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VISUAL LITERACY AND PATTERN CONFIGURATION AS DESIGN PARADIGM: HOW VISUAL RHETORIC CAN BE USED TO DEFINE SOCIAL AND CULTURAL IDENTITY

机译:视觉文字和图案配置作为设计范式:如何使用视觉修辞来定义社会和文化认同

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This paper correlates the areas of comparability on an historical ethnographic juxtaposition of traditionally pieced pattern-making as inherent and encoded social statement; reflected in the eco-cultural identities of two distinct populations from enforced ethnic cleansing and mass migration; and assesses the impact of the initial loss of national pride as enforced upon the oppressed communities, and emphasizes the high importance of retained ethnic identity and cultural heritage for the future as a mnemonic stratagem expressed through visual rhetoric; intrinsically, we uphold Dewey's view, that art "expresses the life of a community", and hold these defining subjective priorities as directives for future heritage descriptors. "Every human being lives within a determinate 'cultural pattern' and interprets his or her experience according to a set of acquired forms," states Umberto Eco, in The Open Work (1989).
机译:本文将传统拼凑模式的历史民族志并置作为固有的和编码的社会陈述,将可比性领域联系起来。从强迫种族清洗和大规模移民中反映出两个截然不同的人口的生态文化特征;并评估了民族自尊的最初丧失对被压迫社区的影响,并强调保留族裔身份和文化遗产对未来的重要性,这是通过视觉言语表达的助记符策略;从本质上讲,我们支持杜威的观点,即艺术“表达着社区的生活”,并将这些定义主观的优先事项作为未来遗产描述者的指示。 Umberto Eco在《开放作品》(The Open Work,1989)中指出:“每个人都生活在确定的'文化模式'中,并根据一系列习得的形式来解释他或她的经历。”

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