The fundamental essence covered the central role of representation of meaning within signs of photographic images captured of the September 11, 2001 terrorist attacks on the United States of America, in Time magazine’s September 11, 2001 special edition. This was done in order to determine how sign representation appeared in relation to philosophical sociologist Jean Baudrillard’s concepts of simulacra, simulation, hyperreality and massification. These concepts were assessed in relation to dominant theme categories and sub themes contained in the photographic images of this publication by means of a qualitative thematic content analysis. The motivation for the selection of this event was based on its magnitude and worldwide consequences. Furthermore, the images were selected in the specified mass media medium of Time magazine based on Baudrillard’s inference that consumption within a society is based on the controlling codes of society and one of these codes is the mass media. Hence the mass media have control over the value which a sign will have in a specific society thus giving it meaning, and on its inception AOL/Time Warner was the largest media conglomerate ever formed. Therefore what messages they deem as significant to be disseminated will become a controlling code of what signs have which meaning on a global scale. Moreover, Baudrillard believes that the mass media create a dominant belief system, which creates mass ideas and one of the ways in which massification occurs is through the use of images. As such, visuals play a powerful role in the representation of major world events. Particularly photographs because they are a reflection and thus form part of the registration process of what is being witnessed, where in this case it was the terrorist attacks of September 11, 2001. Hence visual images of world events are displayed globally by the mass media, which in turn propagate their own mediation of events and in this particular case terrorism fuelled the massified information that was dispersed. This information is circulated on a global scale via the mass media based on what will generate the most capital by creating what is consumable. What has occurred in the mass media arena is that ownership structures have changed and today there is a major increase in media conglomerates with media power being in fewer and fewer hands. This leads to information flow that is skewed by a specified ideology, which in the case of Time magazine would be a western ideology. In line with the established motivation as well as the dominance of visual supplements in much of the coverage of September 11, 2001, the overriding research problem was to determine how meaning was represented in the signs, from a Baudrillardian perspective, in the dominant themes in selected visuals in Time magazine’s September 11, 2001 special edition. Based on the research, a key underlying finding revealed the idea that in mass mediated cultures everything is a sign and representation of the real and therefore the real loses meaning and is replaced by a hyperreal and thus image and form devour the real and audiences are seduced by the values of signs. / Andrea Crystal

Submitted by Maicon Juliano Schmidt (maicons) on 2015-04-17T13:16:26Z No. of bitstreams: 1 André Riani Costa Perinotto.pdf: 19371191 bytes, checksum: e07308ea4e5837ae47d0ea1b57937bf2 (MD5) / Made available in DSpace on 2015-04-17T13:16:26Z (GMT). No. of bitstreams: 1 André Riani Costa Perinotto.pdf: 19371191 bytes, checksum: e07308ea4e5837ae47d0ea1b57937bf2 (MD5) Previous issue date: 2013-08-05 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / UFPI - Universidade Federal do Piauí / Propomos aqui, através do método cartográfico de pesquisa em Comunicação, analisar a circulação de fotografias turísticas em diferentes mídias. Deste modo, ao realizarmos uma discussão sobre a relação entre Comunicação e Turismo, observamos o quanto é importante a contribuição das imagens fotográficas para a atividade turística e para o fenômeno turístico em vários aspectos. Assim, passeamos por entre as imagens fotográficas nas mídias selecionadas, cartografando a circulação como um flâneur em trânsito por diferentes mídias. Neste movimento, pudemos nos deparar com aproximações e distanciamentos, rupturas, territorialidades e prolongamentos de diferentes circuitos e ações da circulação. A produção de mapas/cartas para a análise geral de nosso objeto foi preponderante e contribuiu também para ilustrar esses caminhos e esses circuitos, essas ações da circulação. / We propose here, through the cartographic method of communication research, analyze tourist photograph’s movement in different medias. In this way, when we conduct a discussion on the relationship between Communication and Tourism we observed how important is the contribution of photographic images for tourist activities and for the tourism phenomenon in several aspects. Thus, we strolled through the photographic images in the selected medias mapping the circulation as flâneur in transit through different medias. In this movement, we may come across with similarities and differences, breaks, territoriality and prolongations of different circuit and circulation actions. The generation of maps for an overview of our object was preponderant and also contributed to illustrate these ways and these circuits, these circulation actions.

This essay proposes the comprehension of mechanisms that act in the right moment when the picture is taken; the profile is the analysis of photographic images from Japanese immigrants in the development of the photographs in Londrina City – state of Paraná, between 1930 and 1960. It aims to analyze the photographs and verify which of the three conditioning synecdoche factors acted on the Japanese photographers in the photo capture. The factors are: 1st Conditioning Synecdoche Factor – Grammar Literacy (the image elements are unconsciously framed by the initial direction of the individual language literacy, or from the left to the right or from the right to the left). 2nd Conditioning Synecdoche Factor – Kodak Manual (the image elements are unconsciously framed on the center of the frame by paradigm and also by a technical limitation imposition from the time, that conducted centering the main object to preserve a secure register of the event, once there was a risk of burning the images edge). 3rd Conditioning Synecdoche Factor – Technology + Rule of Thirds (the image elements are consciously framed in any part of the frame since it’s possible to fulfill the edges of the frame by technology, added to the options of positioning the objects in the golden ratio spots, revealing a graphic pattern tuned with the aesthetic harmony). / Esta dissertação propõe compreensão dos mecanismos que agem no momento da captura fotográfica; o recorte é a análise das imagens fotográficas dos imigrantes japoneses, no desenvolvimento da fotografia no município de Londrina-PR, entre os anos de 1930 a 1960. Tem o objetivo de analisar as fotografias e detectar qual dos três fatores sinédoque condicionantes agiu sobre os fotógrafos japoneses na captura fotográfica. Os fatores são: 1º Fator Sinédoque Condicionante – Alfabetização Gramatical (os elementos da imagem são enquadrados inconscientemente pela direção inicial da alfabetização do idioma do indivíduo, ou seja da esquerda para direita ou da direita para a esquerda). 2º Fator Sinédoque Condicionante – Manual Kodak (os elementos da imagem são enquadrados inconscientemente no centro do fotograma por paradigma e também por uma imposição da limitação técnica da época, que orientava centralizar o objeto principal para preservar um registro seguro do evento, pois corria-se o risco de queimar as bordas da imagem). 3º Fator Sinédoque Condicionante – Tecnologia + Regra dos Terços (os elementos da imagem são enquadrados conscientemente em qualquer parte do fotograma, sendo possível através da tecnologia preencher as bordas do fotograma, somadas as opções de posicionamento dos objetos nos pontos áureos, revelando um padrão gráfico sintonizado com a harmonia estética).

Thesis (MA (Visual Art))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: Hierdie tesis is bemoei met die wyse waarop die fotobeeld konvensioneel aan 'n mimetiese kode van "gedrag" onderhewig is, met die gevolg dat alternatiewe voorstellingsfunksies dikwels buite oorweging gehou word. 'n Interessante area van ondersoek word blootgestel wanneer die komplekse verhouding tussen die toeskouer en beeld betrek word om die broosheid van eersgenoemde se agentskap in die waarnemingproses te beklemtoon. Dit is dus vanuit hierdie gewaarwording dat ek my bespreking van die fotobeeld grotendeels binne 'n psigoanalitiese raamwerk situeer en aan die hand van konsepte soos Einfühlung, die Lacanian Real en John Dewey (2005) se teorie van kuns as ervaring, bespreek. Die skynbaar teenstrydige aard van die fotobeeld as (onder andere) beide mimetiese realiteitskopie en piktoriale fiksie, ooglopend onafhanklik van taal en eweveel deurspek met diskursiewe vertolkings, openbaar volgens my egter die ideale vertrekpunt vanwaar fotografie se voorstellingsfunksie heroorweeg kan word. Dié opponerende tweespalt, wat as kenmerkende karaktertrekke van die fotobeeld na vore tree, noop die toeskouer om die beeld met 'n verhoogde sensitiwiteit te benader – met die gevolg dat die foto se onlosmaaklike skakel met "haar"1 diskursiewe grense en aptyt vir die "onsêbare" as konstruktiewe koalisie gesien word. Die fotografiese werk van Lien Botha, veral haar Amendment–reeks (2006) en Parrot Jungle (2009), sal deurentyd as visuele bevestiging van my argumente betrek word. / ENGLISH ABSTRACT: This thesis is concerned with the way in which the photographic image has conventionally been subject to a mimetic code of "behaviour", resulting in the marginalization of alternative, representational functions. An interesting area of study is, however, laid bare when the complex relationship between the viewer and image initiates a discussion around the former's wavering position as autonomous agent within the observation process. Using this awareness as a point of departure, my discussion will be primarily situated within a psychoanalytic framework by focusing partly on concepts like Einfühlung, the Lacanian Real and John Dewey's theory of art as experience. An apparent dualistic rivalry, that situates the photo-image simultaneously as a mimetic agent of reality and pictorial fiction, apparently devoid of language and equally riddled with discursive interpretations, serves furthermore as an ideal complication of the photograph's conventional, representational function. These opposing "forces", recognizable as a typical characteristic of the photographic image, subtly challenges the viewer to regard it with a heightened sensitivity – resulting in an awareness that the photograph's inseparable bond with its discursive boundaries, and appetite for the "unrepresentational", does in fact represent a constructive coalition. The photographic work of Lien Botha, especially her Amendment-series (2006) and Parrot Jungle (2009) will serve as a visual emphasis of my arguments.

本篇論文意在分析探討葛拉斯的小說《錫鼓》中主角侏儒奧斯卡照片影像式的敘事觀點，以其顛覆且批判德國二次大戰納粹時期的歷史。透過侏儒奧斯卡以回憶述說故事的方式，從被主流歷史掩埋的廢墟殘跡中，提出斷簡殘篇但相互關聯如星宿圖般的照片影像，以存留於照片影像中破碎的個人歷史抵抗正統歷史泯滅真相的力量。由奧斯卡小人物般卑下的目光如攝影鏡頭或伸縮、或放大、或停格的控訴納粹法西斯的惡行，及支持此一罪行的共犯結構— 德國中產階級的狂熱盲從，指摘納粹歷史如場荒誕鬧劇，德國小市民的亂倫敗德與搖旗吶喊的愚昧瘋狂。本論文欲透過班雅明(Walter Benjamin)、蘇珊•宋塔(Susan Sontag)、巴特(Roland Barthes)及德勒茲(Gilles Deleuze)與瓜達里(Félix Guattari)等人之理論架構逐章論述，分析奧斯卡之敘事觀點。首先以其畸形矮小身形猶如攝影式觀看，維持自身與外在世界的批判距離，且將事件做極度怪奇的放大或縮小，試圖還原歷史洪流中被淹沒或為人輕忽的細節。接著透過奧斯卡親人的死亡和他們留存在家庭相簿中的身影，以之視為凝結停頓時空的休止(caesura)和刺點(punctum)，交互出生者與死者，過去與現在，個人與歷史之間的辯證對話。最後探討照片式影像如部份物體(partial object)具有流動、多元、破碎的顛覆特質，檢視奧斯卡的觀點如何逃脫歷史、民族、國家所匯聚的統一整體，解除支配社會場域的「父–母–我」的伊底帕斯關係之力量，揭露納粹如父如神之形象背後的壓抑與荒謬，使其造成的歷史浩劫定格顯影。 / This thesis investigates Gűnter Grass’s The Tin Drum from the perspective of photographic images, using theories drawn from Walter Benjamin, Susan Sontag, Roland Barthes, Gilles Deleuze and Felix Guattari. Acclaimed as the greatest German novel written since the end of World War II, The Tin Drum is supposedly an autobiographical fiction of Oskar Matzerath, a character who, willingly stunting his growth at the age of three, has lived through the long Nazi nightmare and the loss of Danzig City. Wielding his tin drum and piercing scream as weapons, Oskar furnishes the reader with a profound yet hilarious recollection in the form of fragmented yet correlative photographic images on both German history and the human predicament in the modern world. Chapter One explores the effect of alienation resulting from Oskar’s grotesque perspective from Sontag’s idea of photographic seeing and Benjamin’s “distraction” element of the technical media. Oskar observes the adult world, from which he chooses to withdraw, from an unusual angle gained by his dwarfish size. His perspective, likened to the enlargement or close-up of a camera, displays the grotesquery in ordinary events to reveal what is hidden from us. Chapter Two prospects the force of interruption or arrest grounded on Oskar’s bereavement, with Benjamin’s caesura and Barthes’ punctum of photographic images. Death in the photographic images is endowed with the capacity to arrest and petrify the historical movement. The break from the present moment enables the rereading and refiguring of history. The Deleuzo-Guattarian conception of partial objects is employed in Chapter Three to explore how Oskar viewing the external world as objectivized images helps engender revolutionary forces to subvert the orthodox history. The photographic images in the appearance of partial objects break through the totalizing power of orthodox history and bring forth a dialectical optic to examine the past, present and future.

Orientador: Vera Hercilia (Vavy) Pacheco Borges / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-06T09:49:26Z (GMT). No. of bitstreams: 1 ElibioJunior_AntonioManoel_D.pdf: 1874984 bytes, checksum: 1df674716f12717327fa45f9075e129e (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa tem como objetivo analisar a trajetória política de José Antônio Flores da Cunha que governou o Estado do Rio Grande do Sul entre os anos de 1930 e 1937. As questões que orientaram esta investigação giraram em torno da análise da construção da liderança política de Flores da Cunha através da troca epistolar com inúmeros atores políticos e sociais. Nesse sentido, as perguntas às quais procuramos responder podem ser formuladas nos seguintes termos: Quais eram os liames políticos estabelecidos por Flores da Cunha e o Governo Federal? Como situar a gestão política de Flores da Cunha no âmbito dos Partidos Políticos do Rio Grande do Sul? Quais os embates travados pelo político nos momentos da Revolução de 1930, Revolução Constitucionalista de 1932, durante os trabalhos da Assembléia Nacional Constituinte em 1934 e a partir da decretação do Estado de Sítio em 1935? Para discutir esses aspectos, empregamos como fonte tanto os documentos epistolares depositados no Centro de Pesquisa de História Contemporânea do Brasil ¿ CPDOC ¿ FGV, no Fundo do Gabinete Civil da Presidência no Arquivo Nacional, no acervo da Biblioteca Nacional-, quanto os jornais A Federação, Jornal da Manhã, Correio do Povo, Diário Liberal depositados no acervo do Museu de Comunicação Social Hipólito da Costa. Além disso, também usamos como fontes as edições da revista do Instituto Histórico e Geográfico do Rio Grande do Sul publicadas entre os anos de 1921 e 1937. Os resultados aos quais chegamos possibilitam apreender que, embora não exercendo uma efetiva interferência na política nacional, Flores da Cunha mediou constantemente às demandas políticas e econômicas do Rio Grande do Sul e, a partir de 1935, iniciou um franco confronto com Getúlio Vargas. Concluímos, também, que a mediação de Flores da Cunha entre o poder federal e as elites econômicas e políticas do Rio Grande do Sul, não se fundou exclusivamente em uma mera disposição deste em acatar as designações do Governo Federal, mas, sim, constituiu uma prática política de negociações baseada numa diversidade de interesses circunstanciais / Abstract: This research aims to analize the political trajectory of José Antônio Flores da Cunha who has led the brazilian state of Rio Grande do Sul between the years of 1930 and 1937. The issues that guided this investigation revolved around the analyses of the construction of the political leadership of Flores da Cunha through the exchange of written record with many social and political actors. Due to this fact, the questions that are sought to be answered can be made on these terms: What were the political limits stablished by Flores da Cunha and the Federal Government? How to locate the political management of Flores da Cunha in the Political Parties scenario in Rio Grande do Sul? What were the conflicts fought by this politician during the 1930¿s Revolution, the Constitutional Revolution of 1932, during the works around the stablishment of the Federal Constitution in 1934 and from the time of the State of Siege in 1935? To discuss these aspects, the source of the research was as follows: the letters found at the Centro de Pesquisa de História Contemporânea do Brasil ¿ CPDOC ¿ FGV, at the Fundo do Gabinete Civil da Presidência no Arquivo Nacional, the collection found at the Brazilian National Library, the newspapers A Federação, Jornal da Manhã, Correio do Povo, Diário Liberal, stored at the Museu de Comunicação Social Hipólito da Costa in Porto Alegre. Some issues of the magazine of the Instituto Histórico e Geográfico do Rio Grande do Sul, published between the years of 1921 and 1937, were used as source as well. The results achieved made it possible to learn that, although not making an effective interference in the national politics, Flores da Cunha mediated constantly the economic and political demands of Rio Grande do Sul, and starting in 1935 he iniciated an open confrontation with Getúlio Vargas. It was also concluded that the mediation of Flores da Cunha between the federal power and the economic and political elites of Rio Grande do Sul wasn¿t simply based in his attempts to attack the designations of the Federal Government, but instead, it was a political practice of negociation settled on a variety of circunstancial interests / Doutorado / Politica, Memoria e Cidade / Doutor em História

High quality image /video has become an integral part in our day-to-day life ranging from many areas of science, engineering and medical diagnosis. All these imaging applications call for high resolution, properly focused and crisp images. However, in real situations obtaining such a high quality image is expensive, and in some cases it is not practical. In imaging systems such as digital camera, blur and noise degrade the image quality. The recorded images look blurred, noisy and unable to resolve the finer details of the scene, which are clearly notable under zoomed conditions. The post processing techniques based on computational methods extract the hidden information and thereby improve the quality of the captured images. The study in this thesis focuses on deconvolution and eventually blind de-convolution problem of a single frame captured at low light imaging conditions arising from digital photography/surveillance imaging applications. Our intention is to restore a sharp image from its blurred and noisy observation, when the blur is completely known/unknown and such inverse problems are ill-posed/twice ill-posed. This thesis consists of two major parts. The first part addresses deconvolution/blind deconvolution problem using Bayesian approach with fuzzy logic based gradient potential as a prior functional. In comparison with analog cameras, artifacts are visible in digital cameras when the images are enlarged and there is a demand to enhance the resolution. The increased resolution can be in spatial, temporal or even in both the dimensions. Super resolution reconstruction methods reconstruct images/video containing spectral information beyond that is available in the captured low resolution images. The second part of the thesis addresses resolution enhancement of observed monochromatic/color images using multiple frames of the same scene. This reconstruction problem is formulated in Bayesian domain with an aspiration of reducing blur, noise, aliasing and increasing the spatial resolution. The image is modeled as Markov random field and a fuzzy logic filter based gradient potential is used to differentiate between edge and noisy pixels. Suitable priors are adaptively applied to obtain artifact free/reduced images. In this work, all our approaches are experimentally validated using standard test images. The Matlab based programming tools are used for carrying out the validation. The performance of the approaches are qualitatively compared with results of recently proposed methods. Our results turn out to be visually pleasing and quantitatively competitive.

Modeling the "thick description" of photographs began at the intersection of personal and institutional descriptions. Comparing institutional descriptions of particular photos that were also used in personal online conversations was the initial phase. Analyzing conversations that started with a photographic image from the collection of the Library of Congress (LC) or the collection of the Manchester Historic Association (MHA) provided insights into how cultural heritage institutions could enrich the description of photographs by using informal descriptions such as those applied by Facebook users. Taking photos of family members, friends, places, and interesting objects is something people do often in their daily lives. Some photographic images are stored, and some are shared with others in gatherings, occasions, and holidays. Face-to-face conversations about remembering some of the details of photographs and the event they record are themselves rarely recorded. Digital cameras make it easy to share personal photos in Web conversations and to duplicate old photos and share them on the Internet. The World Wide Web even makes it simple to insert images from cultural heritage institutions in order to enhance conversations. Images have been used as tokens within conversations along with the sharing of information and background knowledge about them. The recorded knowledge from conversations using photographic images on Social Media (SM) has resulted in a repository of rich descriptions of photographs that often include information of a type that does not result from standard archival practices. Closed group conversations on Facebook among members of a community of interest/practice often involve the use of photographs to start conversations, convey details, and initiate story-telling about objets, events, and people. Modeling of the conversational use of photographic images on SM developed from the exploratory analyses of the historical photographic images of the Manchester, NH group on Facebook. The model was influenced by the typical model of Representation by Agency from O'Connor in O'Connor, Kearns, and Anderson Doing Things with Information: Beyond Indexing and Abstracting, by considerations of how people make and use photographs, and by the notion of functionality from Patrick Wilson's Public Knowledge, Private Ignorance: Toward a Library and Information Policy. The model offers paths for thickening the descriptions of photographs in archives and for enriching the use of photographs on social media.