Thesis (M.S.)--Rochester Institute of Technology, 1995. / Typescript. Includes bibliographical references (leaves 37-40).

Thesis (M.F.A.)--Rochester Institute of Technology, 1995. / Typescript. Includes bibliographical references (leaves 32-33).

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T11:25:50Z (GMT). No. of bitstreams: 1 Barros_ErnaRaisaLimaRodriguesde_M.pdf: 17623615 bytes, checksum: 3fe497bb6760be522d553bdb37a2d353 (MD5) Previous issue date: 2012 / Resumo: Nossa pesquisa se constitui em uma tentativa de aproximação com o universo do grafite e aborda alguns aspectos de sua linguagem enquanto prática transgressora, arte contestatória, subversiva, mas também enquanto forma de expressão e representação artística que tem a capacidade de informar, carregar idéias e também de ser apresentado como veículo de expressão lúdica e poética presente nas cidades. Propomo-nos a refletir representações e intervenções estéticas que se referem a temáticas e questionamentos singulares com os quais nos munimos para pensar o papel das imagens na contemporaneidade, e o mundo através da arte / Abstract: Our research is an attempt to approach the world of graffiti and some aspects of their language as a practice transgressive, contestatory, subversive art, but also as a form of artistic expression and representation that has the ability to inform, carrying ideas and also to be presented as a means of ludic and poetic expression present in the cities. We propose to reflect representations and aesthetic interventions that relate to issue and questions with which we equip us to think the role of images in contemporary society and the world through art / Mestrado / Multimeios / Mestre em Multimeios

Philosophiae Doctor - PhD / How far can landscape photographic images allow us to interrogate the extent to which collective socio-political, cultural and economic aspirations of marginalised South Africans have, or have not, been achieved since the dawn of democracy in 1994? In thinking about such aspirations, I posit that the victims of colonialism and the Apartheid system had expectations of living in a free, non-racial South Africa where equality would be realised in political, social, cultural and economic spheres. However, I use landscape as the basis for determining the extent to which such aspirations might or might not have been achieved within the context of post-Apartheid South Africa. What role can the work of David Goldblatt (born 1930) and Santu Mofokeng (born 1956) play in facilitating our ability to read a post-Apartheid diagnosis regarding this question? These issues are the primary focus of this thesis, and connect to a range of other questions. For instance, what methodological approaches do these practitioners employ in framing their photographed landscape scenes, be they populated or depopulated? Why is landscape in the centre of this thesis, and why are these practitioners considered relevant in the context of this study irrespective of their disparate racial and cultural backgrounds? The main body of the thesis traces these photographers’ individual methodological approaches, distinguishing them from predominant modes associated with the Afrapix Collective (1982-1992) and the later Bang-Bang Club (1990-1994). It locates them within the context of ‘struggle photography’ with which the Afrapix members and the Bang-Bang Club were primarily concerned. The Bang-Bang Club in particular had a preoccupation with the framing of violent scenes that ensued in the South African political arena during the early 1990s, leading up to the national democratic elections in 1994. My argument centres on what I consider the main element that distinguishes the practitioners in question from the Afrapix and the Bang-Bang Club – the everyday. I explore how specific examples of Goldblatt’s and Mofokeng’s focus on the everyday contribute to an articulation of the role of landscape as a medium of social critique. Instead of framing sensationalist and newsworthy episodes of violent political strife within pre-1994 South Africa, Goldblatt’s long career traces the underlying causes of the social injustices and resultant power contestations while Mofokeng, who was also a member of Afrapix, looks at what I term the spiritual or ethereal elements within landscape. It is this subtlety in their approach that sets them apart from their counterparts as they use landscape as a kind of proverbial text in which we can ‘read’ human actions over time. Thus time and space are inevitably significant in the study of these photographers’ oeuvre. But what do all these elements have to do with the challenging question of land in South Africa? What do they have to do with the construction of the South African landscape? What is the role of the camera in that construction? Using photographic images as important tools, I place the land issue, especially as it is mediated through landscape construction, at the centre of my interrogation of power relations in Apartheid and post-Apartheid South Africa.

Orientador: Wencesláo Machado de Oliveira Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-27T00:07:09Z (GMT). No. of bitstreams: 1 Martinelli_IvaniaMarques_M.pdf: 15026094 bytes, checksum: 39353e48fe101470b920fb34ccab01c3 (MD5) Previous issue date: 2014 / Resumo: Imagens como forma de conhecer-pensar os sentidos espaciais da cidade de Americana/SP. Propor fascinar/encantar os sentidos dos alunos/professores com a linguagem fotográfica, com câmeras pinhole (câmeras fotográficas artesanais feitas pelos alunos), percorrendo os limites do município, captando imagens, produzindo imagens, rasurando postais. Fotógrafos tornam-se produtores de suas próprias imagens, questionando e movimentando seus saberes. Experimentações e fabulações expressam a força imagética do olhar dos alunos e dos docentes para o espaço urbano, descobrindo outras perspectivas dos lugares, permitindo elaborar outros sentidos / Abstract: Images as a way of getting to know-thinking the spatial senses in the city of Americana. We have proposed to fascinate/enchant the senses of students and teachers with the photographical language, with pinhole cameras (hand-made cameras produced by the students), as we walked the city borders, capturing images, producing images, blurring postcards. The photographers became the producers of their own images, questioning knowledge and moving thought. Experimentation and fabulation express the image strength of the way students and teachers see the urban space, finding new perspectives of the places, allowing them to create distinct senses / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestra em Educação

No description available.

High quality digital images have become pervasive in modern scientific and everyday life — in areas from photography to astronomy, CCTV, microscopy, and medical imaging. However there are always limits to the quality of these images due to uncertainty and imprecision in the measurement systems. Modern signal processing methods offer the promise of overcoming some of these problems by postprocessing these blurred and noisy images. In this thesis, novel methods using nonstationary statistical models are developed for the removal of blurs from out of focus and other types of degraded photographic images. The work tackles the fundamental problem blind image deconvolution (BID); its goal is to restore a sharp image from a blurred observation when the blur itself is completely unknown. This is a “doubly illposed” problem — extreme lack of information must be countered by strong prior constraints about sensible types of solution. In this work, the hierarchical Bayesian methodology is used as a robust and versatile framework to impart the required prior knowledge. The thesis is arranged in two parts. In the first part, the BID problem is reviewed, along with techniques and models for its solution. Observation models are developed, with an emphasis on photographic restoration, concluding with a discussion of how these are reduced to the common linear spatially-invariant (LSI) convolutional model. Classical methods for the solution of illposed problems are summarised to provide a foundation for the main theoretical ideas that will be used under the Bayesian framework. This is followed by an indepth review and discussion of the various prior image and blur models appearing in the literature, and then their applications to solving the problem with both Bayesian and nonBayesian techniques. The second part covers novel restoration methods, making use of the theory presented in Part I. Firstly, two new nonstationary image models are presented. The first models local variance in the image, and the second extends this with locally adaptive noncausal autoregressive (AR) texture estimation and local mean components. These models allow for recovery of image details including edges and texture, whilst preserving smooth regions. Most existing methods do not model the boundary conditions correctly for deblurring of natural photographs, and a Chapter is devoted to exploring Bayesian solutions to this topic. Due to the complexity of the models used and the problem itself, there are many challenges which must be overcome for tractable inference. Using the new models, three different inference strategies are investigated: firstly using the Bayesian maximum marginalised a posteriori (MMAP) method with deterministic optimisation; proceeding with the stochastic methods of variational Bayesian (VB) distribution approximation, and simulation of the posterior distribution using the Gibbs sampler. Of these, we find the Gibbs sampler to be the most effective way to deal with a variety of different types of unknown blurs. Along the way, details are given of the numerical strategies developed to give accurate results and to accelerate performance. Finally, the thesis demonstrates state of the art results in blind restoration of synthetic and real degraded images, such as recovering details in out of focus photographs.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-11T12:45:19Z No. of bitstreams: 1 Tatiana Pontes de Oliveira.pdf: 8126533 bytes, checksum: 31a5e1d438a4986c78c5ed825a5da1b5 (MD5) / Made available in DSpace on 2017-07-11T12:45:19Z (GMT). No. of bitstreams: 1 Tatiana Pontes de Oliveira.pdf: 8126533 bytes, checksum: 31a5e1d438a4986c78c5ed825a5da1b5 (MD5) Previous issue date: 2017-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research addresses the relationship between photography and the city, having as its object of study the contemporary photography produced by walking in the city. The starting point of the research is the question "How does the interaction between the city and the photography happen, considering walking as the procedure used by photographers as a strategy to establish communication with the city?". The main assumptions raised by this question are as follows: a) for having both documentary and fictional features, the photography is an ambivalent means of communication; b) The city is also characterized by ambivalence for being an environment in which interactive experiences and habits are governed by mediative order programs; c) The interaction between the ambivalences of the photographic language and the city enhances the creation of images that make visible the processes of the city and the photographer's imaginary affected by it. In order to verify the hypotheses present in this research, an extensive literature review was carried out to support the empirical analysis of the connections between the city, image and communication, as well as the nature of the photographic language and its ambivalence characterized by documentary and fictional traits. The theoretical foundation follows the goal in each chapter, therefore, in Chapter 01, the image is studied out of a network that connects three authors: Warburg, Benjamin and Flusser. The study of the image concept aims to support the following chapters, in which the relationship between photography and the city is addressed. In Chapter 02, the theoretical foundation links concepts for thinking on the city and its communicative mediative and interactive processes, as well as its dimensions of technosphere and psychosphere, as proposed respectively, by Ferrara and Santos. There is also an investigation on the ambivalence and the specificities of the photographic language taking into account the connections among works by Barthes, Dubois, Kossoy, Soulages and Fontcuberta. Finally, Chapter 03 analyzes the procedure of walking, used by photographers as a poetic strategy to put themselves in touch with the city and seize its manifestations. Having as object of study the photographic works by Daniel Ducci, Felipe Russo, Fernando Cohen and Wesley Barba, the focus of analysis is on how photographers "fable" about the city by creating new possibilities for understanding its impositions and spontaneity proposals, considering the experience of photographing and “fabling” as gestures of resistance / Esta pesquisa trata das relações entre a fotografia e a cidade, tendo como objeto de estudo a fotografia contemporânea produzida pelo caminhar na cidade. O ponto de partida da pesquisa é a pergunta “Como se dá a interação entre a cidade e a fotografia, tendo em vista o caminhar como procedimento usado pelos fotógrafos como estratégia para se colocarem em comunicação com a cidade?”. As principais hipóteses levantadas por essa questão se constituem do seguinte modo: a) Por ter simultaneamente um caráter documental e ficcional, a fotografia é meio comunicativo ambivalente; b) A cidade também se caracteriza pela ambivalência por ser um ambiente onde se processam vivências interativas e hábitos regidos por programas de ordem mediativa; c) A interação entre as ambivalências da linguagem fotográfica e as da cidade potencializa a criação de imagens que tornam visíveis os processos da cidade e o imaginário do fotógrafo afetado por ela. A fim de verificar as hipóteses da pesquisa, realizou-se ampla revisão bibliográfica para fundamentar a análise empírica das relações entre cidade, imagem e comunicação, além da natureza da linguagem fotográfica e sua ambivalência caracterizada por traços documentais e ficcionais. A fundamentação teórica acompanha o objetivo de cada capítulo, de modo que, no capítulo 01, a Imagem é estudada a partir de uma rede que conecta três autores: Warburg, Benjamin e Flusser. O estudo do conceito de imagem tem por objetivo fundamentar os capítulos seguintes, nos quais é tratada a relação entre a fotografia e a cidade. No capítulo 02 a fundamentação teórica relaciona conceitos para pensar a cidade e seus processos comunicativos mediativos e interativos, e suas dimensões de tecnosfera e psicosfera, como proposto, respectivamente, por Ferrara e Santos. Há também uma investigação sobre a ambivalência e as especificidades da linguagem fotográfica considerando as relações entre as obras de Barthes, Dubois, Kossoy, Soulages e Fontcuberta. Por fim, o capítulo 03 analisa o procedimento de caminhar, usado pelos fotógrafos como estratégia poética para se colocar em contato com a cidade e apreender suas manifestações. Tendo como objeto de estudo os trabalhos fotográficos de Daniel Ducci, Felipe Russo, Fernando Cohen e Weslei Barba, o foco de análise se colocou sobre o modo como os fotógrafos fabulam sobre a cidade criando novas possibilidades de entendimento das imposições e espontaneidades propostas por ela, considerando as experiências de fotografar e fabular como gestos de resistência

Orientador: Mariley Simões Floria Gouveia / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-04T16:20:05Z (GMT). No. of bitstreams: 1 Fernandes_HylioLagana_D.pdf: 3504766 bytes, checksum: fa238b60d38d865b9d86c1977e50680f (MD5) Previous issue date: 2005 / Resumo: Num universo cultural altamente permeado pela comunicação visual, procuramos investigar processos envolvidos no uso de imagens na escola. Para abordar esse tema partimos de experiências práticas de uso de fotografia em aulas de biologia para o ensino médio e oficinas de leitura de fotografias. A imagem pode ser uma importante ferramenta mediadora no processo de produção do conhecimento, na medida em que sua leitura polissêmica pode abrir espaço para as múltiplas visões dos alunos, mantendo (subversivamente) o respeito às interpretações e concepções dos alunos. As fotos na nossa prática atuaram como problematizadoras, estimulando a observação, criando conflitos com as representações prévias dos alunos e promovendo elaboração de perguntas que direcionaram os conteúdos específicos tratados em aula, permitindo assim que se desenvolvesse um currículo coerente com a realidade dos alunos. Mas principalmente, a partir da dimensão estética das fotos inseridas nessa dinâmica, foi possível resgatar o encantamento, a curiosidade, o prazer em descobrir e aprender / Resume: En un universo cultural donde la comunicación visual tiene gran importancia, buscamos investigar procesos respecto del uso de imágenes en la escuela. Para adentrar en el tema partimos de experiencias prácticas con el uso de fotografías en aulas de Biología para el colegio y actividades de lectura de fotografías. La imagen puede ser una herramienta importante como mediadora en el proceso de producción del conocimiento, puesto que su lectura polisémica abre espacios para las múltiples visiones de los alumnos, manteniendo (subversivamente) el respeto a las interpretaciones y concepciones de los alumnos, que pueden así coexistir con la lectura legitimada del discurso docente. Las fotos en nuestra práctica actuarán como problematizadoras, estimulando la observación, creando conflictos con las representaciones de los alumnos y promoviendo la elaboración de preguntas que direccionarán los contenidos específicos tratados en el aula, permitiendo así que se desarrolle un currículum coherente con la realidad del alumnado. Pero principalmente, partiendo de la dimensión estética de las fotos de ese trabajo, fue posible rescatar el encantamiento, la curiosidad y el placer de descubrir y saber / Abstract: In a cultural universe highly permeated by visual communication, we will look to investigate the processes involved in the use of images in the school environment. To approach this theme, we will start with the practical experiences of the use of photography in middle school biology classes and in photo analysis workshops. The image can be an important mediating tool in the process of passing on knowledge, in the sense that reading its variety of possible meanings or connotations in a group setting can open space for the different associations that the image may have for different students to be shared, whilst respecting implicitly those interpretations. Upon discussion, the photos in our experiment acted as stimuli for observation and the development of miniature conflicts with the representations of the students prior to that discussion. This promoted the elaboration of questions which directed the specific content of the course. This way, a curriculum was able to develop that fit more closely to the world of the students themselves. Principally, however, apart from the esthetic aspect of the photos that were used in this setting, it was possible to rescue the enchantment, curiosity, and pleasure in discovering and learning that can sometimes be lost in the classroom setting / Doutorado / Ensino, Avaliação e Formação de Professores / Doutor em Educação

[pt] Esta tese tem como objetivo central investigar, através de registros e reproduções fotográficas, as relações sociais, usos e costumes que emergem das imagens de professoras de escolas municipais do Rio de Janeiro, no período compreendido entre final do século XIX (década de 1890) e início do século XX (décadas iniciais), analisando como a imagem das professoras vem sendo veiculada e agregada a valores pelo documento fotográfico, refletida no cotidiano e nas práticas escolares da época focalizada neste estudo. Dessa forma, o trabalho tomou o curso de um estudo histórico-sociológico na de busca de significados, manifestos e latentes, no discurso visual das imagens fotográficas de professoras de escolas públicas do município do Rio de Janeiro, percorrendo documentos fotográficos do final do século XIX e início do século XX - Primeira República -, numa tentativa de mapear os usos e costumes pedagógicos da vida cotidiana, inseridos no trabalho docente dessas professoras que inscreveram suas identidades e como são olhadas ao longo das épocas. A escolha da cidade do Rio de Janeiro se deve ao fato de ter sido este município a capital do país, tendo abrigado e emanado, então, modos oficiais de conduta profissional para o magistério, assim como para outras profissões, além de, nos dias de hoje, continuar sendo uma cidade-pólo difusora de hábitos e costumes que se difundem por todo o país. A estrutura de análise tem como texto principal a fotografia como texto visual, tomando por base os caminhos teóricos nos estudos de Bóris Kossoy, Ana Maria Mauad, Lorenzo Vilches, Ruggiero Eugeni, Roland Barthes, entre outros autores apresentados. As considerações finais apontam que o estudo de imagens, documentos fotográficos de professoras de escolas públicas do município do Rio de Janeiro, pode trazer propostas de um novo olhar sobre a construção da identidade docente, sobre as redes onde essa identidade é tecida e se configura, não estando essas imagens alheias aos acontecimentos, tampouco às ideologias das épocas em que foram produzidas, registradas e veiculadas. Essas imagens não podem ser analisadas sem que o espectador do agora esteja impregnado da época em que vive, o que abre caminho para um dialogismo entre o registro e a visão desse observador atual. / [en] This thesis aims mainly at investigating, through photographic records and reproductions, the social relations and customs which emerge from the analysis of images of Rio de Janeiro`s municipal school teachers, during the period between the end of the 19th century (the 1890s) and the beginning of the 20th century (its initial decades). By analyzing how the images of the teachers was made public and attached to values through photographic documents, reflected in everyday school practices of the period investigated, the work took the form of a historicalsociological study. This search for meaning in the visual discourse of the photographic images analyzed allowed the mapping of the everyday pedagogical customs of these female teachers who imprinted their identities. The structure used to analyze the photographs was based on the premise which also defines photography as a visual text, benefiting from the theoretical leads laid by Boris Kossoy, Ana Maria Mauad, Lorenzo Vilches, Ruggero Eugeni, Erwin Panofsky, Roland Barthes, among other authors cited. The city of Rio de Janeiro was chosen because it was the country`s capital until the year 1960, besides the fact that, nowadays, it remains a broadcasting hub in terms of habits and customs which spread throughout the country, having, therefore, welcomed and emanated official modes of professional conduct; in the case of this thesis, the identity of female schoolteachers. The final considerations of the work point out that the study of images and photographic documents of Rio de Janeiro`s elementary public school teachers offers a new look on the construction of the teaching identity, on the networks from which this identity is woven. These images do reflect the facts as well as the ideologies of the periods in which they were produced, recorded and made public. They can only be analyzed if today`s audience is permeated not only by the time in which it lives, but also by the context in which these photographs were taken, which opens the way to a dialogue between the record and the view of the contemporary observer.