Made available in DSpace on 2016-04-26T18:15:59Z (GMT). No. of bitstreams: 1 COS - Sidney Gomes Campanhole.pdf: 2113874 bytes, checksum: 74290ea52035863af303ec2f847e1d1e (MD5) Previous issue date: 2006-10-11 / Secretaria da Educação do Estado de São Paulo / The present work has as its objective the study of the perceptive apprehensions of visual language, which in this case is the one systematized in the classroom. Starting from the epistemology of the Peircean Semiotics, one proposes to review the discussion between innatists and empiricists on perception, which from Philosophy extends to Psychology in the 20th century. It places the source of systematized learning in the classroom and takes perception as tangible matter in the language produced. The perceptive development perspectives implicit in the evolution of the Visual Arts and children s drawing are analyzed synthetically for verification of congruence points. The profile regarding school praxis, observed as language, allows verifying its accommodation in the area of Art education and submission to non-verbal language classifications. The study seeks to question the innate question, the gift, that the paths of school praxis and the cultural environment restrict visual language. It proposes to subsidize future discussions on qualitative relations in the phenomenon of Communication, from a more qualitative apprehension of its language. Given the sign-perception focus, and consequently, language-cognition, one seeks to compare the idiosyncratic visions of visual language acquisition. For this purpose, it dialogues with the theory of multiple intelligences that reinforces the interaction between medium and genetic determinism. The main hypothesis is the displacement of existing learning activities, or in case they are not existent, then those to be developed from the predominance of the third category must dislocate to the second category, that is, from apprehension of legi-signs for the sin-sign. The visual language to be learned required the definition of the aspects of syntax and morphology, given that for such a dialogue was articulated between the principles of ordination of perceptive structures proposed by Gestalt and its variations. The experimental character of the research fell into groups of students of two segments of the school system, whose verifications did not establish relation between them, taking as variable the before-after of each group. One submitted to the apprehension of morphology and the other to syntax. The conclusion based on the research states that perception occurs at the moment and in a mediated way. As long as the first one might produce reorganizations of the sign at the duration of the process of keeping , the second one tends to generate associating processes that, in fact, make the relations with the object analised distant from its existence, limitating the visual language learning / O presente trabalho tem como objeto as apreensões perceptivas da linguagem visual, no caso, aquela que é sistematizada nos bancos escolares. Partindo de conceitos da Semiótica Peirciana, propõe-se rever a discussão sobre a percepção entre inatistas e empíricistas, que, da Filosofia, se estendem até a Psicologia do século XX. Situada a fonte de aprendizagem sistematizada nos bancos escolares, toma-se a percepção como matéria tangível na linguagem produzida. Analisam-se sinteticamente as perspectivas de desenvolvimento perceptivo implícito na evolução das Artes Visuais e no desenho infantil para verificação de pontos de congruência. O recorte sobre as práxis escolares, observadas como linguagem, permite verificar a sua acomodação na área da Arte educação e sua submissão a classificações de linguagem não verbal. O estudo procura questionar a questão inata, o dom, a que os percursos da práxis escolar e o ambiente cultural restringem a linguagem visual. A pesquisa pretende subsidiar futuras discussões sobre relações qualitativas no fe nômeno da Comunicação Visual, a partir de apreensão mais qualitativa de sua linguagem. Dado o enfoque signo-percepção e, conseqüentemente, linguagem-cognição, procura-se contrapô- los às visões idiossincráticas da aquisição da linguagem visual. Para isso o trabalho dialoga com a teoria das inteligências múltiplas que reforça a interação entre meio e determinismo genético. A hipótese central é que as atividades de aprendizagem existentes, sob a predominância da terceira categoria, devem se deslocar para a segunda categoria, ou seja, da apreensão dos legisignos para o sinsigno. A linguagem visual a ser aprendida exigiu a definição dos aspectos da sintaxe e da morfologia, sendo que, para tanto, se articulou um diálogo entre os princípios de ordenação das estruturas perceptivas propostas pela Gestalt e suas variantes. A parte experimental e empírica da pesquisa incidiu em grupos de discentes de dois segmentos da rede de ensino, tomando como variável o antes-depois de cada grupo. Um submetido à apreensão da mo rfologia e outro da sintaxe. Através desta pesquisa foi concluído que a percepção ocorre de modo imediato e mediado. Enquanto o primeiro pode gerar reorganizações do signo no percurso da apreensão, o segundo tende a gerar assimilações que distanciam da relação existencial com o objeto, limitando a aprendizagem da linguagem visual

Communication campaigns by major organizations in the field of development have been heavily dependent on humanitarian photography to motivate and attract donors. This genre of photography serves its purpose by informing, surprising and attracting the attention of a broad audience. It captures real life and real problems people in need have to deal with in remote areas of the world. This paper delves into the use of visual semiotics in the context of humanitarian photography and for the purpose of fund-raising by case study research of recent communication campaigns as implemented by major players in the field such as the International Committee of the Red Cross, the Global Fund to Fights AIDS, Tuberculosis and Malaria, Doctors without Border, CARE and Save the Children. The purpose is to identify key issues which allow for the elicitation of a sign framework specific to the fund-raising genre and its idiosyncratic use of visual signs in photography based on a broad theoretical basis of semiotics. The analysis focuses on the content and methods of signification of photography in each case study. The effectiveness of humanitarian photography and important aspects of its function is discussed in the scope of its use as a communication medium for development.