No description available.

An essay about my graduation project Hotel - four illuminated short stories, concerning the different ways of telling a story through text or through pictures, and what happens when you combine them.

Visualising the Insivible is a project whose final materialization reflects upon our connection with information and how it can immediately affect the way we view the world beyond and around us. Throughout my research and the development of this project, several “meta-words” relevant to this project had to be considered: respect, dignity, integrity and information accuracy, thus redefining a challenge within a challenge and, more concretely, the need to contemplate upon a topic of our time that happens to influence politics and society alike, locally, but with a global effect and long term impact. With this project, the role of the visual communicator is highlighted in a different way. His or her role becomes an agent in itself, a curator of information, a journalist, an invisible activist. The role of the designer and the purpose of design as it is commercially perceived is questioned, challenged and confronted.

Over the course of six chapters, this thesis documents colour cinema in Scotland between 1896-1906, focusing on three locations: Aberdeen, Inverness and Edinburgh. Chapter One sets out the scope of the thesis, and defines the terms ‘colour’, ‘cinema’ and ‘place’. An overview of the relevant existing literature is then provided, tracing the evolution of the historiography of Scottish cinema and that of early colour film more widely. This chapter argues that ideologically charged historiographies have largely dismissed or marginalised both Scottish cinema and early colour film; the former deemed irrelevant, and the latter juvenile or crude. Chapter One concludes with a discussion of the historiographic principles upheld in “New Cinema History”, drawing attention to the pertinence of such principles for this thesis’s methodology. Chapter Two profiles prominent colour film technologies and techniques that were in use between 1896-1906, and is split into six sections: coloured lights, tinting, toning, hand-painting, stencilling and Kinemacolor. Chapter Three focuses on early cinema in Aberdeen, in particular Walker & Company, and their experiments with hand- painted films and coloured lights. Walker & Company purchased and hand-painted Up the Nile, the Way to Atbara (1899) to conjure imperialist sentiment; produced and hand- painted The Great Fire of Bridge Place (1899) as a polemic against Aberdeen Council; and experimented with coloured lights on film in spectacular and innovative ways. Chapter Four addresses early cinema in Inverness, focusing on the town’s only filmmaker and exhibitor: John Mackenzie. Mackenzie dismissed painted films because they jarred with his aesthetic principles as a serious photographer. Furthermore, the serpentine dance was locally condemned as immoral, thus rendering the widely popular hand-painted film versions of this routine as a subversive force. Chapter Four concludes with a discussion of Mackenzie’s filmic representations of the Highlands, and how they dramatically changed once he accepted an offer of employment from the Charles Urban Trading Company in 1903. Chapter Five documents early cinema in Edinburgh, highlighting the colourful sensorial environments within which early local film exhibitions took place; the conspicuous presence of stereoscopy and colour photography in early cinema; and the influence of Edinburgh’s rich pantomime traditions on local exhibitors. Chapter Six stresses the importance of this thesis, and its potential ramifications for future research.

In 1949, Giorgio de Chirico held a one-man show at London’s Royal Society of British Artists. It featured 100 paintings including Old Master copies (early 1920s), Renoiresque female nudes (1930s), and Neobaroque work (since the late 1930s). Founded on the artist’s belief that “traditions are our greatest riches, they are the stout pillars of progress”, the exhibition created an “immense museum of strangeness” inhabited by the melancholic ‘shadow’ of 15th-19th century European masters. The displayed artwork prompted one British critic to ask: “Can art advance by going backwards?” Taking this comment as its starting part, the present thesis explores de Chirico’s complicated relationship with the great masters, seeking answers as to how and why he sought to take possession of the past. Constituting one of the most misunderstood and under-researched areas of his career, it challenges the Surrealist-fuelled opinion that de Chirico’s stylistic 'volte-face' of 1919 repudiated his early Metaphysical art (1910-18) in support of the theory that the great masters inform his entire career (1908-76). Interpreted as an integral part of the dechirican aesthetic, I maintain that his post-1910 work employs the great masters as a vehicle for lending tangible form to his understanding of Nietzschean metaphysics, principally eternal recurrence and 'dépaysement', two themes explored in 1910-18. Rather than a Return to Craft in a quest to restore the great tradition of painting, I argue that de Chirico uses ancient painting techniques – along with great master compositions, styles, subject matters and application of colour – as secondary, 'dejà-vu'-like filters that provoke sensations of metaphysical revelation, surprise and enigma. The ‘mysterious transformation’ of their work allows de Chirico to sing a “new song” about the past and present that sit “on the great curve of eternity.” Such work does not deal with repudiation, reaction or revolution, but renaissance: the journey of metaphysical discovery. An in-depth examination of de Chirico’s critical and autobiographical texts (1911-62), which explore the notions of journey and discovery, strengthens this theory, as does the study of his recently-inventoried art library and collection of prints and reproductions. An investigation into de Chirico’s interpretation of originality, 'originarietà', copying, imitation, appropriation, and repetition not only reveals the influence they exerted on his great master choices but, when examined 'vis à vis' definitions favoured by Carrà, the Surrealists (Breton), Return to Order sympathisers and select Postmodernists, his place in art history is adjusted. Given the profundity of this rapport, this thesis contests criticism directed at his late ‘egocentric kitsch’ great master-inspired work (1940s-50s), alternatively categorising it as ‘bad painting but good art’. By acknowledging the pioneering aspect of this corpus (1908-76), this New Old Master demonstrates that art can, indeed, advance by going backwards.

Esta pesquisa foi desenvolvida no Programa de Pós-Graduação em Artes Visuais, na Área de Concentração Teoria, Ensino e Aprendizagem da Arte, na Linha de Pesquisa Fundamentos do Ensino e Aprendizagem da Arte, da Escola de Comunicações e Artes da Universidade de São Paulo. Objetivou investigar aspectos que decorrem das inter-relações entre Artes Visuais, cultura visual e formação docente, que compreendem a prática educativa e a prática artística. A partir destes pontos de tensões, aponta-se a imagem da moda em confluência com o ensino de arte na prática do estágio curricular supervisionado, podendo sugerir e impulsionar formas de ensino e aprendizagem autônomas e colaborativas na formação do artista/professor/pesquisador em Artes Visuais. Aborda-se uma reflexão teórica voltada para a cultura visual, bem como para as derivações sobre arte relacional e processo criativo. Desta forma a pesquisa pautou-se sobre alguns aspectos reflexivos da artografia, bem como sobre da arte relacional, entendendo um conjunto de práticas artísticas que tomam como ponto de partida (teórico e prático) as relações humanas e seu contexto social. / This research was developed in the Graduation Program in Visual Arts of the Arts and Communication School of the University of Sao Paulo, concentration area of Art Theory, Teaching and Learning, and research interest The Fundamentals of Art Teaching and Learning. It aimed to investigate the aspects that elapse from the interrelations among Visual Arts, Visual Culture and Faculty Formation, which comprehend the educational and artistic practice. From these tension points, it aims the fashion image in confluence with the art teaching in the practice of the supervised internship, being able to suggest and instigate collaborative and autonomous ways of teaching and learning in the formation of the artist/teacher/researcher in the Visual Arts. It approaches a theoretical reflection about the visual culture, as well as the derivations of the relational art and the creative process. Thus, this research was based on some reflexive aspects of the artography and the relational art, comprehending a group of artistic practices that take as initial point (theoretical and practical) the human relations and their social context.

Elementary educators often lack the confidence and skill to teach visual arts to their students because they received very little, if any, formal training in what is a diverse and complex field of study. Teachers who lack confidence in a subject matter will potentially avoid teaching it. As a result, the early visual arts education of entire classrooms of elementary students can become neglected. Giving elementary educators the time to develop their own artistic process and acknowledging the value of educators' artistic voice can benefit teachers by building personal confidence, generating creative flow, providing knowledge about art, promoting a growth mindset, and boosting their enthusiasm for teaching art. It can also build connections to new and invigorating ideas for integrating art into lessons in their own classrooms. As such, it should create benefit for students. Using a combination of a/r/tography, narrative, and action research methodologies, this study researches the experiences of elementary teachers who choose to participate in artistic professional development opportunities provided by the visual art specialist on the faculty in order to see any perceived improvement in perception or confidence they may have in their own artistic abilities and how that has affected their approach to using visual art as a teaching method. Surveys and interviews document their past experiences with visual art, and their responses prior to and during the proposed courses. Follow up surveys, observations, and interviews document any perceived improvement in perception or confidence they may have in their own artistic abilities and how that has affected their approach to using visual arts as a teaching method in the classroom. This study endeavors to discover two things; 1) best practices in giving elementary educators professional development in visual arts content and methodologies to boost their confidence in their own artistic endeavors, and 2) how visual-art professional development workshops translate into visual-art instruction being integrated into the general classroom setting for elementary aged students.

Denna uppsats ämnar undersöka hur färg kan användas i reklamfilm för att uttrycka en varumärkesidentitet och stärka filmers bildspråk. I detta syfte så genomfördes en komparativ bildanalys där tre reklamfilmer från företaget Coca-Cola Company jämfördes utifrån hur filmerna använde sig av färg. Studien fann att reklamfilmerna använder sig av färgnyanser för att kommunicera en specifik varumärkesidentitet till konsumenten samt att reklamfilmerna använde sig av sina egna varumärkesfärger i filmen för att öka kännedomen kring företaget. I filmerna så tillämpades även ett flertal tekniker i färgkorrigering, ljussättning och scenografi för att med större säkerhet skapa en tilltalande färgpalett och bibehålla åskådarens uppmärksamhet.

En tydlig varumärkesidentitet är ett av kriterierna för ett starkt varumärke. Varumärkesidentiteten delas in i kärnidentitet och utvidgad identitet, där kärnidentiteten består av de kvaliteter och värderingar som utgör grunden för varumärket medan den utvidgade identiteten ska hjälpa till att kommunicera detta. Föreliggande arbete utfördes som en fallstudie på elitryttaren Annelie Eriksson med syfte att ta reda på hur Annelie kan använda bildspråk för att kommunicera kärnvärdena i identiteten och stärka sitt varumärke. Som en del i detta analyserades även hur andra elitidrottare profilerar sig på sociala medier. Forskningsresultaten visar att stillbilder är den vanligaste typen av media och att idrottaren förekommer på majoriteten av bilderna. Vidare läggs också stort fokus på själva sporten. Personliga bilder förekom relativt sällan men visade sig ändå ha stor inverkan på den sammantagna uppfattningen av idrottaren. För att Annelie Eriksson ska stärka sin varumärkesidentitet bör hennes bilder kommunicera självsäkerhet, kvinnlighet, fart eller något av hennes andra kärnvärden. Annelie själv verkar vara det bästa sättet att kommunicera kvinnlighet och självsäkerhet, samtidigt som hästar i fart är vad som får henne som idrottare att uppfattas som fartfylld och tuff. Inslag av mer personliga bilder kan bidra till autenticiteten, vilket på sikt kan stärka det personliga varumärket. Vidare verkar motivet i bilderna vara av större vikt än hur bilderna är komponerade. Undantaget är att bilderna ändå bör hålla en hög kvalitet.

Abstract The originality and significance of this research is to use a?cross-modal? perspective to experience the ?multi-dimensional? nature of the arts, specifically in the area of music and the visual arts. This research will focus on investigating common cross-disciplinary attributes and apply them in the realm of ?appreciation? in aesthetic education in music and visual art. The three major research problems and issues in this dissertation are as follows: (1) What are the common elements in music and the visual arts? (2) Do people make correspondences between music and painting by using the work of painters and musicians? (3) How do we define the role of music and its adaptability in linking with other expressive forms in contemporary education? Ultimately, the entire dissertation serves to redefine the ?value? and uniqueness of the arts (music and visual art) in the holistic development of an individual, in particularly in moulding and enhancing the skills of personal and cultural expression. The aims in this research are taken from various angles which correspond with the questions about ?interdisciplinary study? and the ideas of ?changing teaching and learning? in the 21st century. Interdisciplinary Studies has been a term which has provoked a great deal of controversy in current educational development, particularly in Asian countries, and especially in music education. The originality of this research lies in three areas. First, a cross-modal perspective is used to explore the common elements in music and visual art, especially in the dimensions of ?brightness?, ?intensity? and ?line?. Second, a cross-modal perspective in music will be adopted. Instead of focusing on the melody, harmony and form of music repertoire, sensory qualities, such as ?brightness?, ?intensity? and ?line? will be used as musical vocabulary to interpret cross-modal perception in experiencing the arts. Third, this dissertation will investigate the art experience, especially the thinking and cognitive appraisal in viewing the arts, of the creators and the spectators.