. It looks at the difficulties they face as women journalists, their motives for working in this area and their writings. The research discusses how the culture gender segregation in Saudi Arabia impacts upon Saudi media representations of gender stereotypes and the role of print media (the press) in exposing women’s issues to the public and forming public opinion. I utilised a media studies’ approach adopting an Islamic feminist perspective. I generated data from indepth interviews with seven Saudi female journalists working in Saudi press, who discuss female-related topics as well as content analysis of related press articles. The analysis indicated that the Saudi culture of extreme gender segregation has impacted on the experience of female journalists, particularly on their ability to compete with male journalists. As my analysis argues, my participants report experiencing female segregation and discrimination mainly affecting their pay, job opportunities, promotion, availability and access to information. My findings further suggest that the media in Saudi Arabia is the most direct venue for women to express their views and discuss their issues. In accordance with previous studies in the field, my study reveals that Saudi Arabian women interpret feminism within the boundaries of their specific culture and Islamic standpoint. Lastly, I discuss how current political, social and economic reforms in the region, which influence women’s status in the public arena, are reflected in the Saudi press.