For the past three centuries, historians have speculated and argued over the dating, patronage and provenance of the Bayeux Tapestry. Researchers have pondered the Latin inscriptions; reflected on the techniques of production and the use of narrative devices; mined the Tapestry for information on a number of subjects, including architectural styles, costumes, modes of navigation, nascent heraldry, and weaponry; and focused on areas of special interest, especially on scenes such as the so-called "Aelfgyva episode." Additionally, the Tapestry has been described as an epic and/or a panegyric; it has even been compared to a chanson de geste, a Shakespearian play, a film, and a cartoon; it has been "deconstructed," and finally turned into a "hypertext" accessible via the internet. Yet, in spite of many promises, the borders of the Bayeux Tapestry remain largely unexplored to date. This apparent neglect may be due to the difficulty one encounters when attempting to retrieve the symbolism and the meanings of the pictographs, which, even at the time of production, may have been multiple and may have depended on the cultural level, social awareness and political leanings of the beholders. The purpose of this dissertation is to acquaint the reader with a novel approach to the reading of the Bayeux Tapestry, based on the premise that the border pictographs are charged with symbolic meaning; that their meaning(s) inflect(s), reflect(s) and even alter(s) the images in the center field; and that this synergic interplay helps in the discovery, and stimulates the generation of a new understanding and integrated interpretation of the Bayeux Tapestry. For my research to be comprehensive and in order to uncover and decode some of the latent symbolic meanings, it was fundamental to take into account the social, cultural and political history of eleventh-century Northwestern Europe, and to acquire an appreciable knowledge of the lives of the important individuals illustrated in the Bayeux Tapestry. It was also necessary to be aware that, since the shaping of minds and the rewriting of history was already practiced in the eleventh century, the possibility existed that the Bayeux Tapestry was more than objective history recorded on cloth, but was someone's -- perhaps the patron's -- interpretation of historical events. Thus, this dissertation takes the reader on a journey inside and outside the frame to achieve an integrated reading of the Bayeux Tapestry and its borders.

For the past three centuries, historians have speculated and argued over the dating, patronage and provenance of the Bayeux Tapestry. Researchers have pondered the Latin inscriptions; reflected on the techniques of production and the use of narrative devices; mined the Tapestry for information on a number of subjects, including architectural styles, costumes, modes of navigation, nascent heraldry, and weaponry; and focused on areas of special interest, especially on scenes such as the so-called "Aelfgyva episode." Additionally, the Tapestry has been described as an epic and/or a panegyric; it has even been compared to a chanson de geste, a Shakespearian play, a film, and a cartoon; it has been "deconstructed," and finally turned into a "hypertext" accessible via the internet. Yet, in spite of many promises, the borders of the Bayeux Tapestry remain largely unexplored to date. This apparent neglect may be due to the difficulty one encounters when attempting to retrieve the symbolism and the meanings of the pictographs, which, even at the time of production, may have been multiple and may have depended on the cultural level, social awareness and political leanings of the beholders. The purpose of this dissertation is to acquaint the reader with a novel approach to the reading of the Bayeux Tapestry, based on the premise that the border pictographs are charged with symbolic meaning; that their meaning(s) inflect(s), reflect(s) and even alter(s) the images in the center field; and that this synergic interplay helps in the discovery, and stimulates the generation of a new understanding and integrated interpretation of the Bayeux Tapestry. For my research to be comprehensive and in order to uncover and decode some of the latent symbolic meanings, it was fundamental to take into account the social, cultural and political history of eleventh-century Northwestern Europe, and to acquire an appreciable knowledge of the lives of the important individuals illustrated in the Bayeux Tapestry. It was also necessary to be aware that, since the shaping of minds and the rewriting of history was already practiced in the eleventh century, the possibility existed that the Bayeux Tapestry was more than objective history recorded on cloth, but was someone's -- perhaps the patron's -- interpretation of historical events. Thus, this dissertation takes the reader on a journey inside and outside the frame to achieve an integrated reading of the Bayeux Tapestry and its borders.

The rock art that is found in the region of Reindeer Lake, Saskatchewan is part of a larger category of rock art known as the Shield Rock Art Tradition. At present, there are more than 400 known and recorded rock art sites throughout the Canadian Shield region. These sites are found over an extensive geographical area and can be found from south-western Quebec across the Shield westward, up to north-western Saskatchewan. The majority of these rock art sites are comprised of imagery that has been painted on rock surfaces. The rock art sites at Reindeer Lake, or panels as they are called, depict a variety of symbols and characters that portray humans, animals, anthropomorphs, ceremonies and motifs of a spiritual nature. A variety of explanations have been proposed as to the function and meaning of rock art in general. Among the more accepted explanations are that rock art paintings were created by shamans; that they depict dreams or visions of an individual seeking medicine or participating in a vision quest/puberty rites; that they are a form of hunting magic whereby the author in capturing the animal in a painting assures capture of the animal in life; or that they serve as markers for travellers. Regardless of function and meaning, all of the rock art sites on Reindeer Lake are of immense heritage value and should be regarded as sacred locations. Very little is known about the rock art in the Reindeer Lake regions. Before any significant analyses of their meaning can be conducted, they must first be relocated and properly documented. At present there are only a very small number of publications that document or mention the Reindeer Lake rock art. This thesis surveys the rock art of Reindeer Lake, Saskatchewan. It discusses the general nature of pictographs from the Shield Rock Art Tradition and how the panels at Reindeer Lake fit into the overall scheme, and applies a systematic method to the recording and analysis of pictographs using a contextual approach. Although the primary focus is on recording the painted imagery, the specific context of each panel as well as the surrounding landscape is also considered. Recording these ancient rock art sites using a proper systematic method has ensured that this significant element of Aboriginal culture will endure not only for future research, but also for the benefit of future generations of the local Cree people.

This study is a comparative examination of the age, authorship and interpretation of aboriginal rock painting sites situated on the shores of the Churchill River of northern Saskatchewan and Manitoba. The twenty presently known sites were recorded in the years 1965, 1966, 1967 and 1969 by the author.<p>The study combines written descriptions of the sites and their settings with reproductions of the symbols found at each site. Techniques for recording and reproducing rock paintings, developed during the course of the field studies, are described.<p> Geographical and stylistic relationships of the paintings to other rock painting occurrences in the Canadian Shield are examined. Data derived both directly and indirectly from native Indian residents of the area is incorporated, along with historical observations on the occurrence and interpretation of the paintings.<p> Several sets of the Churchill River paintings are at least 150 to 200 years old, while others may be considerably more recent. Specific dates of origin cannot presently be assigned to most of the sites; the potential applicability of various dating techniques is discussed.<p> Evidence given supports an Algonkian (undoubtedly Cree) inspiration and authorship for these rock paintings, with religious observance being the basic motivation for their creation.

This study is a comparative examination of the age, authorship and interpretation of aboriginal rock painting sites situated on the shores of the Churchill River of northern Saskatchewan and Manitoba. The twenty presently known sites were recorded in the years 1965, 1966, 1967 and 1969 by the author.<p>The study combines written descriptions of the sites and their settings with reproductions of the symbols found at each site. Techniques for recording and reproducing rock paintings, developed during the course of the field studies, are described.<p> Geographical and stylistic relationships of the paintings to other rock painting occurrences in the Canadian Shield are examined. Data derived both directly and indirectly from native Indian residents of the area is incorporated, along with historical observations on the occurrence and interpretation of the paintings.<p> Several sets of the Churchill River paintings are at least 150 to 200 years old, while others may be considerably more recent. Specific dates of origin cannot presently be assigned to most of the sites; the potential applicability of various dating techniques is discussed.<p> Evidence given supports an Algonkian (undoubtedly Cree) inspiration and authorship for these rock paintings, with religious observance being the basic motivation for their creation.

The rock art that is found in the region of Reindeer Lake, Saskatchewan is part of a larger category of rock art known as the Shield Rock Art Tradition. At present, there are more than 400 known and recorded rock art sites throughout the Canadian Shield region. These sites are found over an extensive geographical area and can be found from south-western Quebec across the Shield westward, up to north-western Saskatchewan. The majority of these rock art sites are comprised of imagery that has been painted on rock surfaces. The rock art sites at Reindeer Lake, or panels as they are called, depict a variety of symbols and characters that portray humans, animals, anthropomorphs, ceremonies and motifs of a spiritual nature. A variety of explanations have been proposed as to the function and meaning of rock art in general. Among the more accepted explanations are that rock art paintings were created by shamans; that they depict dreams or visions of an individual seeking medicine or participating in a vision quest/puberty rites; that they are a form of hunting magic whereby the author in capturing the animal in a painting assures capture of the animal in life; or that they serve as markers for travellers. Regardless of function and meaning, all of the rock art sites on Reindeer Lake are of immense heritage value and should be regarded as sacred locations. Very little is known about the rock art in the Reindeer Lake regions. Before any significant analyses of their meaning can be conducted, they must first be relocated and properly documented. At present there are only a very small number of publications that document or mention the Reindeer Lake rock art. This thesis surveys the rock art of Reindeer Lake, Saskatchewan. It discusses the general nature of pictographs from the Shield Rock Art Tradition and how the panels at Reindeer Lake fit into the overall scheme, and applies a systematic method to the recording and analysis of pictographs using a contextual approach. Although the primary focus is on recording the painted imagery, the specific context of each panel as well as the surrounding landscape is also considered. Recording these ancient rock art sites using a proper systematic method has ensured that this significant element of Aboriginal culture will endure not only for future research, but also for the benefit of future generations of the local Cree people.

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This dissertation follows an interdisciplinary approach that weaves practice and theory in the disciplines of visual communication, semiotics, cultural studies, linguistics, and new media art. The research methodology is practice-based located within a historical and contemporary context that allows for artistic experimentation and new knowledge to be generated through reflected creative practice This research proposes a context within which society can develop a transcultural means of communication with the objective of gaining completely unambiguous forms of understanding. This research explores the possibility of an open source scaffold for pictorial language that fosters self-enhancing diversity of production models, communication paths, and interactive communities. The dissertation explores research strategies and visual practice in relationship to a proposed global use of a common system of visual semantic decoding that would allow for visual synthesis by individuals from diverse cultural backgrounds. It is proposed that a shared collective knowledge of signs, symbols, and pictographs, supported by the advancement of future communication and information systems, can lead to a visual communication system that will be universally accepted. There is a historic, on-going and collective consensus on the need for a universal language in the near-future posthuman condition. In answer to this need, this dissertation contextualises and goes on to explore a realised case study of a practice-based solution for a universal pictorial communication system. The system may at times seem ambitious and abstract, however, it aims to include all cultures of the world, seeking to establish a direction that identifies and locates cultural similarities over cultural difference. This practice-based enquiry proposes a direction that should maintain coherence, logic, and veracity in order to develop a pictographic communication system that is a valid representation of the human experience in a posthuman condition.

This diploma thesis deals with alternative and augmentative communication systems using at the individuals with pervasive development disorders. Thesis is divided the theoretical and the experimental part. Theoretical part contains mainly informations about communication disability, speech development, diagnosis of communication abilities, alternative and augmentative communication systems and possibilities of aid to the families with child with pervasive development disorder. Experimental part presents research using questionnaire, which was send to the parents or legal representatives with child with pervasive development disorder. The research prepares base for next extensive researchs.