{"id":607,"date":"2014-04-22T19:19:49","date_gmt":"2014-04-22T23:19:49","guid":{"rendered":"http:\/\/pages.charlotte.edu\/visualrhetoric\/?page_id=607"},"modified":"2014-05-06T14:20:59","modified_gmt":"2014-05-06T18:20:59","slug":"individual-projects","status":"publish","type":"page","link":"https:\/\/pages.charlotte.edu\/visualrhetoric\/projects\/individual-projects\/","title":{"rendered":"C. Individual Projects"},"content":{"rendered":"

Emotion Through Theatrical Lighting:<\/strong><\/a> William Carter<\/em><\/p>\n

\"daguerre<\/a>

\u201cMidnight Mass at St. Etienne du Mont\u201d \u2013 Nighttime.<\/p><\/div>\n

Emotional lighting can be described as the potential of lighting being used to induce relaxation, motivation, and intimate atmosphere (\u201cEmotional Lighting,\u201d Right Light); it is simply lighting used to provoke emotions. In the 1830s, lighting transitions were the most astonishing effects used to manipulate mood or atmosphere by stimulating dynamic lighting of indoor and outdoor sources. The effect was first exhibited in Diorama Theatres created by Louis Daguerre. A Daguerre Diorama exhibit would consists of two tableaux or scene paintings. These scenes are painted on both sides of huge translucent canvases that would measure around 7.5 meters wide and 6.5 meters tall; the scenes would be paintings of cathedrals, cities, chapels, rivers, valleys, or other scenic locals (\u201cPhotographer Nicephore Niepce,\u201d History of Photography). Through skillful manipulation of front and back lighting with natural light, a transition of day and night would occur within the painted scene, revealing and hiding certain aspects of the scene.<\/p>\n

Socket Wrenches and Wands: “How to’ Guides and the Act of Deciphering the Service Manual: <\/strong><\/a>Mark Taylor<\/em><\/p>\n

\"Drawn<\/a>

Honda service manual diagram<\/p><\/div>\n

The rapid development of communication technology continues to alter and expand the ways in which people interact.\u00a0 This essay examines how the increased production and use of internet “how to” guides and videos alters the relationship between amateur and expert mechanics.\u00a0 Close attention is paid to how these guides use images and graphics to translate the often context minimal language of the service manual into a context rich language of colleagues.<\/p>\n

“Think Small” Advertising Campaign:<\/strong><\/span><\/a> C. Justin Hall<\/p>\n

\"Upside<\/a>These advertisements were considered a success in part because they sold a lot of cars, but what really set in stone their success was how they turned the marketing world on its head. Considered by the industry to be groundbreaking, this, along with some other advertising techniques of the time, ushered in a new wave of marketing dubbed the \u201cCreative Revolution.\u201d This new era in marketing schemes attempted to associate the product being advertised with an idea or way of living. Companies were no longer just trying to sell consumers a product, now they were trying to sell a lifestyle. (Mathew) This was quite a change from previous campaigns of the century where marketers attempted to \u201cmotivate\u201d consumers into purchasing their product boasting that said product was a type of status symbol. \u201cBeetle ownership allowed you to show off that you didn\u2019t need to show off\u201d (Garfield)<\/p>\n","protected":false},"excerpt":{"rendered":"

Emotion Through Theatrical Lighting: William Carter Emotional lighting can be described as the potential of lighting being used to induce relaxation, motivation, and intimate atmosphere (\u201cEmotional Lighting,\u201d Right Light); it is simply lighting used to provoke emotions. In the 1830s, lighting transitions were the most astonishing effects used to manipulate mood or atmosphere by stimulating […]<\/p>\n","protected":false},"author":777,"featured_media":1058,"parent":7,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"coauthors":[8],"class_list":["post-607","page","type-page","status-publish","has-post-thumbnail","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/607","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/users\/777"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/comments?post=607"}],"version-history":[{"count":11,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/607\/revisions"}],"predecessor-version":[{"id":1064,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/607\/revisions\/1064"}],"up":[{"embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/7"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/media\/1058"}],"wp:attachment":[{"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/media?parent=607"}],"wp:term":[{"taxonomy":"author","embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/coauthors?post=607"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}