Denna uppsats består av en bildanalys av en visuell kampanj bestående av fem bild-par med två bilder var, eller diptyker, skapad av Greenpeace. Genom att granska faktorer som visuellt arbetsminne, symbolisk interaktion, socialisering, retoriska tilltal samt bildspråk och applicera dessa på en visuell kommunikation kan en med större enkelhet se hur dessa arbetar och interagerar. På så sätt får vi veta hur avsändaren kan använda sig av olika kommunikationsmetoder för att förmedla ett budskap likväl som hur mottagaren kan tänkas ta emot och tolka detta. Greenpeace har använt sig av etos, logos och patos för att föra fram sitt budskap, samt en kunskap om sin målgrupps generella socialisering för att tilltala de konnotationer som målgruppen innehar gällande klimatkrisen och dess konsekvenser.Genom att inte inkludera någon text utan istället fokusera på dessa konnotationer och tala till betraktarens intellekt så uppmanar Greenpeace till personlig uppfattning och tolkning. De har även använt sig av starka färger, kontraster och intressanta kompositioner för att fånga åskådarens blick, uppmärksamhet och intresse. / This essay consists of a analysis of a visual campaign consisting of five pairs of images with two images each, so called diptychs, created by Greenpeace. By examining factors like visual working memories, symbolic interaction, socialization, communication methods and visual language and applying these onto a visual communication one could with more ease see how these work and interact. Like this we find out how the sender could make use of different methods of communication to mediate a message as well as how the recipient could come to receive and interpret this. Greenpeace has used ethos, logos and pathos to deliver their message, and a knowledge about their target audiences general socialization to appeal to those connotations that the audience have about the climate crisis and its consequences. By not including a text but instead focus on these connotations and speaking to the observers intellect, Greenpeace calls for personal perception and interpretation. They have also used bright colors, contrasts and interesting compositions to catch the observers eye, attention and interest.

As online technology continues to progress, the modes of communication through which content can be shared have exponentially grown. These include advances in navigational options for presenting information and news online. Though the listicle has been around for centuries, the internet has proliferated its growth, as content producers rely on its structure as a vehicle for sharing information. This research shows that in the case of listicles, format had no direct effect on recall, however, participants who had a greater interest in the content showed significantly higher levels of memory sensitivity. This critical finding suggests that news outlets and content producers should concern themselves with ensuring that their content is interesting and relevant to their audience more so than worrying about whether the listicle is in clickable or scrollable form. This first attempt to examine listicles by comparing their navigational difference in terms of recall performance lays a framework for future research on listicles.

Displacing the Familiar is a practice-based research project focused around the exploration of digital materiality. This writing is intended to give the reader an exposé of the thought process that has emerged out of my crafting and practice. It also presents shorter technical insights and examples of software used. This project takes it starting point in the joy of unpacking the digital technology. The urge to explore and understand the underlying processes that renders visuals material on the screen. How can a visual practice concerned with digital materiality work?

Aziza's Friendship Compendium, 1st Edition is my illustrated textbook that is part-compendium, part-manifesto. It provides a social, cultural and political analysis of friendship as an inherently anti-oppression, radical tool of resistance.  This study of friendship investigates the form and function of friendship, as well as how neoliberalism and the patriarchy cause friction in its functioning, and the ultimate fantasy of friendship that is possible through its untangling of systems of oppression. The Annotated and Expanded version of the Compendium shared here details the process and outcomes surrounding this publication and my master's degree project as a whole. This project is an argument for friendship, a celebration of friendship, a dissection of friendship and a resurrection and recontextualisation of friendship.  ˜”*°•♥ I hope you & your friends enjoy it ♥•°*”˜

The point of this dissertation is a creation of motion graphics video which functions as an in-depth presentation of Visual Unity services. The output is a video of approx. two minutes in length which the company will make use of as an information basis for prospective clients during international conference participation and other new business initiatives. The result is a functional proposal addressing spectrum of areas throughout the company.

The field of graphic design is an essential part of the contemporary media and communication  landscape, not least as a result of  digitalization where visual content plays a more important role than ever before. Although influential, little research has been conducted in regards to graphic design. The thesis concerns the field of graphic design in Stockholm and poses two research questions. First, which social dynamics and unwritten rules are possible to discern from the graphic design field of Stockholm? Second, what does the interplay between an agent's position in the field and his/hers individual opinion concerning good graphic design look like?  The theoretical framework is centered around Pierre Bourdieu's field theory and its core concepts such as fields, capital, habitus and doxa. These are fundamental cornerstones for the thesis as a whole and used as an analytical framework. Furthermore, six qualitative semi-structured interviews with different actors from within the field were conducted and later analyzed using qualitative content analysis. The results concluded that there are social dynamics and unwritten rules within the graphic design field of Stockholm concerning; talent, education, social climate, norms and values, visual guidelines and the purpose of graphic design. Moreover, all actors agree on one basic premise – if something is to be considered good graphic design it has to fulfill the basic purpose of graphic design. However, when it comes to how that premise is fulfilled, there is a clear interplay between an agent's position in the field and their opinion.

Mgr. Jiří Unger The utilization of 3D computer reconstruction visualizations in archaeology Abstract of dissertation thesis The visual presentation is in the field of archaeology one of the main communication media for conveying information and interpreting it. The recent introduction of digital technologies has brought a whole new dimension to archaeological visualisations. As a result of this development, they become three-dimensional, virtual, multifunctional and interactive. Technological development moreover has not only influenced the way how to retrieve and process the data, but greatly expanded as well the ability to simulate and visualize their different aspects in virtual environment. Since the beginning the virtual archaeology has been taken as direction that would bring new groundbreaking knowledge into the archaeology. However, the current situation is that 3D computer visualizations are just popular conference theme than a standard tool of archaeology as a science, and most works on virtual archaeology still needs to advocate the benefits of 3D visualizations. Therefore, the dissertation thesis try to deal with theoretical issues of preparation, organisation and analysis of input data in the process of creation of 3D reconstruction computer models, then with possible solutions of visualization...

Emojis anses av många vara en viktig komponent för att ge digitala konversationer en känslomässig nyansering och bidrar med tonalitet. Användning och uppfattning av dessa symboler kan variera och i denna uppsats undersöker vi om detta beror på ålder, emojis design eller om det påverkas av andra faktorer. Vi har utfört en enkätundersökning för att undersöka hur människor använder emojis. Här frågade vi vilka enheter och plattformar används regelbundet vid digitala konversationer i dagens läge, i vilka sammanhang emojis används ochom emojis utformning bidrar till en varierad användning av dessa. Vidare har vi genomfört semistrukturerade intervjuer med femton respondenter för att få djupgående svar om deltagarna anser att emojis används på olika sätt beroende på olika åldersspann mellan olika parterna, huruvida digitala kanaler kan påverka användningen av emojis samt vilka övriga faktorer som kan påverka både användning och uppfattning av emojis. Resultatet vi fick av denna studie tyder på att skillnader i användningen av emojis främst styrs av vilken relation finns mellan olika parterna, samt huruvida det existerar en åldersskillnad mellan dem. Yngre tenderar att använda ovanligare emojis oftare samt verkar mer benägna att testa nya emojis och nya plattformar, medan äldre individer i vår studie främst använder tydligare emojis på välbekanta plattformar för att inte riskera att misstolkas. Vidare kan olika plattformar avgöra hur användningen av emojis förefaller då samtliga tjänster har individuella tolkningar och betydelser på hur utformningen av emojis ska se ut. / Emojis are by many considered to be an important component in giving digital conversations an emotional nuance as well as tonality. The use and perception of these symbols can vary and in this study we investigate whether its usage depends on the users age, the design of the chosen emoji or if it’s due to other factors. We have conducted a survey to investigate how people use emoji, which devices and platforms are used in digital conversations and whether the design of emoji contributes to a varied use of them. Furthermore, we also conducted semi-structured interviews with fifteen respondents to get in-depth answers about whether the participants use emojis in different ways depending on different age ranges between separate parties, whether digital channels can affect the use of them and what other factors can affect both use and perception of emojis. The results we obtained from this study indicate that differences in the use of emojis are mainly governed by the relationship between the different parties, and that it matters whether there is an age difference between them. Younger people tend to use more unusual emojis more often and seem more willing to try new emojis and platforms, while older individuals mainly use plainer emojis on familiar platforms as they do not want to risk being misinterpreted. Furthermore, different platforms can determine how the use of emojis appears, as all services come with individual interpretations of what the design of emojis looks like and what they mean.

This experimental research rises from the need to demonstrate how Bateson' s ecological model can be applied and expanded to visual communication. The purpose is to draw the relationships and mechanisms that create for us the world as an energetic vibrant and interconnected network in the contemporary culture, which is mainly based on visual communication, pursuing the goal of suggesting a theory for the metropolitan flows. This study is intended to be developed in two parts and has an anthropological - even if interdisciplinary - imprinting. The first part (narratively theoretical) will be focused on the main concepts of my research (creation of identity and avatars, social body, the city architectural body, relationships, non-lieux, visual communication, in-between, editing - mounting - bricolage, goods visual fetishism, visual anthropology, pattern) through authors the likes of Bateson, Canevacci, Simmel, Benjamin, Bataille, Baudelaire, Augé and more. The second part of this Prague city behave exploration will be evinced through the dialogic methodology (cf. Bakhtin), namely the narrative flow of voices that with the editing technique will create a polyphonic narration, proving my hypothesis. This narration will be strongly supported by the monographic documentary film, titled "Fluxusná...

This experimental research rises from the need to demonstrate how Bateson' s ecological model can be applied and expanded to visual communication. The purpose is to draw the relationships and mechanisms that create for us the world as an energetic vibrant and interconnected network in the contemporary culture, which is mainly based on visual communication, pursuing the goal of suggesting a theory for the metropolitan flows. This study is intended to be developed in two parts and has an anthropological - even if interdisciplinary - imprinting. The first part (narratively theoretical) will be focused on the main concepts of my research (creation of identity and avatars, social body, the city architectural body, relationships, non-lieux, visual communication, in-between, editing - mounting - bricolage, goods visual fetishism, visual anthropology, pattern) through authors the likes of Bateson, Canevacci, Simmel, Benjamin, Augé and more. The second part of this Prague city behave exploration will be evinced through the dialogic methodology (cf. Bakhtin), namely the narrative flow of voices that with the editing technique will create a polyphonic narration, proving my hypothesis.