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dc.contributor.supervisorAscott, Roy
dc.contributor.authorNawar, Haytham
dc.contributor.otherFaculty of Arts, Humanities and Businessen_US
dc.date.accessioned2016-11-17T15:02:16Z
dc.date.issued2016
dc.identifier10322746en_US
dc.identifier.urihttp://hdl.handle.net/10026.1/6757
dc.descriptionEdited version embargoed until 17.11.2017 Full version: Access restricted permanently due to 3rd party copyright restrictions. Restriction set on 17.11.2016 by SC, Graduate School
dc.description.abstract

This dissertation follows an interdisciplinary approach that weaves practice and theory in the disciplines of visual communication, semiotics, cultural studies, linguistics, and new media art.

The research methodology is practice-based located within a historical and contemporary context that allows for artistic experimentation and new knowledge to be generated through reflected creative practice

This research proposes a context within which society can develop a transcultural means of communication with the objective of gaining completely unambiguous forms of understanding. This research explores the possibility of an open source scaffold for pictorial language that fosters self-enhancing diversity of production models, communication paths, and interactive communities.

The dissertation explores research strategies and visual practice in relationship to a proposed global use of a common system of visual semantic decoding that would allow for visual synthesis by individuals from diverse cultural backgrounds.

It is proposed that a shared collective knowledge of signs, symbols, and pictographs, supported by the advancement of future communication and information systems, can lead to a visual communication system that will be universally accepted.

There is a historic, on-going and collective consensus on the need for a universal language in the near-future posthuman condition. In answer to this need, this dissertation contextualises and goes on to explore a realised case study of a practice-based solution for a universal pictorial communication system. The system may at times seem ambitious and abstract, however, it aims to include all cultures of the world, seeking to establish a direction that identifies and locates cultural similarities over cultural difference.

This practice-based enquiry proposes a direction that should maintain coherence, logic, and veracity in order to develop a pictographic communication system that is a valid representation of the human experience in a posthuman condition.

en_US
dc.language.isoen
dc.publisherUniversity of Plymouth
dc.subjectLinguisticsen_US
dc.subjectWriting systems
dc.subjectCommunication theory
dc.subjectVisual communication
dc.subjectPictographs
dc.subjectSemiotic theories
dc.subjectCultural studies
dc.subjectTransculturalism
dc.subjectMulticulturalism
dc.subjectTranshuman
dc.subjectTranshumanism
dc.subjectPosthuman
dc.subjectPosthumanism
dc.subjectSingularity
dc.subjectArtificial intelligence
dc.subjectUniversal language
dc.subjectSuper intelligence
dc.subjectNew Media
dc.subject.classificationPhDen_US
dc.titleA Theoretical Model for the Design of a Transcultural Visual Communication System in a Posthuman Conditionen_US
dc.typeThesis
plymouth.versionnon-publishableen_US
dc.identifier.doihttp://dx.doi.org/10.24382/803
dc.type.qualificationDoctorateen_US
rioxxterms.funderNot availableen_US
rioxxterms.identifier.projectNot availableen_US
rioxxterms.versionNA


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