Submitted by MARKO ALEXANDRE LISBOA DOS SANTOS null (kakosantos@gmail.com) on 2016-07-05T20:27:29Z No. of bitstreams: 1 DEFESA FINAL DOUTORADO MARKO SANTOS.pdf: 19111346 bytes, checksum: 250e099c9d6d5d7d4e01da93d2eb3d87 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-06T17:33:16Z (GMT) No. of bitstreams: 1 santos_mal_dr_bauru.pdf: 19111346 bytes, checksum: 250e099c9d6d5d7d4e01da93d2eb3d87 (MD5) / Made available in DSpace on 2016-07-06T17:33:16Z (GMT). No. of bitstreams: 1 santos_mal_dr_bauru.pdf: 19111346 bytes, checksum: 250e099c9d6d5d7d4e01da93d2eb3d87 (MD5) Previous issue date: 2016-05-24 / Esta pesquisa investiga as relações entre o design e a arte tomando o processo de criação de cartazes como eixo de observação dessas relações. O período estudado compreende o Projeto Construtivo Brasileiro, mais especificamente a produção artística de Almir Mavignier e sua posterior atuação como designer gráfico. A pesquisa observa a produção em arte de Mavignier para que a partir dela, se analisem os caminhos por ele traçados de modo que se entendam os fatores que o levaram a alcançar a mensagem e a forma gráfica atual com que o mesmo trabalha. As relações estabelecidas com a atualidade se valem da produção de cartazes na sua fase pós-concretista até o presente, que o artista realiza na Alemanha, aonde reside e estabelece um ateliê/estúdio. Além disso, é realizado um comparativo entre os cartazes aditivos de Almir Mavignier e uma produção contemporânea dos cartazes finalistas do concurso do Museu da Casa Brasileira a fim de averiguar indícios de similitudes entre ambas produções. Como resultados, apresentamos uma série de análises gráficas realizadas sobre dez objetos gráficos, que possibilitarão responder às questões formuladas como tese. / This research investigates the relation between design and art taking the process of creating posters as axis of observation of these connexions. The study period comprises the Brazilian Constructive Project, specifically the artistic production of Almir Mavignier and his subsequent performance as a graphic designer. The survey notes the Mavignier art production and from that analyzes the paths that he traced so the factors that led him to reach the message and the current graphic form with which he works could be understood. The relations established with the present make use of the production of posters in his post-concretist phase until the present day in which the artist performs in Germany, where he resides and establishes an atelier / studio. Besides that, it conducted to a comparison between the additives posters of Almir Mavignier and contemporary production finalist posters of the Museu da Casa Brasileira contest to determine similarities of evidence between the two productions. As a result, we present a series of graphical analyzes over ten graphic objects that will allow answer the questions formulated as a thesis.

The present article is an approximation to the first stage of the development of the Peruvian posters of the late fifties and sixties. The text is questioned on the two dimensions with which these first posters are born: communication and art, and also on the attempt to match precisely its esthetic dimension with its informative and commercial function. The text also identifies many of the first exponents, renowned graphic artists, who found in the design of posters, covers and commercial logos a space not only to develop their artistic practice but also a source of habitual income. Precisely, the article question those two dimensions —which do not seem to be faced in the beginning— and which agree favorably in the development of advertising graphics and also of Peruvian art. Finally, the article asks about the function of the poster and poses the hypotheses about what makes a poster transcend its informative function and make it remain in time as an object of collectible art, as happened with some of these first Peruvian posters. / El presente artículo es una aproximación a la primera etapa del desarrollo del afichismo peruano de fines de los cincuenta y de los años sesenta del siglo pasado. Se cuestiona sobre aquellas dos dimensiones con las que estos afiches nacen: la comunicación y el arte, y también sobre el intento por hacer coincidir justamente su dimensión estética con su función informativa y comercial. Asimismo, el texto identifica a muchos de los primeros exponentes, reputados artistas gráficos, que encontraron en el diseño de afiches, portadas y logos comerciales un espacio no solo para desarrollar su práctica artística sino también una fuente de ingreso habitual. Precisamente, el artículo se cuestiona sobre aquellas dos dimensiones —que no parecen enfrentadas en un principio— y que coinciden favorablemente en el desarrollo de la gráfica publicitaria y también del arte peruano. Por último, se pregunta sobre la misma función del afiche y plantea hipótesis sobre qué es lo que hace que trascienda su función informativa y permanezca en el tiempo como un objeto de arte coleccionable, como sucedió con algunos de estos primeros afiches.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-29T13:43:29Z No. of bitstreams: 2 Dissertação - Hertha Tatiely Silva - 2015.pdf: 3439366 bytes, checksum: a1f81bf9daf3173bba4b09ed6aab38c5 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-29T13:45:14Z (GMT) No. of bitstreams: 2 Dissertação - Hertha Tatiely Silva - 2015.pdf: 3439366 bytes, checksum: a1f81bf9daf3173bba4b09ed6aab38c5 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-29T13:45:14Z (GMT). No. of bitstreams: 2 Dissertação - Hertha Tatiely Silva - 2015.pdf: 3439366 bytes, checksum: a1f81bf9daf3173bba4b09ed6aab38c5 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-09-23 / This paper proposes to discuss the effects of sense produced by urban posters lambe-lambe on the assumption that differentiations (deviations) in the form of communicating and appropriate of the space that they are subscribed, in other words, are deviations in the dominant discourse. The investigation about our study subject, the lambe-lambe posters, search to problematize it within the logic of transformations on the urban space starting from the XIX century, where the individual saw itself insert in a daily routine full of new situations with intense production of senses. If the contemporary city enters the individual in continuous motion logic, it is necessary to develop new ways to communicate with individuals under the conditions imposed by the urban way. In this sense the traffic is now being potential space for communication, and new strategies and tools are now developed. / Este trabalho propõe discutir os efeitos de sentido produzidos pelos cartazes urbanos lambe-lambe a partir da hipótese de que são diferenciações (desvios) na forma de se comunicar e se apropriar do espaço em que estão inscritos, ou seja, são desvios no discurso dominante. A investigação sobre o nosso objeto de estudo, o cartaz lambe-lambe, busca problematizá-lo dentro da lógica das transformações do espaço urbano a partir do século XIX, onde o indivíduo se viu inserido em um cotidiano repleto de novas situações com intensa produção de sentidos. Se a cidade contemporânea insere o indivíduo em uma lógica de contínuo movimento, se faz necessário que se desenvolva novas maneiras de se comunicar dentro das condições instituídas pelo urbano. Nesse sentido, os locais de trânsito passam a ser espaços potenciais para a comunicação, e novas estratégias e ferramentas passam a ser elaboradas.

Na história dos meios visuais de comunicação de massa, o cartaz desempenha um papel importante no contexto das sociedades urbanas, mantendo um status privilegiado e duradouro na história da publicidade, das artes gráficas e do design. Desde seu surgimento, no séc. XIX , o cartaz dialoga com os espaços urbanos ao expressar em suas linguagens as narrativas dos contextos nos quais se insere. O presente estudo tem como objetivo entender a dinâmica da função comunicativa do cartaz voltada para as questões sociais, mais especificamente na área de saúde pública, bem como as peculiaridades de seu público alvo, o adolescente, no que se refere aos diferentes níveis de alfabetismo verbal e visual, assim como suas singularidades culturais. No percurso do desenvolvimento do projeto contextualizamos as políticas de comunicação em saúde, a questão da Aids e o perfil do adolescente. Por meio da leitura diacrônica dos principais períodos da evolução do cartaz e da análise de sua tipologia e funções, identificamos sua inserção como mídia dirigida para a educação em saúde. O estudo dos conceitos de imagem, visualização, percepção e significação envolvidos no processo de comunicação nos permitiu analisar os aspectos pertinentes à linguagem visual, seus códigos e sua adequação aos objetivos propostos, segundo a abordagem teórica da semiótica da cultura. / In the mass visual communication history, posters play a significant role within the context of urban societies, where they have achieved lasting, privileged status in advertising, graphic arts and design. Since their inception in the 19th century, posters have established a dialogue with urban spaces as they express narratives that comprise the contexts within which they exist. The objective of this study is to understand the dynamics behind the communication value of posters geared to social issues, more specifically to public health, as well as the particularities of their target audience adolescents as regards different levels of verbal and visual literacy and their cultural singularities. During the development of our project, we sought to contextualize media policies in health services, the AIDS issue and adolescents profile. Through a diachronic reading of the main periods of evolution of posters and through analysis of their typology and functions, we identified their insertion as a medium for health education. Our studies based on the concepts of image, visualization, perception and meaning that comprise the media communication process enabled us to analyze aspects pertaining to visual language, its codes and its adequacy to proposed objectives according to a theoretical approach to the semiotics of culture.

Made available in DSpace on 2016-03-15T19:41:55Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-12-13 / This work proposes a historical recovery of production and operating procedures of Atelier Mirga, led by Polish artist Henrique Mirgalowski and responsible for creating the posters distributed by the Companhia de Annuncios em Bonds in São Paulo. Contextualizes the advertising posters on trams in a city of intense transformation like São Paulo in the first half of the twentieth century. Investigates how the advertising posters on trams, with their surroundings and characteristics, entered into a modernity that cannot be understood outside the urban context. It traces the formative years of Henrique Mirgalowski before arriving in Brazil and becoming a pioneer of modern Brazilian poster. Puts the art in dialogue with the advertising graphics of the period, analyzing the hierarchical distinction between major and "minor arts. Dedicates to the training of the Brazilian advertisers and designers before the 1950‟s, highlighting educational and pioneering role of Henrique Mirgalowski and his studio. Investigates how foreign models influenced the production of Atelier Mirga. Demonstrates how the educational process and the influences at the Atelier Mirga are examples of a rich and varied tradition of Brazilian culture projective in advertising and design, detached from any ideology and visual homogenization / O presente trabalho propõe o resgate histórico da produção e dos procedimentos operacionais do Atelier Mirga, liderado pelo artista polonês Henrique Mirgalowski e responsável pela criação dos cartazes veiculados pela Companhia de Annuncios em Bonds paulistana. Contextualiza o cartaz de bonde em uma cidade em intensa transformação como São Paulo na primeira metade do século XX. Investiga como o cartaz de bonde, com sua ambiência e especificidades, inseriu-se em uma modernidade que não pode ser entendida fora do contexto urbano. Resgata os anos de formação de Henrique Mirgalowski antes de desembarcar no Brasil e tornar-se um dos pioneiros do moderno cartaz brasileiro. Coloca as artes plásticas em diálogo com o desenho publicitário do período, analisando a distinção hierárquica entre artes maiores e menores . Dedica-se à formação do profissional de publicidade e do design brasileiro anterior à década de 1950, destacando o papel educacional e o pioneirismo de Henrique Mirgalowski e seu ateliê. Investiga como os modelos estrangeiros influenciaram a produção do Atelier Mirga. Demonstra como a formação dos profissionais e as influências presentes no Atelier Mirga constituem exemplos de uma rica e variada tradição da cultura projetiva brasileira em publicidade e design, desapegada de ideologias e de qualquer homogeneização visual

A proposta deste estudo é a análise da propaganda política realizada no Irã, por ocasião da Revolução Islâmica no período de 1978 1988, através dos cartazes produzidos. Partindo do chamado \"paradigma de Karbala\", foram considerados no trabalho os diversos conteúdos que integram o universo revolucionário, a partir da perspectiva social, estética, religiosa e política. A interdição ao uso e culto das imagens, trazida na esteira do processo de islamização acelerada da sociedade iraniana, é um dos paradoxos considerados ao longo da tese. O referencial teórico levou em conta as especificidades únicas da cultura e da filosofia iraniana, na tentativa de melhor compreender as ações que envolvem a comunicação no universo xiita. / The aim of this study is the analysis of the political propaganda yielded in Iran through the posters that were produced between 1978 and 1988, during the Islamic Revolution. From the so-called Karbala paradigm, the study considers the various contents that integrate the revolutionary universe, taking into account the social, aesthetic, religious and political perspective. The interdiction to image use and cult, carried through the accelerated islamization process of the Iranian society is one of the paradoxes considered in this dissertation. The theoretical references took into consideration the uniqueness of the Iranian culture and philosophy, in an attempt to better understand the actions that involve the communication in the Shia universe.

Social media is an important part of today's society and Facebook has become a place where more and more companies are being seen. With this, Facebook Brand Communities (BC) has become more common and a part of this phenomenon means that members use of electronic Word of Mouth (eWOM) has become important for the consumers and also for the company. In this paper, we investigate how and why eWOM are being used on Fredagspoddens vänner, a BC on Facebook that can be connected to several brands, such as Daisy Grace and Perfect Day Media, and that today has over 10 000 members. The investigation is based on the eight factors for motivating eWOM among users that Hennig-Yhuraus et al. (2004) describes in their article. These are: platform assistance, ventilating negative feelings, concern for other users, positive self-improvement, social benefits, economic driving force, helping the company and seeking advice. Theories on posters and lurkers are also being used, as user behavior is shown to depend on the type of user being investigated. In order to answer the question, a case study has been conducted containing three methods: observation, questionnaire and interview. Respondents for all methods have been members of the community. The result shows that members of the community can not only be divided into user groups of posters and lurkers, but that another user group, likers, are required to define the members that are somewhere between these two completely different user groups. It also emerged that connection between members is important for the members of the community and that eWOM is commonplace, both in terms of negative and positive parts of the community.

Not so mysterious is a poster project exploring transformative alternatives to a growth-oriented economy, and experimenting with applying the idea of free and accessible to the visual process. In this report I present my personal background for the project, the systemic alternatives Doughnut Economics, wellbeing economy and The Transition Movement, and tie these together with local small-scale initiatives in my surroundings. I argue that system change can and is happening locally and I try to demystify change. I do this both through writing and through my visual project work which is also presented in this report.

This thesis aims to contribute to the field of interaction design practice by exploring how posters might offer playful interaction through augmented reality (AR). The project uses an experimental design process involving prototyping, user testing, and analysis to investigate playful interaction together with pop art posters and AR as a technology. This project respects posters as an artistic medium in traditional static form but also further explores the notion of the poster. The aim of this project is to explore how to offer playful interactions with pop art posters through AR to offer a new innovative, engaging, and immersive experience for users in public spaces. The results highlight the importance of appropriate context to engage users through playful interactions and exploring this new virtual space using AR, which contributes to playful interaction through depth, movement, exploration, and unexpected outcomes. To conclude, this thesis project generates a foundation of knowledge for the field of interaction design practice about how posters can offer playful interactions with AR that future designers can act on.

No description available.