I am bored. All around me are systems that perpetuate repetitive, reductive, and mundane modes of living. In an attempt to counter a culture obsessed with singular ways of existence and bite-sized perfection, I utilize moving mediums of video and performance to dive head first into a vast array of sloppy sincerity. The crisp, white-washed, analytical, and restrictive is loudly replaced with the empirical, haphazard, and instinctual. My intention is to create and encourage raw, performative-based work that is as multifaceted as unbridled life itself. This alive and physical practice hosts a conglomeration of sweat, memories, heartbreaks, hymn singing, line dancing, cake eating, wig wearing, bedroom jamming, live streaming, code switching, hallway running, body dragging, easter egg hiding, angst, and hair salons. This is a refusal to slice up, organize, and distill myself and my work into one dish with convoluted, explanatory rhetoric stamped with institutionalized approval and topped with the cherry of MFA status for the sake of being justified and relevant. I have zero obligations to make polished art, resolve things, or pinpoint what makes me “me”, because humans are not boxes and art does not have to be finite.

Through the study of Kwai, a popular short-video social media platform in China, this thesis investigates the social issues, media class divides and aesthetics specific to Kwai culture. It further proposes a strategy of artistic practice - parallel narrative - an experiment in video art production and editing techniques that explores new possibilities of narrative in video art. Integrating theoretical research on Post-Internet art and object-oriented ontology, this thesis reveals people’s ability to digest multisource information and shows how mobile technologies and open-source materials contribute to the formation of parallel narratives.

The medical imaging technology called MRI (magnetic resonance imaging) stems from a blind measurement technology which was further developed in research and practice to enable seeing into the inner body. Vision with MRI was open-ended, and it was developed and tamed in a context of fragmented medical perspectives on the body and on technology. "Technomedical Visions" addresses the formation of MRI’s specific visualities in the first decade of its introduction in Sweden. The purpose of this dissertation is to explore how vision with MRI has been constructed in practice in relation to existing ways of knowing the body within medicine. Dussauge investigates first the early decisions that led to a national evaluation of MRI technology in the mid-1980s in Sweden. Then she addresses the shaping of MRI’s quantitative visuality in the practices of radiology, psychiatry and the laboratory, with focus on microhistories at St. Göran’s Hospital, Karolinska Institutet, Uppsala University Hospital, and Lund University. Dussauge shows that whereas authorities’ early decisions momentarily defined MRI as a radiological tool for immediate clinical use and evaluation, a crucial part of MRI’s introduction was the work conducted by MRI-users. These researchers from a range of scientific and medical disciplines performed, over time, a multitude of shapings of MRI’s vision. This studies shows how MRI was made congruent with existing technomedical gazes. The novel MRI gaze was made intelligible within cross-referential networks, and researchers reproduced technomedicine’s existing gazes both in the production, optimization and interpretation of MRI representations. Technomedical time frames, epistemologies and definitions of the normal and the pathological were reproduced and sometimes, re-cast, in the shaping of MRI in practice. This study also demonstrates that anatomy recurrently worked as an underlying frame for the exploration and production of MRI visions. Anatomy’s material visuality provided a site for the production of novel facts at the intersection of existing gazes. Through the practices of shaping MRI gazes, anatomy was systematically remediated, reproduced and reconfigured. / QC 20100714

Vision has often been a central concern of feminist studies of science, medicine and technology. In cultural or social feminist analysis, the male gaze and the ways in which technoscience accommodates, and in effect organizes the watching of women, has been an important part of the feminist interrogation of the gender and power relations that produce the subjects and the objects of science. This attention is due to the intimate, and power-saturated, merge of processes of seeing and processes of knowing. Inherent in the notion of vision, there is always a politics to ways of seeing, ordering and observing, of organising the knowledge of the world. Historically, this can be exemplified by the eighteen-century Swedish “father” of biological classification, Linnaeus. Taking a leap away from Christian assumptions, Linnaeus placed human beings in a taxonomic order of nature together with other animals. / <p>ISBN 91-87792-49-4 not valid for this book.</p>

The primary objective of this work is to understand the importance of the indigenous, female body in early New Spain through the study of visual media from the first two centuries of colonization: specifically looking at illustrations from Book 10 (of 15) in the Florentine Codex and images of indigenous Christian wedding ceremonies such as the painted folding screen Indian Wedding and a Flying Pole (c.1690). I argue through visual, theoretical and historical analysis that regulating indigenous female sexuality was a critical component to in the creation of colonial New Spain and that imagery played an essential role in this regulatory process.

As a word, glamour is hard to define, but is instantly recognizable. Its association with Hollywood movie stars fully emerged in the 1930s in the close-up celebrity portraits by photographers like George Hurrell. The aesthetic properties in these images that help create glamour are characterized by the Modernist style, known for sharp focus, high contrast, seductive poses, and the close-up (tight framing). My essay will explore the origins of the visual aesthetics of glamour, arguing that their roots can be found in the still life photographs of the 1910s, produced by fine art photographers such as Edward Steichen. This essay will primarily focus on the photography of Edward Steichen because he used these same techniques found in his still life portraits on Hollywood celebrities when he began working for Condé Nast’s Vanity Fair and Vogue in 1923. Steichen changed the conversation on how to photograph celebrities and his practices eventually led to the creation of glamour portrait photography. This thesis documents the ways in which Steichen established the precedent for glamour photography when he applied the close-up and Modernist style on Hollywood stars. The result of Steichen’s application was photography that provided visually identifiable and mechanically reproducible glamour.

Objective: The goal of this research was to determine whether alternate-line shading (zebra-striping) of grid-based displays affects the strategy (i.e., “visual flow”) and efficiency of serial search. Background: Grids, matrices, and tables are commonly used to organize information. A number of design techniques and psychological principles are relevant to how viewers’ eyes can be guided through such visual works. One common technique for grids, “zebra-striping,” is intended to guide eyes through the design, or “create visual flow” by alternating shaded and unshaded rows or columns. Method: 13 participants completed a visual serial search task. The target was embedded in a grid that had 1) no shading, 2) shading of alternating rows, or 3) shading of alternating columns. Response times and error rates were analyzed to determine search strategy and efficiency. Results: Our analysis found evidence supporting a weak effect of shading on search strategy. The direction of shading had an impact on which parts of the grid were responded to most rapidly. However, a left-to-right reading bias and middle-to-outside edge effect were also found. Overall performance was reliably better when the grid had no shading. Exploratory analyses suggest individual differences may be a factor. Conclusion: Shading seems to create visual flow that is relatively weak compared to search strategies related to the edge effect or left-to-right reading biases. In general, however, the presence of any type of shading reduced search performance. Application: Designers creating a grid-based display should not automatically assume that shading will change viewers search strategies. Furthermore, although strategic shading may be useful for tasks other than that studied here, our current data indicate that shading can actually be detrimental to visual search for complex (i.e., conjunctive) targets.

This paper will explore how portrayals of male violence against female characters in film and television have affected the way in which women navigate through society. Images of exploitation, degradation, and violence towards females are constantly presented in television and film, creating an over saturation in the media market and fostering a sense of normalcy the extremely problematic issue of violence. Often, these images are internalized by women to the extent that their view the men around them becomes as distorted as the men who view them as nothing more than sex object. Men become their source of fear and what was carried out on television becomes an accepted possibility and expectation in reality, regardless of whether these men actually pose of threat. Through examining television shows and news broadcasts, the paper reveals how media serves to perpetuate traditional notions of gender, power, and assault created in American society and offers solutions to rework the traditional systems or thought.

Notre enquête doctorale étudie l’illustration de la colonisation dans la presse satirique illustrée française entre 1829 et 1990. Cette thèse ambitionne d’éclairer un aspect méconnu de l’iconographie coloniale, à partir du dépouillement et de l’analyse de vingt-deux périodiques satiriques qui touchent diverses sensibilités éditoriales. Afin de confronter iconographie satirique et non satirique, deux journaux illustrés généralistes sérieux complètent le corpus. En suivant un parcours chronologique, il s’agira de présenter les axes caractéristiques de l’iconographie satirique coloniale.Pour comprendre la construction, le fonctionnement et le rôle des images expansionnistes issues des titres satiriques, cette recherche entend également définir le genre « presse satirique ». En analysant l’évolution historique, les caractéristiques populaires et les traits distinctifs de cette catégorie médiatique, nous mettrons en évidence les relations déterminantes qui existent entre le genre et les images coloniales. / This doctoral investigation studied satirical colonial iconography in the French satirical illustrated press between 1829 and 1990. From counting and analysis of twenty-two satirical periodicals, representing different editorial lines, this thesis aims to inform an unknown part of this colonial iconography. Two serious illustrated papers complement the general corpus to reintegrate results in the general fields of media images. For a diachronic, the aim should be to identify the major axes of the colonial satirical illustration.To understand the construction, operation and role of colonial imagery from satirical titles, this research also intends to define the genre "satirical press". By analyzing the historical evolution, popular features and the hallmark of this media class, we will highlight the crucial relationship between gender and colonial images.

This film is an oral history about the intergenerational relationship between three women: my grandmother, my mother, and I. Through our connection I explore the Russian traditions that my grandmother has cultivated and shared among the three of us, in particular, the tradition of fortune telling. I also explore my grandmother's struggle with dementia. Although her memory is fading, she can still remember the practice of reading fortunes and that tradition has preserved our bond and her legacy.