Attempts to define what comics are and explain how they work have not always been successful because they are premised upon the idea that comics are inherently and almost exclusively visual. Drawing on social definitions for its object, this study challenges that premise and asserts that comics is not just a visual medium. The study outlines the multisensory aspects of comics: the visual, audible, tactile, olfactory and gustatory elements of the medium. It rejects a synaesthetic approach (by which all the senses are engaged through visual stimuli) and instead argues for a truly multisensory model by which the direct stimulation of the reader's physical senses can be understood. A wide range of examples demonstrate how multisensory communication systems work in both commercial and more experimental contexts. The thesis concludes with a case study that looks at the works of Alan Moore and indicates areas of interest that multisensory analysis can draw out, but which are overlooked by ocularcentric approaches.

Thesis (Ph. D.)--Ludwig-Maximilians-Universität zu München, 1978. / Vita. Includes bibliographical references (p. 177-183).

Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on August 9, 2009). Includes bibliographical references (p. 50-58).

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This thesis is composed of five oil paintings and four synthetic paintings. The works are arranged in a sequence beginning with distant over views of the city and progressing toward more immediate views. Techniques change also, from the suggestive impressionistic mode, a style I explored in my early years of art education, to a studied application of large, solid, simplified shapes of color. In my work, realism is sacrificed for a decorative arrangement of color patterns. From this creative experience I have reached conclusions about art education and my responsibility as an art instructor. Motivation is essential when introducing all art projects. Students presented with interesting background material are more likely to present an acceptable work of art. Critical thinking plays an important role in the teaching of art. I conclude that if the students consider all possible alternatives before making a final decision, there will be a higher degree of artistic quality. A general knowledge of the development of art and its great men is a vital part of art instruction. I feel that a student with an awareness of the past and its influence upon today’s art movements is better equipped to deal with artistic problems or demands. Last, my research has aided me in establishing this educational objective: to involve the students in learning experiences which would cause a deeper understanding of both art media and subject matter.

Contemporary aesthetics includes a project directed at understanding the nature of pictorial representation. Three types of theories enjoy recent favor. One explains pictorial representation by way of resemblance or experienced resemblance between the picture and what it represents. A second employs interpretation: the spectator looks at a picture and interprets conventionally determined symbols found therein to mean what it represents. The third describes pictorial representation as a matter of experience. On this approach, when the spectator looks at a picture she has a visual experience of the thing represented. Key components of representation include the representation bearing artifact and the human activity that produces it. An adequate account of pictorial representation must neglect neither. Theories focusing on resemblance fail to account for the human role in representation so that a picture may represent only what it can resemble. Theories making interpretation of conventional symbols the key fail to account for the role visible properties play in grounding representation. Wollheim's experience based theory, however, unifies the visible properties of the artifact and the intentions of the artist in a single experience, called seeing-in, whereby a spectator sees in a picture what an artist intends to represent. Wollheim fails to specify just how visible properties of the artifact ground seeing-in. His account of seeing-in raises other curiosities as well. These issues can be dealt with if we apply phenomenological concepts developed by Merleau-Ponty in his Phenomenology of Perception to our experience of pictures as a method of enriching Wollheim's account of seeing-in. / Master of Arts

This creative project started out as initially proposed. During the many long hours of work, the project changed. Many unexpected events made the project more difficult. The original idea was to organize, select, print, market and copywrite eleven years of auto racing negatives.The selection of a print shop was the first problem. The cost of the book was considerable. The result was an inferior printer. A problem in communication was next. Deadlines were given and agreed upon but never were met during the whole project. The failure to meet the deadlines over a extended period of time left no alternative. An agreement was reached with the print shop manager and I began to do the work with the notable exception of the running of the press. This was the major change in the original project.This change led to a more technical approach. The actual involvement with the book was now centered around learning about layouts, signatures, flats, halftones, line than raw talent to be successful. Things like training, copy, cutting and pasting photographs, dot patterns, and making plates for the press. This proved to be a positive learning experience.In closing, there are three main points. The first point is how much the project changed over the course of time. The result of little money, poor communication and the use of a poor quality printer led to the failure of the final product as a marketable book. Point two is that even though the final product is not as planned, the project will continue even beyond the creative project. A final marketable product is the goal and the creative project is just a step in reaching that goal. Lastly, I have developed a new appreciation for what a true artist is. It takes more education, experiences, environment, dedication, money are just a few of the qualities needed. All of these factors and more have been discovered in the making of this book. It has helped me establish new guidelines for what makes a true artist.

Master of Science / Department of Psychology / Lester C. Loschky / How are episodes of picture stories remembered, and what role does the order of their components (exposition, complication, and resolution) play in that memory? We presented picture sequence episodes of the “Red Balloon” with the order of their components either normal or scrambled. As predicted by story grammar theories, scrambling episode components reduced self-rated comprehension and recall. However, scrambling also produced faster recognition memory responses for hits. This suggests that episode component scrambling interfered with the transformation of perceptual to conceptual information in LTM, producing an advantage for familiarity over recollection. Additionally, recall memory decreased monotonically from exposition to resolution, whereas recognition memory showed the opposite result, and this was the same whether components were normally ordered or scrambled. This suggests that memory for picture story episode components is based on their information content rather than their temporal order, and that information from picture stories moves from perceptual to conceptual memory representations.

<p>The pictorial language of the Swedish children is characterized by the idea that a “good” drawing should be in the right perspective and as photographically realistic as possible. This is a study about the pictorial language of the children in the Gambia and Senegal. Is the pictorial language different with the children living in a culture that has a stronger tradition of spoken word and visual communication than the children living in the western civilisation?</p><p>With the help of different theories concerning children’s creating of art, this study is trying to sort out the differences. It is also explaining about different theories when it comes to development stages in the children’s drawings and how the culture, tradition and conventions influence both the pictorial grammar and the ideal image.</p><p>The study is based on drawings collected in schools in The Gambia and Senegal and the drawings are analysed with the help of theories in Karin Aronssons “Barns världar – barns bilder”.</p><p>The study is also based on observations and interviews with children and teachers in a school in the Gambia.</p>