The aim of this thesis is to analyse methods of capturing and presenting women applied by selected Czech male and female photographers on the social network of Instagram. The first subchapter addresses the topic of digital photography, the transition from the analogue age to the digital one, and the manipulation of the photographic image. The second and third subchapters study social networks along with their impact on the contemporary society, focusing in detail on Instagram and its visual communication. The following part of the thesis addresses gender issues, gender stereotypes, and social inequalities, focusing apart from others on gender stereotypes in visual media and on social networks. The practical part is based on two approaches - a quantitative content analysis of visual communications, i.e. research into selected Instagram content by eight male and female photographers, and qualitative interviews with some of these authors. The main research question is: "What are the manifestations of deep-rooted gender stereotypes in depictions of women in photographs by selected Czech male/female photographers on Instagram?" Replies to this question were collected using six specific sub questions. The quantitative content analysis provided replies to sub questions dealing in particular with the...

In the first chapter we will have a look at the transformation and evolution of a photo-camera which on its way to become a medium ofcommunication came a long way from cumbersome glass-plate machinery to the current ubiquitous day-to-day personal digital companion. In the second chapter we will explore the effects of digitisation on the theoretical notion of photography and its position in the present context. Next we will touch on the movement of pragmatism (primarily those versions ofCharles Sanders Peirce and William James) that will allow us to regard our matter as a more holistic interactive problem than dissected pieces of a puzzle; and we will also recapitulate parts of Peirce's theory of signs that are relevant to our cause. The fourth chapter is about the ability of symbolic reasoning - a feature so unique in the world that it is only found in humans and whose principles are very close to the thought-sign system that Peirce devised. In the fifth and last chapter we will see how all that connects to the photographs themselves when they are used in the current digital intention-laden semiotic manner. I

The history of photography represents a constant technological development of the medium towards increasing sophistication, which is related to spreading possibilities of complex control upon semantic meaning of each camera image. The thesis comparatively analyses expressive possibilities of film and digital photography with emphasis on the relations of both medium with other audiovisual means of communication. The thesis compares technological possibilities of both medium and focuses on growing integration of digital methods of imaging with new media through computer graphics. The thesis focuses on transforming role of photography in the society which is connected with democratization of access to cameras and the possibility of sharing resulting images via internet and social media. Based on described data the author points out the changing role of the creator and the viewer in the process of interpretation of visual images.

Les travaux présentés dans cette thèse concernent l’utilisation de données de télédétection inédites pour le suivi des glaciers du massif du Mont Blanc : les images radar à synthèse d’ouverture Haute Résolution (HR) du satellite TerraSAR-X et les prises de vue HR d’un appareil photo numérique automatique. Cette thèse s’attache à montrer l’apport de ces sources d’informations hétérogènes pour mesurer le déplacement de surface des glaciers alpins. Dans cette optique, un examen des méthodes de mesure de déplacement spécifiques à chacun des deux types d’images est réalisé. Deux approches sont alors explorées : la mesure de déplacement monosource dans la géométrie propre à chaque capteur et la mesure de déplacement multisource via des combinaisons intra-capteur et inter-capteur. Alors que l’approche monosource fournit uniquement des mesures 2D du déplacement, les mesures multisources permettent pour la première fois d’estimer des champs de déplacement 3D de la surface des glaciers du Mont Blanc. Les mesures ont été réalisées sur plusieurs séries temporelles d’images couvrant la période 2008-2009 pour quatre glaciers du massif du Mont Blanc (Argentière, Mer de Glace/Leschaux, Bossons et Taconnaz). Dans le contexte du changement climatique, ces mesures de déplacement de surface fournissent une donnée intéressante en glaciologie pour contraindre les modèles numériques d’écoulement et d’évolution des glaciers. / The works presented in this PhD thesis focuses on the use of new remote sensing data for "massif du Mont Blanc" glaciers’ monitoring: High Resolution (HR) synthetic aperture radar images of TerraSAR-X satellite and HR shooting of the automatic digital camera. This thesis will show the contribution of this heterogeneous information to the measurement of the surface displacement of alpine glacier. For this purpose, a review of displacement measurement methods specific to each of the two types of image is proposed. Then two approaches are explored: the mono-source displacement measurement in the geometry for each sensor and the multi-source displacement measurement via intra-sensor and inter-sensor combinations. While the mono-source approach provides only 2D displacement measurements, multi-source measurements allow, for the first time, the estimation of 3D surface displacement fields of the Mont Blanc glaciers. The measurements were performed on several image time series covering the period 2008-2009 for four Mont Blanc glaciers (Argentière, Mer de Glace/Leschaux, Bossons et Taconnaz). In the context of global warming, these surface displacement measurements provide interesting data in the glaciology domain in order to constrain flow and evolution digital models.

Made available in DSpace on 2016-04-26T18:12:56Z (GMT). No. of bitstreams: 1 Mariane Tojeira Cara Almeida.pdf: 5557837 bytes, checksum: fb622e5ef3c9e42dd0293e390a91de07 (MD5) Previous issue date: 2013-05-23 / Fundação de Amparo a Pesquisa do Estado de São Paulo / Since the beginning of the twentieth century, the teenagers use interpersonal communication resources mediated for sociability purposes, having as first mean the wire line telephone, which lasted until the end of the 1990 s. In the early 21th century, with the advent of social networking, the body invisibility of the wire line telephone was supplanted by extra-visibility of digital photos posted on personal pages. These are images worked in details in order to present spectacular bidimensionalized corporeality. This is the object of this research that aims to analyze, from a semiotic point of view, these images that, far from simple capture of the anatomic-physiologic body arise, present, in fact, the Ideal I emulated in media images. The selection of the corpus of pictures focused on images of teenagers, because these are subjects who experience a peculiar biological stage, at a time when the body undergoes changes of puberty, surrendering to image editing, either it in stage of pre-production, production, or post-production. The conceptual frameworks first by understanding youth passes while class invented in the 19th century, highlighting the main Latin American theorists that study on the subject and reinforce the relevance of the media to the juvenile temporal clippings from the early 1950. Regarding the photographic images, bring to light the texts of Vilem Flusser, Roland Barthes and Lucia Santaella. By handling bodily images highlighted by digital photo, Act was important to consider the Sigmund Freud´s concept of narcissism, Jacques Lacan's mirror stage and the selfconstitution of the subject by Michel Foucault. Supported in this theoretical framework, the research followed to the empirical application. It is based on a methodology composed by a quantitative survey examined statistically, followed by two qualitative analysis: the first discusses the content of sentences written by teens about the Act of editing images, and the second presents a set of photographs of users of social networks, studied by the bias of peircian semiotics. From this research it was concluded that when adolescent girls post their selfportraits in the network, they become despots about themselves, enabling and disabling the signs that they represent in order to receive the approval of friends by the comments and by acts of "enjoy". It proves that the spectacular corporeality is predominantly visual production of the objectified subject on disposed images, ready to meet the gaze of the other / Desde meados do século XX, as adolescentes utilizam os recursos da comunicação interpessoal mediada com fins de sociabilidade, tendo como primeiro meio o telefone fixo, que perdurou até o final dos anos 1990. No início do século XXI, com o advento das redes sociais, a invisibilidade corporal da telefonia fixa foi suplantada pela extra-visibilidade das fotografias digitais postadas em páginas pessoais. Trata-se de imagens detalhadamente trabalhadas para apresentarem uma corporeidade espetacular bidimensionalizada. Este se constitui no objeto de estudo desta pesquisa que tem por objetivo analisar, sob um ponto de vista semiótico, essas imagens que, longe de advir da simples captação do corpo anatomofisiológico, apresentam, na realidade, o Ideal de Eu emulado nas imagens midiáticas. A seleção do corpus de fotos voltou-se para as imagens de adolescentes, porque esses são sujeitos que vivenciam uma fase biológica peculiar, num momento em que o corpo passa por modificações próprias da puberdade, rendendo-se às interferências da edição de imagem, seja na fase de pré produção, produção ou pós produção. O arcabouço conceitual passa primeiramente pelo entendimento da juventude enquanto classe inventada no século XIX, destacando os principais teóricos latino-americanos que se debruçam sobre o tema e reforçam a relevância das mídias para os recortes temporais juvenis a partir da década de 1950. No que tange às imagens fotográficas, trazemos à luz os textos de Vilém Flusser, Roland Barthes e Lucia Santaella. Por tratarmos de imagens corporais evidenciadas pelo ato fotográfico digital, foi importante considerar o conceito de narcisismo, de Sigmund Freud, o estádio do espelho de Jacques Lacan e a autoconstituição do sujeito de Michel Foucault. Apoiados nesse referencial teórico, a pesquisa seguiu para a aplicação empírica. Esta se baseou em uma metodologia composta de um levantamento quantitativo analisado estatisticamente, seguido de duas análises qualitativas: a primeira aborda o conteúdo das frases escritas pelas adolescentes a respeito do ato de edição de imagens, a segunda apresenta um conjunto de fotografias de usuárias das redes sociais, estudadas pelo viés da semiótica peirciana. Concluiu-se disso que as adolescentes, ao postarem seus autorretratos na rede, tornam-se déspotas de si, habilitando e desabilitando sua própria representação com a finalidade de receberem a aprovação dos amigos nos comentários e nos atos de "curtir". Comprovou-se também que a corporeidade espetacular é predominantemente a produção visual de sujeitos objetificados em imagens alienadas, prontas para satisfazer o olhar do outro

Made available in DSpace on 2016-04-26T18:17:36Z (GMT). No. of bitstreams: 1 Luciano Denardi Alarcon.pdf: 18041680 bytes, checksum: 6100eb21451d5a0d7c0f6143e523f2c6 (MD5) Previous issue date: 2008-12-22 / After the golden age of photography s club, the amateur photographer was demoted to the category of mere user of the photographic cameras. But the history of photography shows that this is a great injustice, because the amateur production always had a fundamental importance in the development of photography. After all, while a professional photographer was produced portraits in studios, the amateurs developed new techniques and languages. This dissertation main goal is to see what extent it is possible to differentiate the professional production of amateur production only comparing the imagetic result obtained by each of them. Through interviews, conducted between 2006 and 2008, and analyzing the production of photographic professionals and amateurs, we noticed that the professional and amateur categories have become inadequate to handle the large imagetic production generated from use with the photographic digital cameras and disseminated on the Internet. Today, with the use of digital equipments, we are active participants and witnesses of the formation of a new photography s club movement in the computer network. This new amateur production deserves a watchful eye, because brought in the light of knowledge photographic, a public that simply recorded moments with the cameras. Under the question of piece of art s unity proposal by Walter Benjamin and the communicology of Vilém Flusser, we come to the conclusion that what makes the difference in the development of thinking and producing photographic is the relationship of the photographer with the equipment. Since, with increasingly intuitive cameras, produce a beautiful photograph is easy. Therefore today, be a photographer is work more with ideas than with techniques / Após os tempos áureos do movimento fotoclubista, o fotógrafo amador acabou relegado à categoria dos simples usuários de câmeras fotográficas. Porém, a história da fotografia nos mostra que esta é uma grande injustiça, pois a produção amadora sempre teve um papel fundamental no desenvolvimento da fotografia. Afinal, enquanto os fotógrafos profissionais produziam retratos em seus estúdios os amadores desenvolviam novas técnicas e linguagens. Esta dissertação tem como objetivo principal analisar até que ponto é possível diferenciar a produção profissional da amadora apenas comparando o resultado imagético obtido por cada uma delas. Através de entrevistas, realizadas entre 2006 e 2008, e análises da produção fotográfica de profissionais e amadores, percebemos que as categorias profissional e amadora se tornaram insuficientes para dar conta da profusão fotográfica gerada com as câmeras digitais e disseminada na Internet. Hoje, com a utilização dos equipamentos digitais, somos agentes e testemunhas da formação de um novo movimento fotoclubista na rede de computadores. Esta nova produção amadora merece um olhar atento, pois trouxe, à luz do conhecimento fotográfico, um público que simplesmente registrava momentos com suas câmeras. Sob a questão da unicidade da obra de arte levantada por Walter Benjamin e a comunicologia de Vilém Flusser, concluímos que o que faz a diferença no desenvolvimento do pensar e produzir fotográfico é a relação do fotógrafo com o equipamento. Já que, com câmeras cada vez mais intuitivas, produzir uma bela fotografia é fácil. Portanto hoje, ser fotógrafo é trabalhar mais com idéias do que técnicas

Abstract In this Research paper and through my Studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject. I also investigate the relationship between the maternal abject and the artistic process through the writings of Kristeva. Abjection is illustrated through the works of Mona Hatoum, Fiona Hall, Hieronymus Bosch, and Paul Quinn. The maternal abject is illustrated through the works of Mary Kelly, Cindy Sherman, Frida Kahlo, Louise Bourgeois. A possible reading of the maternal abject is given through the works of Gregory Crewdson, Joel-Peter Witkin and Francis Bacon. The studio work is in two parts. The first part is a series of layered photomedia images. The layers consist of a naked female body, which has been merged with Renaissance like Madonna and Child images. Texture, such as stones and spikes, is embedded to signify the fragility and strength of the body. Children are also present and are merged with the adult female body. All images are cradled in a darkened atmosphere in order to draw the viewer inside the images. The second part is a bassinet, which has been drilled and pierced by thousands of pearl-headed steel pins. This piece signifies the dichotomy of the motherhood experience, which on the one hand is rewarding and fulfilling and on the other an abject and isolating experience of no apparent economic value. The two parts interact so that the bassinet piece with its threatening exterior acts as an aggressor towards the photomedia images.

Abstract In this Research paper and through my Studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject. I also investigate the relationship between the maternal abject and the artistic process through the writings of Kristeva. Abjection is illustrated through the works of Mona Hatoum, Fiona Hall, Hieronymus Bosch, and Paul Quinn. The maternal abject is illustrated through the works of Mary Kelly, Cindy Sherman, Frida Kahlo, Louise Bourgeois. A possible reading of the maternal abject is given through the works of Gregory Crewdson, Joel-Peter Witkin and Francis Bacon. The studio work is in two parts. The first part is a series of layered photomedia images. The layers consist of a naked female body, which has been merged with Renaissance like Madonna and Child images. Texture, such as stones and spikes, is embedded to signify the fragility and strength of the body. Children are also present and are merged with the adult female body. All images are cradled in a darkened atmosphere in order to draw the viewer inside the images. The second part is a bassinet, which has been drilled and pierced by thousands of pearl-headed steel pins. This piece signifies the dichotomy of the motherhood experience, which on the one hand is rewarding and fulfilling and on the other an abject and isolating experience of no apparent economic value. The two parts interact so that the bassinet piece with its threatening exterior acts as an aggressor towards the photomedia images.

Background: A maioria dos métodos de rastreamento do câncer de colo de útero depende da colposcopia para a confirmação do diagnóstico. A colposcopia sofre com a falta de disponibilidade, a necessidade de longos deslocamentos por parte das pacientes e longas filas de espera. Objetivo: Avaliar o desempenho da Fotografia Cervical Digital como um método alternativo à colposcopia. Método: Foram realizadas colposcopies e Fotografias Digitais Cervicais em 228 pacientes. As Fotografias Digitais Cervicais foram avaliadas através da internet por três colposcopistas experientes. A concordância entre os métodos foi calculada através de Kappa e as porcentagens de concordância. Sensibilidade, especificidade, valor preditivo positivo, valor preditivo negativo e acuracia diagnóstica foram calculados para a colposcopia e a Fotografia Cervical Digital. A histologia foi utilizada como padrão-ouro. Resultados: A Fotografia Cervical Digital e a colposcopia concordaram em 89,9% dos casos (K=0,588). A Fotografia Cervical Digital e a colposcopia apresentaram desempenhos comparáveis, a sensibilidade foi de 52,5% e 35,0%, a especificidade de 91,86% e 91,28%, o valor preditivo positivo de 60,0% e 48,3%, valor preditivo negativo de 89,3% e 85,8%, e a acurácia diagnóstica de 84,4% e 80,7%, respectivamente. Conclusão: A Fotografia Cervical Digital é um método alternativo promissor à colposcopia. / Background: Most cervical cancer screening methods relies on colposcopy to confirm the diagnosis. Colposcopy suffers from the lack of availability, long patients’ displacement and waiting times. Objective: Evaluate the performance of the Cervical Digital Photography as an alternative method to colposcopy. Methods: Colposcopy and Cervical Digital Photography were performed in 228 women. The Cervical Digital Photographs were evaluated through internet by 3 colposcopy experts. The agreement between methods was calculated with kappa and percentages of agreement. Sensitivity, specificity, positive predictive value, negative predictive value and diagnostic accuracy were calculated for colposcopy and Cervical Digital Photography. Histology was the gold standard. Results: Cervical Digital Photography and colposcopy agreed in 89.9% of the cases (K=0.588). Cervical Digital Photography and colposcopy had comparable performances, sensitivity was 52.5% and 35.0%, specificity was 91.86% and 91.28%, positive predictive value was 60.0% and 48.3%, negative predictive value was 89.3% and 85.8%, and diagnostic accuracy was 84.4% and 80.7%, respectively. Conclusion: Cervical Digital Photography is a promising alternative method to colposcopy.

Background: A maioria dos métodos de rastreamento do câncer de colo de útero depende da colposcopia para a confirmação do diagnóstico. A colposcopia sofre com a falta de disponibilidade, a necessidade de longos deslocamentos por parte das pacientes e longas filas de espera. Objetivo: Avaliar o desempenho da Fotografia Cervical Digital como um método alternativo à colposcopia. Método: Foram realizadas colposcopies e Fotografias Digitais Cervicais em 228 pacientes. As Fotografias Digitais Cervicais foram avaliadas através da internet por três colposcopistas experientes. A concordância entre os métodos foi calculada através de Kappa e as porcentagens de concordância. Sensibilidade, especificidade, valor preditivo positivo, valor preditivo negativo e acuracia diagnóstica foram calculados para a colposcopia e a Fotografia Cervical Digital. A histologia foi utilizada como padrão-ouro. Resultados: A Fotografia Cervical Digital e a colposcopia concordaram em 89,9% dos casos (K=0,588). A Fotografia Cervical Digital e a colposcopia apresentaram desempenhos comparáveis, a sensibilidade foi de 52,5% e 35,0%, a especificidade de 91,86% e 91,28%, o valor preditivo positivo de 60,0% e 48,3%, valor preditivo negativo de 89,3% e 85,8%, e a acurácia diagnóstica de 84,4% e 80,7%, respectivamente. Conclusão: A Fotografia Cervical Digital é um método alternativo promissor à colposcopia. / Background: Most cervical cancer screening methods relies on colposcopy to confirm the diagnosis. Colposcopy suffers from the lack of availability, long patients’ displacement and waiting times. Objective: Evaluate the performance of the Cervical Digital Photography as an alternative method to colposcopy. Methods: Colposcopy and Cervical Digital Photography were performed in 228 women. The Cervical Digital Photographs were evaluated through internet by 3 colposcopy experts. The agreement between methods was calculated with kappa and percentages of agreement. Sensitivity, specificity, positive predictive value, negative predictive value and diagnostic accuracy were calculated for colposcopy and Cervical Digital Photography. Histology was the gold standard. Results: Cervical Digital Photography and colposcopy agreed in 89.9% of the cases (K=0.588). Cervical Digital Photography and colposcopy had comparable performances, sensitivity was 52.5% and 35.0%, specificity was 91.86% and 91.28%, positive predictive value was 60.0% and 48.3%, negative predictive value was 89.3% and 85.8%, and diagnostic accuracy was 84.4% and 80.7%, respectively. Conclusion: Cervical Digital Photography is a promising alternative method to colposcopy.