Beauty and the market: Actress postcards and their senders in early twentieth century Australia

A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).

Cultura à vista: o postal ilustrado como estratégia de promoção das artes e da cultura

Dissertação de mestrado em Ciências da Comunicação (área de especialização em Publicidade e Relações Públicas)

Local Postcards, 1996, n.d.

6 of the postcards are sketches by Norbert Collins, these include: St. George’s Anglican Church, the museum, St. Paul United Church, Ridley College clock tower, St. Catherine’s Cathedral and the Willam Hamilton Merritt monument (all of St. Catharines). The 7th postcard is a picture of the St. Catharines Craft Guild Shop in Port Dalhousie (artist unknown). Norbert J. Collins is a Canadian artist.

Thought and picture in the Tractatus Logico-Philosophicus

When an elementary proposition is instituted, the pictorial relations establish a contact between the proposition and the fact. This seems to commit the Tractarian project with a psychological view, but this is not the case because the point of view of the Tractatus Logico-Philosophicus is concerned with the conditions of possibility of the representation. In this paper my objective is twofold. First, I show that the thought plays a basic function in the institution of a picture. Second, I show that the fact that the thought plays an important role in the institution of a picture does not commit the Tractarian project with an inquiry of psychological nature.

The semantic interference effect in the picture-word paradigm: An event-related fMRI study employing overt responses

We used event-related functional magnetic resonance imaging (fMRI) to investigate neural responses associated with the semantic interference (SI) effect in the picture-word task. Independent stage models of word production assume that the locus of the SI effect is at the conceptual processing level (Levelt et al. [1999]: Behav Brain Sci 22:1-75), whereas interactive models postulate that it occurs at phonological retrieval (Starreveld and La Heij [1996]: J Exp Psychol Learn Mem Cogn 22:896-918). In both types of model resolution of the SI effect occurs as a result of competitive, spreading activation without the involvement of inhibitory links. These assumptions were tested by randomly presenting participants with trials from semantically-related and lexical control distractor conditions and acquiring image volumes coincident with the estimated peak hemodynamic response for each trial. Overt vocalization of picture names occurred in the absence of scanner noise, allowing reaction time (RT) data to be collected. Analysis of the RT data confirmed the SI effect. Regions showing differential hemodynamic responses during the SI effect included the left mid section of the middle temporal gyrus, left posterior superior temporal gyrus, left anterior cingulate cortex, and bilateral orbitomedial prefrontal cortex. Additional responses were observed in the frontal eye fields, left inferior parietal lobule, and right anterior temporal and occipital cortex. The results are interpreted as indirectly supporting interactive models that allow spreading activation between both conceptual processing and phonological retrieval levels of word production. In addition, the data confirm that selective attention/response suppression has a role in resolving the SI effect similar to the way in which Stroop interference is resolved. We conclude that neuroimaging studies can provide information about the neuroanatomical organization of the lexical system that may prove useful for constraining theoretical models of word production. (C) 2001 Wiley-Liss, Inc.

Orthographic/phonological facilitation of naming responses in the picture-word task: An event-related fMRI study using overt vocal responding

In the picture-word interference task, naming responses are facilitated when a distractor word is orthographically and phonologically related to the depicted object as compared to an unrelated word. We used event-related functional magnetic resonance imaging (fMRI) to investigate the cerebral hemodynamic responses associated with this priming effect. Serial (or independent-stage) and interactive models of word production that explicitly account for picture-word interference effects assume that the locus of the effect is at the level of retrieving phonological codes, a role attributed recently to the left posterior superior temporal cortex (Wernicke's area). This assumption was tested by randomly presenting participants with trials from orthographically related and unrelated distractor conditions and acquiring image volumes coincident with the estimated peak hemodynamic response for each trial. Overt naming responses occurred in the absence of scanner noise, allowing reaction time data to be recorded. Analysis of this data confirmed the priming effect. Analysis of the fMRI data revealed blood oxygen level-dependent signal decreases in Wernicke's area and the right anterior temporal cortex, whereas signal increases were observed in the anterior cingulate, the right orbitomedial prefrontal, somatosensory, and inferior parietal cortices, and the occipital lobe. The results are interpreted as supporting the locus for the facilitation effect as assumed by both classes of theoretical model of word production. In addition, our results raise the possibilities that, counterintuitively, picture-word interference might be increased by the presentation of orthographically related distractors, due to competition introduced by activation of phonologically related word forms, and that this competition requires inhibitory processes to be resolved. The priming effect is therefore viewed as being sufficient to offset the increased interference. We conclude that information from functional imaging studies might be useful for constraining theoretical models of word production. (C) 2002 Elsevier Science (USA).

Digital radiology and Picture Archiving and Communication System (PACS)

Plain radiography still accounts for the vast majority of imaging studies that are performed at multiple clinical instances. Digital detectors are now prominent in many imaging facilities and they are the main driving force towards filmless environments. There has been a working paradigm shift due to the functional separation of acquisition, visualization, and storage with deep impact in the imaging workflows. Moreover with direct digital detectors images are made available almost immediately. Digital radiology is now completely integrated in Picture Archiving and Communication System (PACS) environments governed by the Digital Imaging and Communications in Medicine (DICOM) standard. In this chapter a brief overview of PACS architectures and components is presented together with a necessarily brief account of the DICOM standard. Special focus is given to the DICOM digital radiology objects and how specific attributes may now be used to improve and increase the metadata repository associated with image data. Regular scrutiny of the metadata repository may serve as a valuable tool for improved, cost-effective, and multidimensional quality control procedures.

Geometric picture of generalized-CP and Higgs-family transformations in the two-Higgs-doublet model

In the two-Higgs-doublet model (THDM), generalized-CP transformations (phi(i) -> X-ij phi(*)(j) where X is unitary) and unitary Higgs-family transformations (phi(i) -> U-ij phi(j)) have recently been examined in a series of papers. In terms of gauge-invariant bilinear functions of the Higgs fields phi(i), the Higgs-family transformations and the generalized-CP transformations possess a simple geometric description. Namely, these transformations correspond in the space of scalar-field bilinears to proper and improper rotations, respectively. In this formalism, recent results relating generalized CP transformations with Higgs-family transformations have a clear geometric interpretation. We will review what is known regarding THDM symmetries, as well as derive new results concerning those symmetries, namely how they can be interpreted geometrically as applications of several CP transformations.

The picture of Dorian Gray: beleza, arte, representação

A escolha da obra The Picture of Dorian Gray para objecto de uma análise literária de pendor retórico-estilístico é, acima de tudo, fruto de um gosto muito pessoal. Partindo da leitura rigorosa da obra em questão, concentrámo-nos inicialmente no particular de forma a tentar chegar a características distintivas da produção literária de Wilde. Esta afigurou-se-nos como a melhor estratégia para atingir o objectivo que nos propúnhamos: reconhecer a existência de um padrão específico na escrita do autor e estabelecer a forma como esse padrão exemplifica uma determinada época literária. E assim foi possível descortinar que Oscar Wilde dá ao mundo um único romance onde são profundamente explorados os ideais da Arte recriada, da Beleza reabilitada e das suas Representações teatrais. The Picture of Dorian Gray abre vários precedentes literários, de entre os quais se destaca a coragem de assumir na forma os preceitos convencionados pelos estetas para a vida quotidiana. Os leitores conquistados por tais técnicas são recompensados com a sensação por vezes indefinível de terem apreciado o mais recôndito da alma humana.

Picture marks semiotics between ontwerpen and vormgeving

This project seeks to implement and operationalize an analytical and schematic tool proposed in the doctoral thesis of Eduardo Aires applied to the first pages of newspapers (FBAUP: 2006), to the study of the symbol within the visual identity – the picture mark – starting with its semiotic analysis. Our research has the main objective to contribute to providing guidelines to facilitate both the communication and the methodology used by students and professionals of graphic design, translating, in a graphic way, implicit phenomena that is still in the spectrum of intuition, concerning Identity Design (specifically, the design of the graphic mark), and bringing them to the field of scientific definitions. It is our intention to provide the design of a picture mark, a graphic sign which is intended to synthesize, identify and bring positive values about an entity, with an educational tool that would constitute itself as knowledge so far nonexistent.

The logo is not flat: evolving picture marks

From the boom of corporate identity in the 50s, 60 years have passed, and we now see picture marks become more complex and question axioms of identity design, like simplicity or bidimensionality. In these changing times, where access to technology and to information makes it possible for one to see the world as a ‘flat’ place [1], where virtually anyone with a computer can create, it is worth considering how much has changed and how much remains the same in picture marks design. Are the silent designers [2] — the technology and software — growing louder? Are picture marks mimicking each other? Are graphic marks following trendy solutions? It is clear the change of paradigms the new technologies have over the graphic zeitgeist. However, what are the consequences of the transformation in the modus operandi and its result in picture marks evolving solutions? And what does this evolution say about us? Being both a condensation of meaning about a corporation or institution and a rhetorical instrument by which to persuade an audience that a product or entity has distinctive and desirable qualities, picture marks are, therefore, a condensed representation of social identity. They are signs full of signification beyond themselves, representing ourselves and our world and by means of its analysis we can learn a bit more about our role as designers, our relation towards new technologies and foresee our role as designers in the future.

Imagens que falam em palavras. O picture book enquanto género editorial

Dissertação apresentadas para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Edição de texto