Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-19T12:30:06Z No. of bitstreams: 2 Dissertação - Nathalia Ximenes Gonçalves - 2017.pdf: 11960098 bytes, checksum: a70e468c7f0aec1f54681daa44779319 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-19T12:30:25Z (GMT) No. of bitstreams: 2 Dissertação - Nathalia Ximenes Gonçalves - 2017.pdf: 11960098 bytes, checksum: a70e468c7f0aec1f54681daa44779319 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-09-19T12:30:25Z (GMT). No. of bitstreams: 2 Dissertação - Nathalia Ximenes Gonçalves - 2017.pdf: 11960098 bytes, checksum: a70e468c7f0aec1f54681daa44779319 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The sensory drive theory predicts that signals, sensory systems, and signaling behavior should coevolve. Variation in the sensory systems of prey and predators may explain the diversity of color signals, such as color polymorphism. The spider Gasteracantha cancriformis (Araneidae) possesses several conspicuous color morphs. The aim of the present study was to assess whether the color polymorphism of G. cancriformis may be maintained by pressure from multiple signal receivers, such as prey and predators with distinct color vision systems. In orb-web spiders, the prey attraction hypothesis states that conspicuous colors are prey lures that increase spider foraging success via flower mimicry. However, in highly defended species, conspicuous colors could also be a warning signal to predators. We used color vision modelling to estimate chromatic and achromatic contrast of G. cancriformis morphs as perceived by potential prey and predator taxa. To assess the role of prey, we conducted a prey capture experiment in the field, in which webs were assigned to four treatments: yellow, red, and black models, or no model. For each treatment, we counted the number of prey trapped on the webs and the calculated webs damaged area. To assess the role of predators on the evolution of conspicuous color patterns and polymorphism, we conducted a second field experiment, allocating yellow, red and black spider models in nylon threads along the vegetation, and observed the number of attack markings for each of them. Our results revealed that individual prey and predator taxa perceive the conspicuousness of morphs differently. Therefore, the multiple prey and multiple predator hypotheses may explain the evolution of color polymorphism in G. cancriformis. The results of prey capture experiment did not corroborate the prey attraction hypothesis nor the prey specific adaptation of color polymorphism. On the predation experiment, we found that black spider models presented more markings, which indicates that yellow and red models were less preferred, possibly suggesting that spider coloration may play a role on predator avoidance. Our results, however, do not corroborate the hypothesis that multiple predators influence polymorphism evolution. Color polymorphism in this species is possibly a multi-functional attribute, where some morphs benefits from aposematism, whereas others may alternative fitness advantages. Non-adaptive explanation should also be considered in future experiments of the evolution and maintenance of color polymorphisms. / A teoria de “sensory drive” prediz que sinais, sistemas sensoriais e comportamentos de sinalização devem coevoluir. Variação no sistema sensorial de presas ou predadores pode explicar a diversidade de colorações existentes e polimorfismos de cores. A aranha de teia orbicular Gasteracantha cancriformis apresenta padrões de coloração conspícuos e polimorfismo de cor. A evolução e manutenção de tal variação cromática pode ser influenciada por presas e predadorescom sistemas visuais diferentes, já que um mesmo morfo é percebido distintamente por potenciais presas e predadores. A coloração conspícua, entretanto, não se assemelha à coloração de flores. Tampouco influencia na captura de presas, visto que modelos dessa aranhas apresentaram números similares de presas nas teias. Portanto, ao contrário de outras aranhas de teia orbicular, para as quais a coloração chamativa é atribuída ao mimetismo floral, para G. cancriformis, esta hipótese não é corroborada. Os morfos amarelo e vermelho apresentam coloração típica de organismos aposemáticos e são conspícuos para a visão de uma ave. O morfo vermelho apesar de não ser conspícuo na visão de vespas, ainda assim poderia estar protegido de predação por camuflagem. Dessa forma, esses morfos poderiam ser mantidos na população devido à pressão de diferentes predadores, morfos vermelhos sinalizariam impalatabilidade para aves, enquanto morfos amarelos, para vespas. Porém, essas diferenças não foram observadas experimentalmente. Em campo, modelos pretos de aranha apresentaram mais marcas de predação do que modelos amarelos e vermelhos, também sugerindo que em G. cancriformis a coloração chamativa pode ser um sinal de advertência para predadores. Porém, a multiplicidade de predadores por si só não explica a variação cromática em populações dessa espécie de aranha. Consequentemente, o polimorfismo de cor em G. cancriformis pode ser uma característica multi-funcional, onde morfos não aposemáticos seriam mantidos nas populações devido a outras funções adaptativas, como camuflagem ou termorregulação.

Com base em um referencial teórico que incluiu a história da arte e do design, a semiótica e estu-dos da cor na cultura, esta tese defende a ideia de cor como linguagem e construção cultural, observando seu uso em diferentes sistemas de significação, no design e, especialmente, no design de embalagens. O trabalho parte da evolução da linguagem visual da embalagem, observada en-tre o final do século XIX e o início do século XXI, expondo as mudanças ocorridas no design como expressão dos diferentes momentos da sociedade e da cultura visual ocidental, e resgatando a importância histórica das cores para a comunicação. Num segundo momento revisam-se funda-mentos da semiótica, transpondo-os para a abordagem da cor como signo e para a investigação da linguagem cromática como um sistema. Para explicitar os princípios estruturais dessa lingua-gem, os significados atribuídos às cores e aos atributos cromáticos são revisados por meio de pesquisa bibliográfica. Através de estudo empírico, esta tese examina a linguagem cromática do design de embalagens contemporâneo, a partir de um corpus de embalagens de alimentos co-mercializados no Brasil. Os resultados mostraram que o sistema de significados da cor no design de embalagens se apoia tanto nos campos associativos gerados pelos atributos de matiz, clarida-de e saturação das cores, quanto nas oposições cromáticas e semânticas que tais características criam. A abordagem do estudo foi além da análise estrutural, envolvendo simultaneamente aspec-tos sintáticos, semânticos e pragmáticos da cor, buscando explicitar sua utilização como instru-mento para a difusão de ideias e valores. Foi observado que as cores assumem funções visuais, icônicas, indiciais e simbólicas na comunicação da embalagem. No nível simbólico, os sentidos mais frequentes assumidos pelas cores corresponderam a diferentes discursos que orientam as práticas alimentares contemporâneas. A pesquisa mostrou que o design dialoga com outros sis-temas de significação e resgata, difunde e reelabora o simbolismo das cores para construir ima-gens de qualidade, pureza, bem-estar, saúde, ecologia e feminilidade, entre outras, refletindo concepções ideológicas e culturais que têm lugar na vida contemporânea. / Based on a theoretical referential which included art and design history, semiotics and cultural studies of color, this thesis supports the idea of color as language and cultural construction, observing its use in different systems of signification, in design and, particularly, in packaging design. The work starts from the evolution of visual language of packaging, observed between late 19th century and early 21st century, showing the changes occurred in design as an expression of the different moments of western society and visual culture, and bringing back the historical importance of colors in communication. Secondly, the work reviews the fundamentals of semiotics, transposing them to the approach of the color as a sign, and to the investigation of color language as a system. In order to explain the structural principles of this language, the meanings of colors and chromatic attributes are reviewed through bibliographical research. Through an empirical study, this thesis examines the chromatic language of contemporary packaging design, from a corpus of food packaging commercialized in Brazil. The results showed that the system of significations of color in packaging design leans both on the associative fields generated by the attributes of color -- hue, brightness and saturation -- and on the chromatic and semantic oppositions that such characteristics create. The study approach went beyond the structural analysis, involving simultaneously syntactic, semantic and pragmatic aspects of color, trying to explain its use as a tool for the diffusion of ideas and values. It was observed that the colors assume visual, iconic, indexical and symbolic functions in the packaging communication. In the symbolic level, the most frequent senses assumed by the colors corresponded to different discourses which guide the contemporary food practices. The research showed that design communicates with other systems of signification and rescues, spreads out and reconstructs the color symbolism to construct images of quality, pureness, welfare, health, ecology and femininity, among others, reflecting ideological and cultural conceptions which have their place in contemporary life.

Den här uppsatsen syftar till att analysera och identifiera skillnader och likheter i webbdesign mellan två länder, Japan och Sverige. De japanska och svenska webbplatserna för två företag etablerade i både Japan och Sverige, IKEA och DAIKIN, har analyserats utifrån en modell framtagen av Würtz (2006) i en tidigare studie på området. Denna modell är i sin tur baserad på Halls och Hofstedes teorier om kulturella skillnader och skillnader mellan så kallade låg-kontextuella kulturer (t.ex. Sverige) och hög-kontextuella kulturer (t.ex. Japan). Modellen fokuserar på användandet av animation, främjande av kulturella värderingar som maskulinitet/feminitet och individualism/kollektivism, om individer avbildas tillsammans med produkter eller inte, grad av transparens på webbplatserna och slutligen linjär kontra parallell navigation på webbplatserna. Förutom studien av webbplatserna har två intervjuer hållits med en designer/utvecklare från respektive företag för att få ökad förståelse för hur företagen tänker kring webbdesign.   Studien har inte funnit några väsentliga skillnader i användandet av animation, graden av transparens eller navigation mellan de studerade webbplatserna men skillnader i kulturella värderingar har identifierats. De japanska webbplatserna främjar familjeorienterade värderingar och stereotypiska könsroller i valet av bilder på webbplatserna. De svenska webbplatserna främjar värden som är mer typiska för låg-kontextuella kulturer som till exempel livsstil och frihet. Det har också noterats att det japanska företaget använde sig av en maskot vilket kan tolkas som typisk för japansk kultur. I intervjuerna gav utvecklarna från båda företag liknande svar kring hur de tänker om användande av bilder och animation kontra text på sidorna. Den japanska utvecklaren förklarade att japanska kunder uppskattar kundrecensioner för att minska graden av osäkerhet vilket kan sägas vara typiskt för Japan. Den sammanfattande slutsatsen från studien är att kulturella skillnader i webdesign minskar, kanske på grund av globaliseringen av företag och samhällen. / This thesis aims to analyze and capture differences and similarities in webbdesign between two countries, Japan and Sweden. The Swedish and Japanese websites of two companies established in both Japan and Sweden, IKEA and DAIKIN, have been analyzed based on a model devised by Würtz (2006) in a previous study of the same topic. This model is in turn based on Hall and Hofstede’s theories on cultural differences and differences between so-called low-context cultures (e.g. Sweden) and high-context cultures (e.g. Japan). The model focuses on the use of animation, promotion of cultural values such as masculinity/femininity and individualism/collectivism, individuals being depicted together with products or not, level of transparency in the web design and finally linear vs. parallel navigation on the websites. Besides the study of the websites two interviews were held with a designer/developer from each company to get further input into how the companies think about their web design. The study did not find any significant differences in the use of animation, transparency and navigation between the websites studied but differences in cultural values could be seen in terms of the Japanese sites promoting more family-oriented values and stereotypical gender roles through the pictures used on the websites. The Swedish sites promoted values more typical for low-context cultures such as lifestyle and freedom. It was also noted that the Japanese company featured a mascot which can be said is typical for Japanese culture. Regarding the interviews the developers had similar thoughts on the use of text versus pictures and animations. The Japanese developer explained that Japanese customers appreciate customer reviews in order to lower uncertainty which can be said is typical for Japan. The overall conclusion from this study however is that cultural differences in web design are becoming less, perhaps due to the globalization of business and society.

Sammanfattning Syftet med detta examensarbete har varit att, genom att kombinera kunskaperna inom interaktionsdesign med kunskaperna inom visuell kommunikation, ta fram en designlösning åt Norrköpings Visualiseringscenter C som presenterar innehållet i deras utställning “Att visa det man inte kan se“ på deras hemsida. För att nå detta syfte har utvalda teorier och metoder använts och i uppsatsen beskrivs designprocessen steg för steg - hela vägen från uppdragsbeskrivning, genom teorier och metoder till den färdiga designlösningen. Teorierna i denna uppsats handlar om interaktionsdesign, gränssnittsdesign, användbarhet, visuell kommunikation och teknik. Metoderna för att få reda på användarnas åsikter behandlar användartester, Card sorting, LoFi- och HiFi-prototyper. Resultatet av rapporten beskriver hur Adobe Flash kan användas för att skapa en interaktiv design för en webbsideapplikation med kontroll över interaktion, visuell kommunikation och användbarhet. Resultatet visar också hur användarnas återkoppling under användartesten påverkade slutresultatet. Resultatet visar även att en designprocess är olik från gång till gång men att det finns vissa riktlinjer som kan hjälpa en designer genom processen på ett kontrollerat sätt. / Abstract The goal of this thesis is to combine knowledge from interaction design with knowledge from visual communication in order to create a design solution for Norrköping Visualization Center C and their exhibition “To show what can’t be seen“ for their website. To reach this goal, theories and methods have been used and in this thesis the design process is described - step by step - all the way from the clients brief to the final design solution. The theories in this thesis are concerned with interaction design, interface design, usability, visual communication and technology. The methods employed are usability tests, card sorting, and LoFi- and HiFi-prototypes. This thesis report describes how Adobe Flash can be used to create an interactive design for a website application that establishes control over the interaction, visual communication and usability. It also shows how the users feedback on the user tests affected the end result. This thesis also shows that a design process can vary from time to time but there are some guidelines that can help a designer through the process in a controlled way.

(in English): In this thesis I present the Zapatista movement and its media strategy. Further I describe its visual communication by means of a case study. After evaluating the significance of media strategies of the zapatista movement, I will prove that Zapatistas' media communication played a crucial role in the transformation of Mexican society in the late 90s and directly influenced the process of transition to democracy in Mexico. In the introduction I will explain how news photographs can be a source of exploration of the Zapatistas and I will introduce the basic hypotheses of my research. In the historical part of my introduction I will put the movement in the context with the political, social and historical development of Mexico and the state of Chiapas, where the uprising broke out in 1994 and I will explain the causes of the rebellion and introduce its goals. Before I describe the aspects of Zapatistas' communication, I will focus on the Mexican media environment so that I can link it with the media outlets of the Zapatista movement. I will describe in general terms media strategies and myths created by the movement. In the case study I will examine photographs of EZLN published in the magazine Proceso in the years 1994 and 2001, I will compare the Zapatistas' visual communication with...

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The subject of this diploma thesis is Corporate Design (company style), integrated visual style, one of the basic elements of Corporate Identity and its application on the real company. The goal of the theoretical part is to explain the meaning and importance of Corporate Design, one of the main means of visual communication. Within this context, thesis is elucidating connections and relationships between different concepts of integrated visual style. Thesis is describing basic constants and evolved parts of Corporate Design and clarifying principles of its creation and reasons leading to change. The practical part is concentrating on the creation of new company style for real company. The goal here is to offer integrated visual style for company ASV Nachod, Ltd. and to create graphical manual, which contains definitions of different company style's applications. The main benefit of the thesis is comprehensive view on integrated visual style, explanation of Corporate Design importance with his constituents and contexts of Corporate Identity. Other benefit lies in the proposal of new integrated visual style for company ASV Nachod, Ltd. and creation of graphical manual. Principles and processes stated are very important not only for small and middle range businesses interested in integrated visual presentation.

Graphic figures and various types of infographics have become an essential part of the scientific papers, business presentations and study materials. Although, authors of these documents often lack the knowledge of basic rules and principles of graphic design and learn how to create figures by trial and error. Literature addressing the issues of effective verbal (presentation skills) and non-verbal (principles of scientific writing) is available and accessible. Though literature addressing the issues of scientific figure design and general visual design are very few, sometimes non existent, despite the fact that images, figures and various charts are one of the most effective mediums for information sharing. This lack of material knowledge is detrimental to the quality of works of managers, professors and researchers. This thesis attempts to fill in this gap and motivate readers to further development and research of the issue. The thesis addresses the issue of figures from its core, those being the basic principles of image perception and interpretation. Building on concepts of theorists like Peirce, Saussure and Eco the thesis will then define the meaning and purpose of "Image Interpretation Value". Selected principles of figure construction and interpretation will be introduced. These principles will then be further analyzed and applied on the level of business and scientific figures. Each chapter will include various graphic figures and practical examples to enhance further understanding of the issue. The primary purpose and goal of this thesis is to create an easy-to-follow set of instructions and suggestions on how to design effective and intelligible figures to be used in the fields of business communication, scientific research and academic teaching.

Mémoire en recherche-création, associé à un programme de maîtrise individualisé dirigé en cotutelle. Département de physique et département de communication. / Les milieux de production et de diffusion des savoirs sont marqués par une omniprésence des modalités visuelles de représentation, et la physique n’y fait pas exception. Ce mémoire de recherche-création en physique et communication explore la place et le fonctionnement de l’image, et de la relation texte-image, dans des dispositifs de médiation des connaissances appartenant à cette discipline scientifique. Après un retour historique sur la notion de temps en physique, je poursuis en dirigeant l’attention vers les images du temps objectif tout particulièrement. Le temps objectif, par la pluralité de ses compréhensions et représentations en physique, mais aussi par sa relation particulière aux images que l’on assume atemporelles, s’arrime bien aux motifs de ce travail. Huit manuels de physique standards sont analysés pour comprendre et catégoriser les types et les fonctions des images. Pour ce faire, j’effectue d’abord une analyse sémiotique des images. Avec les résultats, je développe une classification de six catégories d’images, ce qui me permet d’ordonner et de mettre en valeur leur richesse sémiotique. J’analyse ensuite les textes (titres et passages textuels référant aux images) par deux méthodes : 1) une analyse quantifié avec l’écriture d’un programme Python qui automatise la recherche de mots clés et 2) une lecture proche de ces textes pour en soutirer la façon dont les auteurs qualifient leurs images. J’incorpore une dimension créative supplémentaire à ma démarche en réalisant deux visualisations des concepts et thèmes émergents de l’analyse. Je propose ainsi une interprétation des résultats par une carte des images du temps objectif et une image qui aborde l’ambiguïté du discours des auteurs, la subordination du langage textuel ainsi que la négociation du statut de l’image entre modalité de représentation dévaluée et dispositif de présentation objectif. Tout au long de ce travail, j’intègre les questionnements de ma recherche dans ma propre démarche, en produisant de nombreuses figures pour analyser et interpréter les concepts, ce qui me permet d’expérimenter moi-même avec le visuel en tant que modalité de production de savoirs. À travers la poursuite d’une meilleure compréhension du fonctionnement épistémologique des images en physique, je propose des pistes méthodologiques pour travailler au croisement d’une science naturelle, de la communication et la culture visuelle. / Knowledge production and dissemination environments are marked by the omnipresence of visual modes of representation, and physics is no exception. This research-creation project in physics and communication explores the place and functioning of the image, and of the text-image relationship, in knowledge mediation devices belonging to this scientific discipline. After a historical overview on the concept of time in physics, I continue by directing attention to the images of objective time in particular. Objective time, by the plurality of its understandings and representations in physics, but also by its particular relationship to images that we assume to be timeless, fits well with the reasons for this work. Eight standard physics textbooks are analyzed to understand and categorize the types and functions of images. To do this, I first perform a semiotic analysis of the images. With the results, I develop a classification of six categories of images, which allows me to order and highlight their semiotic richness. I then analyze the texts (titles and text segments referring to the images) by two methods: 1) a quantified analysis with the writing of a Python program which automates the research of keywords and 2) a close reading of these texts to extract the way in which the authors qualify their images. I incorporate an additional creative dimension to my approach by making two visualizations of the concepts and emerging themes of the analysis. I thus propose an interpretation of the results by a map of objective time images and an image that addresses the ambiguity of the authors’ discourse, the subordination of textual language as well as the negotiation of the status of the image between devalued representation mode and device objective presentation. Throughout this work, I integrate the questions of my research into my own approach, producing numerous figures to analyze and interpret the concepts, which allows me to experiment with the visual as a modality of knowledge production. Through the pursuit of a better understanding of the epistemological functioning of images in physics, I propose methodological tracks to work at the intersection of natural science, communication and visual culture.

Orientador: Leonor Patricia Cerdeira Morellato / Resumo: A visão é o principal sentido utilizado pelos polinizadores para forragear, no qual a cor das flores é a primeira característica de atração. A percepção dos sinais de cores depende da coloração do segundo plano das flores, composto principalmente pelas folhas. Diferenças na composição das espécies e na estrutura da vegetação, e também na sazonalidade climática, podem interferir na cor do segundo plano de folhas em diferentes vegetações e estações, interferindo como os polinizadores percebem a flor. Portanto, a diversidade de cores das flores e os padrões de floração de uma comunidade podem estar relacionados com a composição de polinizadores e condições ambientais. Desta maneira, utilizando comunidades vegetais e considerando o sistema visual das abelhas, nós descrevemos e comparamos a diversidade de cores das flores e seus sinais, dando importância para a cor do segundo plano de folhas em duas vegetações sazonais tropicais e uma vegetação sazonal temperada. Em seguida, para vincular os sinais florais com a sazonalidade, nós analisamos a importância das síndromes de polinização levantadas, o padrão de floração, a influência da cor do segundo plano de folhas no padrão de cor das flores entre as estações. Nós encontramos diferenças na diversidade de cores das flores e confirmamos a influência da coloração do segundo plano de folhas, juntamente com a estrutura da vegetação e a intensidade da sazonalidade nos sinais florais exibidos em diferentes vegetações sazonais, de acordo co... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Vision is the main sense used to forage by pollinators being the flower colour the primary feature of attraction. Colour signals perception depend on the flower background colouration, mainly composed by leaves. Differences in species composition and vegetation structure, and also the seasonality, may change the leaf-background colouration of different vegetations and seasons, interfering how the pollinators perceive a flower. Therefore, flower colour diversity and flowering patterns of a community may be related to the pollinators’ composition and environmental conditions. Using a community level-approach and according to bee visual system, we described and compared the flower colour diversity and the signals of a temperate and two tropical seasonal vegetations, considering their leaf background colouration. Then, to link flower signals to seasonality and using the cerrado sensu stricto as a model of seasonal vegetation, we analysed the importance of the surveyed pollination syndromes, the community flowering pattern, flowering patterns according to the colour of flowers and the influence of seasonal changes in the background colouration in the flower colour signals between seasons. We found differences in flower colour diversity and confirmed the influence of the leaf- background colouration, along with the vegetation structure and seasonality intensity, in flower colour signals displayed in different seasonal vegetations according to the colour vision of bees. Higher value... (Complete abstract click electronic access below) / Mestre