Made available in DSpace on 2016-08-03T12:29:48Z (GMT). No. of bitstreams: 1 Fabiop1-85.pdf: 2505577 bytes, checksum: 7bccfe7ebdcd91fbb1f9a163233a60cc (MD5) Previous issue date: 2013-04-22 / Este trabalho se propõe a analisar as interações entre a Publicidade, as Identidades Nacionais e o Imaginário. Para isto, foi estabelecido o objetivo de verificar a atuação da publicidade, enquanto processo comunicacional, como mediadora cultural por meio da conformação de vínculos de uma marca/produto com a representação de identidade cultural nacional de um povo, valendo-se da utilização de símbolos, mitos e de um discurso de pertencimento presentes no imaginário social. Para o alcance deste objetivo, foram assentadas as bases teóricas que estudam as temáticas: imaginário; identidades culturais e sociologia do esporte. No que diz respeito especificamente à publicidade, o estudo se concentrou nas interações da publicidade com o consumidor em que o objetivo final é estabelecer vínculos emocionais duradouros. As reflexões dos teóricos Gilbert Durand, Michel de Certeau, Stuart Hall, Raymond Williams, Eric Hobsbawm, Mário Filho, Édison Gastaldo, Kevin Roberts e Magali Cunha foram privilegiadas. A partir desse assento teórico foi possível desenvolver uma metodologia de caráter qualitativo por meio da Análise de Conteúdo em bases comparativas. A conclusão da pesquisa é que a publicidade se conecta ao imaginário social porque ela é mais um elemento da construção deste imaginário e, em função de ser um processo comunicacional, também se alimenta dele. Portanto, o publicitário (e consequentemente a publicidade) busca elementos na sua imaginação para criar e o seu repertório inclui aspectos como a identidade nacional e relações com a religiosidade popular. O produto final, midiatizado, vai fazer com que novos entendimentos sejam produzidos no imaginário social, ao mesmo tempo em que pode, também, apenas reforçar o entendimento já sedimentado acerca dessas representações.

In and out of memory: exploring the tension between remembering and forgetting when recalling 9/11, a traumatic event. My research is an unravelling of a traumatic memory to describe, understand and answer questions about the 'trauma body.' In my research, I put forward the idea that traumatic memories are detached memories with an emotional resonance that fixes them historically in a specific place and time, unwieldy anchors for a body that is neither here (present), nor there (in the past). I analyse this paradox from philosophical and psychoanalytical perspectives. Through a layered arts practice of text, sonic art work, and moving and still imagery I examine the tension where trauma meets memory, whether in an attempt to forget, or an effort to remember. Memory in this context is perceived as crucial towards understanding oneself socially, culturally and personally, whilst trauma is understood as an experience borne by the act of ‘leaving,’ wherein the mind’s coping mechanism overwhelmed by shocking external events fractures or splits. I began this process by revisiting a journal written on the day of and days following the terrorist attacks on September 11, 2001. A journal that had remained closed and unread until starting my research in 2012. My aim was to deconstruct my memory of this traumatic event, lay it to rest and explore the latent witnessing that defies assimilation into a narrative. I employ autoethnography as a methodology to facilitate a greater understanding of trauma and its wider cultural implications, overlaying my personal memories upon a well-established collective memory of 9/11. Autoethnography, in this instance, is a reformulation of ethnography or anthropology, an in-depth examination of context incorporating cross-disciplinary approaches. With an emphasis on self-reflection and subjective participation, as both the artist and the owner of certain memories, my intention was to engage a larger epistemological discussion of the meeting place of trauma and memory.

HORN, Evelyse Lins. Fotografia expandida: o documentário imaginário de uma paisagem submersa entre a arte contemporânea e o documental. 2012. 176f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-04-02T14:22:27Z No. of bitstreams: 1 2012-DIS-ELHORN.pdf: 3540748 bytes, checksum: 727996196e601ecaca3da6b0ccaffebe (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-04-02T14:40:18Z (GMT) No. of bitstreams: 1 2012-DIS-ELHORN.pdf: 3540748 bytes, checksum: 727996196e601ecaca3da6b0ccaffebe (MD5) / Made available in DSpace on 2014-04-02T14:40:18Z (GMT). No. of bitstreams: 1 2012-DIS-ELHORN.pdf: 3540748 bytes, checksum: 727996196e601ecaca3da6b0ccaffebe (MD5) Previous issue date: 2012 / This research is about the photography between contemporary art and documentary. We will use, as the object, the photographs of the book "Underwater Landscape", of the photographers John Castillo, Pedro David and Pedro Motta, who appear as a hybrid, with characteristics of both, the art and the document. The text has its theoretical basis through reflection on the approach to documentary photography and contemporary art, using the authors André Rouillé, Jacques Rancière, Nicholas Bourriaud and Rosalind Krauss. The methodology used was the Photographic Analysis of François Soulages proposing that we should look at the photograph as a particular kind of visual sign produced in specific contexts and social relations in which the senses are operated and produced for him to understand the object to be photographed, we think of it as an object-problem, and we should examine it according to the photographic material and its critical questioning, and at the same time, the cultural imaginary. We improved this, with the ideas of Jon Prosser, who says the interpretative process of the Case Study requires the management of visual data in a logical sequence, which includes organizing, indexing and categorization. The interpretive process begins before the pictures are seen, decisions on which photos and how they were chosen, it is necessary to create a sense among the photographs, by observing the valuation contained in the images and their relation to the process. / Esta pesquisa é sobre a fotografia entre a arte contemporânea e o documental. Usaremos como objeto as fotografias do livro “Paisagem Submersa”, dos fotógrafos João Castilho, Pedro David e Pedro Motta, que se mostram como um híbrido, apresentando caracteristicas tanto da arte, como do documento. O texto tem suas bases teóricas por meio da aproximação de reflexões sobre a fotografia documental e a arte contemporânea, utilizando os autores André Rouillé, Jacques Rancière, Nicholas Bourriaud e Rosalind Krauss. A metodologia utilizada foi a Análise Fotográfica, de François Soulages, que propõe que devemos olhar a fotografia como um tipo particular de signo visual produzido em contextos específicos e as relações sociais nas quais os sentidos são operados e produzidos. Para ele, ao entender o objeto a ser fotografado, devemos pensá-lo como um objeto-problema, e devemos examiná-lo em função do material fotográfico e seu questionamento crítico e, ao mesmo tempo, dos imaginários culturais. Acrescentamos a isso as ideias de Jon Prosser, que diz que o processo interpretativo do Estudo de Caso requer o gerenciamento dos dados visuais em uma sequência lógica, que inclui organização, indexação e categorização. O processo interpretativo começa antes das fotografias serem vistas, nas decisões de quais fotografias e como elas foram escolhidas. Para isso, é necessário criar um sentido entre as fotografias, mediante a observação da valoração contida nas imagens e sua relação com o processo.

This master thesis aims to understand whether the connection of visuals and emotions on social media can be utilized by activists to increase awareness of environmental issues. In particular, this thesis discussed if emotional visual content about environmental activism on social media increases recipients' emotional awareness and small-scale activism when embedded in visual framing communication. The work is based on theories like affective visual framing, affective intensity, stickiness and grab, which define the dynamics of emotions online and the merits that come with it, when used for strategic communication. In combination with visual communication on social media and the emotional impact of visuals, environmental imagery develops power for social transformation. Analyzing the organization Greenpeace and the Leonardo DiCaprio Foundation for their emotional strategic communication on Instagram, the research uses mixed-methods to gather data about the reception of emotional visuals. A questionnaire collects data about broad responses to images and seven in-depth interviews focus on deeper motivations and opinions behind the emotional reaction. The research reveals that first of all emotions are generated by emotionally framed visual contents. These emotions also lead to an emotional awareness of environmental issues. Nevertheless, small-scale activism was neither increased by emotional content nor by general emotional awareness. Solely short-term interest in activism could be identified.

The purpose of this study is to investigate how John Milton uses music imagery in his English poetry. This is accomplished through consideration of the musical milieu of the late Renaissance, particularly of seventeenth century England, through examination of the symbolic function of music imagery in the poetry, and through study of the significance of music imagery for the structure of the poem. Milton relies on his readers' familiarity with sounds and contemporary musical forms as well as with the classical associations of some references. Images of practical music form the greater part of the imagery of music that Milton uses, partly because of the greater range of possibilities for practical images than for speculative images. The greater use of speculative images in the early poems indicates the more idealistic stance of these poems, while the greater number of practical images in the later poems demonstrates Hilton's greater awareness of the realities, of the human situation arising from the years spent as apologist for the Puritan cause and as Latin Secretary of State. Music imagery is important as a structural device for Milton. He uses music images to provide unity for, to "frame," and to maintain decorum in the poems. A number of the earlier, shorter poems rely heavily on music as structural device. "At a Solemn Music" depends solely on the use of extended music imagery. "L'Allegro" and "II Penseroso" are linked by parallel music images. Music imagery maintains the decorum in "Lycidas" and to a lesser degree in "A Mask". In the epics music images, used in a variety of ways, serve to unify the poems. Most notable in Paradise Lost and Paradise Regained is the echoic effect Milton achieves through the use of repeated music images.

Este trabalho investiga os afrescos da cidade de Pompeia, especificamente aqueles que representam a leitura e/ou a escrita e corpos leitores e/ou escritores. Foi realizado um estudo sobre a escrita e a leitura no mundo antigo, especialmente na Grécia e em Roma, e então a análise de dezoito afrescos com imagens relacionadas às atividades de escrita e leitura, objetivando o alargamento das discussões concernentes à história da escrita e da leitura no mundo antigo, bem como a um uso qualitativo das imagens como fontes históricas. À luz de teorias da história e da história da arte, constatou-se que, além de uma utilização puramente funcional, a escrita e a leitura exerceram sobre os pompeianos um poder de enobrecimento de suas figuras, além de possibilitarem o atingimento do sublime, através da literatura, e do sagrado, através dos textos e oráculos divinos. / This research investigates the frescoes in the city of Pompeii, specifically those portraying reading and/or writing and reading and/or writing bodies. A study was done on the reading and writing in the ancient world, especially in Greece and Rome, and then an analysis was done on eighteen frescoes portraying images related to the activities of reading and writing, aiming to heighten discussions concerning the history of reading and writing in the ancient world, as well as qualitative use of images as historical sources. Under historical and art history theories, we have observed that, beyond a purely functional use, writing and reading brought upon the people of Pompeii an ennoblement of their figures, and enabled them to achieve sublimity, through literature, and sacredness, through divine texts and oracles.

Submitted by Samara Calçado de Azevedo (samara_calcado@hotmail.com) on 2018-09-17T13:15:08Z No. of bitstreams: 1 Azevedo_SC.pdf: 8234866 bytes, checksum: 4f6512aa127d3ab1d52e793725f3a75a (MD5) / Approved for entry into archive by Claudia Adriana Spindola null (claudia@fct.unesp.br) on 2018-09-17T13:46:15Z (GMT) No. of bitstreams: 1 azevedo_sc_dr_prud.pdf: 7732297 bytes, checksum: bebf4345bd7542863867084e462c9ff9 (MD5) / Made available in DSpace on 2018-09-17T13:46:15Z (GMT). No. of bitstreams: 1 azevedo_sc_dr_prud.pdf: 7732297 bytes, checksum: bebf4345bd7542863867084e462c9ff9 (MD5) Previous issue date: 2018-08-30 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Imagens orbitais com alta resolução espacial abriram uma nova era na extração de informações, especialmente em ambientes urbanos, em que valiosas informações sobre as superfícies tornaram-se disponíveis e de forma detalhada. No entanto, a obtenção de informação em áreas urbanas complexas pode ser comprometida pela presença de sombras, que chegam a ocupar uma parte significativa da imagem, causando sérias interferências na sua análise. A remoção de sombras é, portanto, um tema importante e ainda não resolvido devido à dificuldade da tarefa, sendo necessária na etapa de pré-processamento de diversas aplicações. Este trabalho propõe o desenvolvimento de uma nova abordagem automática para a restauração de áreas de sombras em imagens de satélite multiespectrais com alta resolução espacial. A abordagem se divide em três etapas principais e sequenciais, sendo a primeira o pré-processamento, que consiste na conversão das imagens para reflectância aparente e na fusão das bandas para a geração de índices espectrais. Na segunda etapa, a detecção das áreas de sombras é realizada pela combinação do top-hat por fechamento com a injunção de um parâmetro de área, calculado em função do índice de sombras NSDVI (Normalized Saturation-Value Difference Index). As regiões de sombras são refinadas para a geração da máscara de sombras, a qual é utilizada na terceira etapa, como guia na restauração pelo inpainting automático. A estratégia de restauração pelo inpainting híbrido, adaptado para o contexto multiespectral, combina a difusão anisotrópica, ordem de preenchimento definida a partir de uma imagem cartoon e equação de transporte, e o preenchimento baseado em blocos por amostragem local. A avaliação experimental do método proposto foi realizada em um conjunto de 215 imagens, fruto do recorte de duas cenas dos satélites WorldView-2 (WV-2) e Pléiades-1B (PL-1B) sobre a área urbana de São Paulo. Os resultados mostraram uma boa performance da detecção de sombras pelo método proposto, alcançando uma acurácia global média de 94,20% e de 90,84%, para as imagens WV-2 e PL-1B, respectivamente, sendo inclusive superior, quando comparado com outros dois métodos propostos na literatura. A remoção dos efeitos das sombras obtido pelo inpainting, proporcionou uma restauração satisfatória e coerente de feições como vias e telhados, que ficaram melhor discerníveis pelo inpainting. Além disso, quando quantidades substanciais de áreas não contamindas por sombras estão disponíveis, o inpainting aumentou as áreas úteis da imagem mais do que a restauração baseada em outras técnicas de transformação de intensidades, como o matching de histogramas. Assim, frente à necessidade de informações extraídas de imagens multiespectrais, espera-se que o método possa contribuir com a detecção e remoção automática dos efeitos de sombras em imagens multiespectrais com alta resolução espacial de áreas urbanas. / High resolution satellite images has played an important role in information extraction especially in urban areas, since valuable information and higher level of details from surface become available with these images. Nevertheless, the task of extracting information from complex urban environment can be hampered by shadows, which can occupy a significant part into the image and, thus negatively affecting the image analysis. Therefore, due to the complexity of the problem, shadow removal is a crucial as one of the first pre-processing steps to enhance the performance of many subsequent steps and applications. The main goal of this thesis is to present a new automatic method for shadow removal in high spatial resolution satellite multispectral images. The proposed method comprises three main steps: the first one is the pre-processing, which includesthe conversion of the target image to the top of atmosphere (TOA) reflectance and the image pansherpening to spectral indices generation. Secondly, a shadow pixels candidates’ identification is performed, combining black-top-hat (BTH) transformation with area injunction driven by the normalized saturation-value difference index (NSDVI) mask. The obtained output is a shadow mask, which is used to properly guide our automatic inpainting-inspired strategy in the restoration step. In the third step, a hybrid inpainting-based strategy specifically adapted for the multispectral imagery context is applied to recover shadow areas, which unifies anisotropic diffusion, filling-in priority based on cartoon image representations, transport equation and block-based pixel replication using local dynamic sampling. The performance of our approach has been evaluated by taking 215 subset images from WorldView-2 (WV-2) and Pléiades-1B (PL-1B) that encompasses the city of São Paulo. The method achieves an overall accuracy on shadow detection up to 94.2%, for WV-2, and 90.84%, for PL-1B. The comparative results indicate that the proposed method outperforms two existing state-of-the-art methods. Shadow effects are mitigated by local inpainting method in which the satisfactory outputs demonstrate good coherence for highway and building rooftops recovery. Moreover, when largely non-contaminated areas are available in the image, the proposed approach improves significantly more areas of the image than the intensity-based transformation techniques, such as the histogram matching method. Once only multispectral imagery is required as input data, the approach can be suitable to support other remote sensing applications as well. / 2013/25257-4

La caractérisation non-destructive de la variabilité spatiale et temporelle de la teneur en eau pour des milieux hétérogènes superficiels est un enjeu de taille pour la compréhension du fonctionnement hydrogéologique de certaines zones critiques.Pour répondre à ces besoins, une candidate potentielle est la méthode de Résonance Magnétique des Protons (RMP), technique géophysique récente qui permet d'imager la teneur en eau de la subsurface de façon directe. Ses déclinaisons opérationnelles en 2-D et en 3-D sont émergentes et nécessitent une étude exhaustive afin d'en comprendre les possibilités et les limitations.Le caractère intégrateur de la mesure RMP, en conjonction avec l'erreur expérimentale qui la contamine, limite la résolution de la méthode. Conséquence : la traduction d'un jeu de mesures sous la forme d'une distribution spatiale de teneur en eau n'est pas unique. Certaines sont plus désirables que d'autres, aussi des aprioris géométriques sont-ils utilisés pour limiter l'espace des solutions possibles. De ce fait, l'estimation qui est faite de la teneur en eau est biaisée (aprioris) et entachée d'incertitudes (bruit), jamais quantifiées à ce jour à plus d'une dimension.Afin de mettre à jour les processus qui vont influencer la résolution spatiale et l'estimation du volume d'eau, les propriétés du problème direct de l'imagerie RMP sont analysées au moyen d'outils non-biaisés telles que les corrélations.Le problème d'imagerie RMP inverse étant non-linéaire, ce travail de thèse propose une méthodologie de reconstruction d'images de la teneur en eau qui offre l'accès aux analyses des incertitudes, axée sur un algorithme d'échantillonnage inverse de Monte-Carlo (Metropolis-Hastings). Une étude intensive des biais introduits par l'apriori sur la reconstruction de différents volumes 3D est effectuée.Enfin, les possibilités d'imageries RMP sont illustrées sur deux cas d'applications réels en milieux hétérogènes karstiques ou thermo-karstiques, validés par comparaison avec d'autres sources d'informations. Le premier cas est une imagerie 2-D du conduit karstique de Poumeyssens, dont la cartographie est connue.Le deuxième cas est l'imagerie 3-D d'une poche d'eau sous-glaciaire dans le glacier de Têre-Rousse laquelle est explorée par de nombreux forages et d'autres méthodes géophysiques. / The non-destructive observation of the ground water content's variaiblity in time and space is a major issue to understand the hydrodynamical functioning of heterogeneous media.Although many geophysical methods derive the water content of the subsurface from intermediate physical parameters, the method of surface nuclear magnetic resonance (SNMR) provide a direct estimate of ground water content. For this method, 2-D or 3-D SNMR tomography applications are only emerging and an in-depth analysis is required to assess their possibilities and limitations.The general resolution of the method is limited because the measurement characterize an important volume and is contaminated by electromagnetic noise. Consequently, the translation of measurement into an image of water content admit many solutions. Among them, several are more desirable than others from a structural/geometrical stand point. Geometrical prior knowledge are used to limit the infinite solution space. The resulting water content estimate is necessarily biased (prior knowledge) and affected by uncertainties (noise). To date, those aspects have never been quantified for 2-D and 3-D SNMR data sets.The processes that are controlling the geometrical rendering and the estimated water volume, properties of the SNMR imaging problem are analyzed using correlations and linear regressions as they are unbiased tools for the data space analysis.As the MRS inverse problem is non-linear, this thesis proposes a monte carlo based methodology (Metropolis- Hastings) to provide water content and uncertainty estimates. As the geometrical prior expectations control the estimates, the resulting bias is explored and discussed for different water content configuration.Finally, the possibilities of MRS imaging are illustrated by means of two highly heterogeneous environments: thermo-karstic and karstic. The results of the MRS imagery are compared and validated with other types of knowledge. The first case is a 2-D imaging of the conduit Poumeyssens karst. The latter geometry is precisely known. The second case is the 3-D imaging of a internal cavity inside the french alp glacier Tete-Rousse, explored by multiple other destructive and non-destructive methods.

Résumé non communiqué par le doctorant. / The optimal exploitation of the information provided by hyperspectral images requires the development of advanced image processing tools. Therefore, under the title Hyperspectral image representation and Processing with Binary Partition Trees, this PhD thesis proposes the construction and the processing of a new region-based hierarchical hyperspectral image representation:the Binary Partition Tree (BPT). This hierarchical region-based representation can be interpretedas a set of hierarchical regions stored in a tree structure. Hence, the Binary Partition Tree succeedsin presenting: (i) the decomposition of the image in terms of coherent regions and (ii) the inclusionrelations of the regions in the scene. Based on region-merging techniques, the construction of BPTis investigated in this work by studying hyperspectral region models and the associated similaritymetrics. As a matter of fact, the very high dimensionality and the complexity of the data require the definition of specific region models and similarity measures. Once the BPT is constructed, the fixed tree structure allows implementing efficient and advanced application-dependent techniqueson it. The application-dependent processing of BPT is generally implemented through aspecific pruning of the tree. Accordingly, some pruning techniques are proposed and discussed according to different applications. This Ph.D is focused in particular on segmentation, object detectionand classification of hyperspectral imagery. Experimental results on various hyperspectraldata sets demonstrate the interest and the good performances of the BPT representation.

Esta dissertação se refere à pesquisa realizada na CASA Osasco I, uma das unidades de internação da Fundação CASA instituição que substituiu a FEBEM-SP com adolescentes em cumprimento da medida socioeducativa de privação de liberdade. Como metodologia de pesquisa, foram realizadas, entre outubro de 2008 e janeiro de 2010, oficinas semanais de criação, que, sem um formato prévio nem objetivando um produto de oficina, permitiram que os adolescentes e a pesquisadora construíssem, no tempo da pesquisa, um espaço de encontro, que se configurou não só como locus de observação, mas de criação e participação nas imagens. A longa duração do campo permitiu, também, o acompanhamento da passagem integral de alguns adolescentes pela internação: da chegada à unidade ao retorno ao mundão. A pesquisa busca penetrar na dimensão simbólica e imaginária da privação de liberdade e nas imagens que se constelam no simbolismo da passagem, a partir das narrativas que o encontro produziu. Das oficinas resultou outro importante material de análise, os diários de oficina, que traçam um horizonte de conflitos em torno da experiência de privação de liberdade. Quatro diários foram selecionados e relacionados a posteriori aos elementos materiais terra, água, fogo e ar por apresentarem diferentes configurações imaginárias, conforme a aderência da imaginação a um dos quatro elementos. A leitura das imagens surgidas em oficina, e presentes nos diários, foi inspirada na fenomenologia da imaginação poética de Gaston Bachelard, considerando as noções de imaginação material e imaginação dinâmica que a sustentam. Por fim, foi realizada uma leitura simbólica das passagens empreendidas por dois adolescentes e um educador da CASA Osasco, com base na teoria de Gilbert Durand sobre o imaginário e com o auxílio de teóricos como Junito Brandão e Erich Neumann. Realizando aproximações entre os três passageiros e algumas figuras míticas, a análise procurou observar como os narradores atualizam os mitos estudados. / This dissertation refers to the research conducted in Osasco CASA I, one of the inmate units of CASA Foundation former FEBEM-SP - where teenagers, deprived of liberty, comply social & educational measures. As a research methodology, creation workshops were weekly conducted between October 2008 and January 2010. Those workshops didnt have a programmed format nor they targeted a specific product, enabling the researcher and the adolescents to build, throughout the research period, a meeting point, which was set up not only as a locus of observation, but also as a place of image creation and engagement. The duration of the field trips has also allowed the monitoring of the entire stay of some adolescents: from their arrival to the return to mundão (a slang for the outside world). The research seeks to penetrate in the imaginary and symbolic dimensions of the liberty deprivation, as well as in the images that constellate the symbolism of passage, from the narratives that the meeting produced. The workshops produced another important material for analysis, the workshop journals, which outlined a gamut of conflicts around the experience of liberty deprivation. Four journals had been selected and further connected to the material elements - earth, water, fire and air, for presenting different imaginary configurations, according to the adherence of the imagination to the material elements. The image readings arisen during the workshops, as seen on the journals, were inspired by Gaston Bachelards phenomenology of the poetic imagination, taking in consideration the notions of material imagination and dynamic imagination that sustain it.Finally, a symbolic reading of the \"passages\" taken by two teenagers and an educator from CASA Osasco has been performed, based on Gilbert Durands theory on the imaginary, with the theoric aid from Junito Brandão and Erich Neumann. Connecting those three passengers and a few mythical figures, the analysis endeavors to observe how the narrators update these myths.