Thesis (M.F.A.)--Georgia State University, 2006. / Typescript. Includes bibliographical references (leaves 38-39). Also available via the World Wide Web.

Thesis (D.D.(Prakt. Teol.)--Universiteit van Pretoria, 2005. / Includes bibliographical references (leaves 241-260).

Thesis (M.F.A.)--Georgia State University, 2006. / Title from title screen. Liz Throop, committee chair; Michael White, Stan Anderson, committee members. Electronic text (68 p. : col. ill., col. maps) : digital, PDF file. Description based on contents viewed Sept. 17, 2007. Includes bibliographical references (p. 38-39). Also available in print.

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A dissertation submitted in partial fulfilment of the requirements for a Master’s Degree in Technology: Graphic Design, Durban University of Technology, 2013. / In this critically reflective self-study I have illustrated how my research in the field of Graphic design has been purposeful in creating a visual voice to express myself, improve my practice as an artist, teacher, and visual activist and in turn create an alternate voice for others. My study includes the conceptualization of the pictographic cards that I have named PicTopics, their value as an educational tool and their pertinence as visual prompts. My research questions have included exploring the role of the PicTopics in communicating a story or message, and how they could be pertinent to my practice as an artist, researcher, teacher and social being. My methodology, under the umbrella of self-study, has explored the living social, educational, and artistic values associated with fun, playing, creativity and wellbeing as a way to improve my practice. I used the PicTopic in a variety of settings - with the public at an art gallery to record their stories, in the classroom as creative prompts and as a way to inspire and conceptualize the practical artistic component of this study. I believe that the PicTopics when used as prompts can trigger and cultivate storytelling, enable engagement between people and open communication channels between the educator, and students. The PicTopics have become a thread between my living theories which are linked with my values and beliefs, my practice as an artist and my role as an educator and social transformer.

published_or_final_version / Curriculum Studies / Doctoral / Doctor of Philosophy

During the early modern period, practitioners in oftentimes unrelated arts and sciences began to experiment with transcribing and disseminating technical information by means of new symbolic notations. Algebra, music, chemistry, dance—whole fields of knowledge were quite literally rewritten with plus signs, treble clefs, affinity tables, and step symbols. “The Art of Signs” examines why early modern people working within and across disciplinary boundaries converged on the idea that developing complex symbolic notations would ultimately be worthwhile by reconstructing the reasons that they gave for doing so. It argues that symbolic notations appealed because they enabled powerful techniques of “visual thinking” that had no analogue in more conventional methods of inquiry. Notations transformed problems of information into problems of visualization whose solutions could then be derived by manipulating the properties of the drawn, two-dimensional plane. Indeed, early modern proponents of notations frequently described them in terms of vision, of being able to “see” things with them that they had not recognized before. However, because established methods of reasoning were predominantly verbal or empirical, symbolic notations and the visual thinking that they entailed necessarily challenged received ideas about how information ought to be represented and how knowledge ought to be discovered. Critics of the new notations argued that, at best, they amounted to a form of intellectual obscurantism that stymied rather than facilitated the circulation of knowledge. At worst, notations harbored disturbing implications for human ingenuity if the generation of new ideas truly could be reduced to the ranging and rearranging of symbols on a piece of paper. All told, “The Art of Signs” argues that early modern debates about the use and abuse of symbolic notations represent an underappreciated component of the epistemological ruptures that characterize the Scientific Revolution. Moreover, by recovering early modern understandings of symbolic notation, this dissertation demonstrates that a historical treatment of early modern semiotic thought can be leveraged to take a fresh look at perennial questions of representation that concern scholars across the humanities.

Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on Nov. 19, 2009). Includes bibliographical references (p. 148-154).

Thesis (M.A.)--University of Delaware, 2007. / Principal faculty advisor: Joel Best, Dept. of Sociology & Criminal Justice. Includes bibliographical references.