I create to emphasize the aesthetic or beauty of an object. When I begin a work, I feel the influence of the many photos I am constantly looking at and analyzing. I look at how light affects color, how light defines form, and how patterns are created by repeated shapes. I try to reproduce the things I see, but with dramatic impact by enlarging shapes and emphasizing colors. While my paintings are about pure aesthetics, my books are social commentary.

Made available in DSpace on 2016-04-26T18:10:52Z (GMT). No. of bitstreams: 1 Carolina Guerra Liberio.pdf: 1815326 bytes, checksum: 539ae9e252ce5e117c3bc8d0a7aba701 (MD5) Previous issue date: 2011-05-23 / Fundação de Amparo à Pesquisa do Estado do Maranhão / The present study discusses, from the perspective of the photographic dispositif, the changes in the photographic act since the development and popularization of digital photography. The research rescues the historical development of photography during the 20th century as a way to understand the changes in the photographic praxis until nowadays. The conventions and prefigurations of the photographic act were discussed, as also were the relations between those conventions and the actual practice of digital photography. The method utilized in this study was based in the concept of geneology as used by Michel Foucault (2002), in which it is affirmed the need to historically research the fields of force that compose the dispositif. The concept of dispositif is utilized to discuss the characteristics of the photographic equipment, based not only on the works of Foucault, but also on Agamben s (2008). As a technological basis for many processes of image production, photography has a fundamental role in midst the means of social communication. The changes from the analogical to the digital process in photography bring implications that affect not only amateur day-to-day uses, but also the role of photography in the means of mass communication. A example of this is the loss of trust in the longly self alleged objectivity claim of the photographic image, specially present in the context of photojournalism, that has changed the way society perceives the photographic image: more and more, photography is treated as a discourse, and less as a testemony. The hypothesis of this study is that the digital technology in connection to the photographic dispositif alters the role of the photographic image in society and that this change is inserted in a wider social-cultral context of modifications in the ways messages are produced and distributed in the digital age / O presente texto aborda, a partir de um estudo do dispositivo fotográfico, as mudanças no ato fotográfico a partir do surgimento e popularização da fotografia digital. A pesquisa partiu de um resgate histórico do desenvolvimento da fotografia ao longo do século XX, como forma de compreender as mudanças na práxis fotográfica. Discutiu-se que convenções e prefigurações estiveram presentes no ato de fotografar ao longo do século XX, e que relação elas tem com as atuais praticas da fotografia digital. A metodologia da pesquisa foi da ordem da genealogia, conforme definida por Michel Foucault (2002), em que se afirma a necessidade de pesquisar historicamente as linhas de força que compõe o campo dos dispositivos. O conceito de dispositivo é utilizado para discutir as características do equipamento fotográfico, com base não somente na obra de Foucault, mas também na de Agamben (2008). Como base técnica de diversos processos de produção de imagens, a fotografia ocupa um lugar fundamental dentro dos meios de comunicação. A mudança do processo analógico para o digital traz implicações que afetam não somente usuários amadores, mas também os grandes veículos de mídia. Um dos exemplos é a perda da tão alegada objetividade ou verdade fotográfica, especialmente no contexto do fotojornalismo, que tem modificado de forma geral a percepção da fotografia em sociedade: cada vez mais, trata-se a foto como um discurso, e não como índice ou testemunho. O estudo parte da hipótese de que a tecnologia digital em conexão com o dispositivo fotográfico altera o estatuto da imagem fotográfica em sociedade e se insere em um contexto sócio-cultural mais amplo de mudanças nas formas de produção e distribuição de mensagens, a partir das recentes tecnologias binárias

ARQUIVO 2.0 – des_memórias fotográficas é uma pesquisa na linha de Poéticas Visuais que trata do conceito de latência a partir de arquivos fotográficos disponíveis on-line. Abordando processos de criação que investigam a imagem e seus desdobramentos em meios, procedimentos e tecnologias, explorase relações entre palavras e fotos, a partir de duas séries: DELETE.use e RASTER. Em DELETE.use (2013-2015), a latência é investigada através da supressão da figura humana em clássicos da fotografia, procurando ressignificações para imagens de vários gêneros. Já em RASTER (2012-2016), a latência é analisada através de interferências sobre os códigos estruturais de arquivos fotográficos digitais. Nas duas séries, procurou-se criar estratégias para manipular, expor e compartilhar fotografias notórias, observando questões relacionadas com apropriação e coautorias, processos artísticos colaborativos, tradução e deslocamento de sentidos para arquivos fotográficos digitais, que culminaram na formulação do conceito de des_memória, como um estado poético e transitório, que influi nos modos de ver e falar sobre fotografia como um bem cultural. / ARCHIVE 2.0 - photographic des_memórias is a research in Visual Poetics line dealing with the concept of latency, from photographic archives available online. Addressing creation processes that investigate the image and its developments in media, procedures and technologies, explores relationships between words and photos, from two series: DELETE.use and RASTER In DELETE.use (2013-2015), the concept of latency is investigated by eliminating the human figure in photography classics, looking reinterpretation of images of various genres. Already RASTER (2012-2016), latency is analyzed by interference on the structural codes of digital photo files. In both series, we tried to create strategies to manipulate, display and share notorious photographs, observing issues related to ownership and coauthorships, collaborative artistic processes, translation and displacement directions for digital photo archives, which culminated in the formulation of the concept of des_memory as a poetic and transient state, that influence the ways of seeing and talking about photograph as a cultural asset.

Rural adolescents suffer from poor nutrition, increasing their risk for obesity and other chronic diseases. The Summer Food Service Program (SFSP), an off-shoot of the National School Lunch Program, provides meals to qualifying children, including low-income, rural adolescents, under the age of 18. The purpose of this study was to: 1) examine the impact of the SFSP on the nutrition–related knowledge, self-reported fruit and vegetable (SRFV) consumption, and the constructs of the Theory of Planned Behavior (attitudes, subjective norms, perceived behavioral control, and behavioral intentions) of rural, low-income adolescents; and 2) examine the relationship between nutrition behaviors (quality food selection and consumption) and participation in the SFSP using digital photography. The participants (N = 78) were recruited from those enrolled in the Upward Bound (UB) Summer Program at a mid-sized university that utilized the SFSP. The UB, a federally funded program, provided the opportunity to reach high school students from low-income, rural areas to study the aforementioned effects of the SFSP. The quasi-experimental pre- post-intervention design used a survey (n = 57) to determine predictors of positive nutrition behaviors and digital photography (n = 43) to determine actual food selection and consumption of those enrolled in the SFSP. A nutrition quality scale (0-6, with 6 indicating higher quality) was developed in order to categorize food items within food groups according to their nutritional value, and aided in determining quality of foods selected and consumed. Paired samples t-test showed a significant increase in knowledge (t(56) = -8.09, p = .000) and SRFV consumption (t(56) = -3.20, p = .002) from pre- to post-intervention. Regression analysis demonstrated that all constructs of the Theory of Planned Behavior (TPB) were significant (F(4, 52) = 14.56, p < .001 with an R2of .53) for predicting behavior intentions, with perceived behavioral control (PBC) being the most salient predictor of intentions to increase fruit and vegetable consumption. A one-way repeated measures MANOVA was not significant for the comparison of pre- and post- survey scores for knowledge, SRFV consumption, and the constructs of the TPB, F (4, 53) = .604, p = .660. Digital photography showed a significant increase in consumption from week 1 (baseline) to week 5 (program completion) for fruit (t(42) = -2.04, p = .048) and milk (t(42) = -3.13, p = .003) at lunch, for milk (t(42) = -3.01, p = .003) at supper, and for milk overall (all three meals combined), t(42) = -3.08, p = .004. Vegetable consumption decreased significantly from week 1 to week 5 t(42) = 2.47, p = .018 at supper and overall (all three meals combined) t(42) = 2.65, p = .011. Two proportion z tests showed a statistically significant decrease in the selection of food items at quality level 2 from week 1 (.34) to week 5, z = 3.11, p = .002, and statistically significant increases in the selection of quality level 3 (.20), z = -2.15, p = .031, and quality level 5 (.17), z = -3.33, p < .000, item. Two proportion z tests showed a statistically significant decrease in the consumption of food items at quality level 5 from week 1 (.62) to week 5, z = 2.94, p = .003. However, the analysis showed no consistent increase in the quality of foods selected or consumed from week 1 to week 5. Opportunities for shaping adolescent nutrient intake and eating behaviors during and outside of enrollment in the SFSP exist. Reinforcing positive attitudes, subjective norms and perceived behavioral control while participants are enrolled in the SFSP may help to increase nutrition behavioral intentions and therefore, nutrition behaviors. Opportunities also exist for offering healthier food options for those participating in the SFSP. SFSP participants are a captive, impressionable group, and providing a supportive social and physical environment, and high nutritional quality choices in the SFSP more often may provide the potential for behavior change that may lead to an increase in healthy nutritious habits for adolescents from rural areas.

This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photography component, and a concepts component where students will experiment with different photographic techniques of manipulation as well as tackle photographic history, criticism, and visual literacy.

The emergence of digital capture and editing technologies make providing a more detailed and coherent description of the experiences depicted in photos possible. Through the combination of photos, music and voice, people can compose digital stories of their life experiences. However, communicating an experience using photos to people who do not share the experience, and are not co-located is a difficult endeavor, even with effective digital editing tools. In this dissertation, I studied the online photo communication challenges that have arisen as a result of the transition from film to digital photography. I detail my studies of consumer desires and barriers related to online photo communication. Also, I present the design and user evaluation of the Storytellr system, which addresses those desires and barriers. The Storytellr system integrates storytelling activities with traditional photo activities to reduce the challenges of online photo communication. Through this work I contribute to the understanding of the challenges encountered by consumers who desire to engage in sharing life stories through photos over distance. I also contribute a method - integrating storytelling activities into photo activities - for enabling people to overcome those challenges using a process they find satisfying, and that produces an outcome that satisfies authors and viewers alike.

The variable rate fertilizer spreader was modified to control each pair of nozzles for spot-application of fertilizer only in plant areas of wild blueberry fields. The experiments were conducted to evaluate performance accuracy of modified variable rate granular (MVRG) fertilizer spreader. The results suggested that the MVRG fertilizer spreader performed efficiently in detecting bare spots/weed patches and clay filler application only in green grass/plant areas. Two wild blueberry fields were selected to evaluate the impact of MVRG spreader on nutrient leaching through small bare spots/weed patches. Management zones were delineated on the basis of slope variability. The MVRG spreader significantly reduced the nutrient loading in subsurface water samples collected from the bare spots/weed patches. Based on the results obtained, it can be concluded that the fertilization in wild blueberry fields using MVRG fertilizer spreader can result in the protection of subsurface water quality, thus protecting the environment.

A new class of photographs that relies on digital processes, best exemplified by the works of Gregory Crewdson, Andreas Gursky and Jeff Wall all exhibit a ‘not quite right’ quality that calls into question some of the most closely held truisms of photographic thought. Through novel technological processes combined with the elements of the new photography—new scale, fabulist imagery, and implied narrative—these images challenge the nature of photography as a documentary process and, beyond that, the nature of what we understand to be ‘the real’ that is supposedly documented. A visual analysis of these images through the lens of Roland Barthes’ and Susan Stewart’s scholarship reveals truths about these images and about photography as a medium. What these elements, this ‘lack of rightness’, can tell us about photography and its position as documentary medium can help us better understand the nature of contemporary photography as a truly creative medium rather than a documentation of the real. These artists are engaging in a discourse of artifice, questioning the position of photographs as documents of how it was, revealing that not only is their work not a documentation of the world as it is, but that photography never was.

This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photography component, and a concepts component where students will experiment with different photographic techniques of manipulation as well as tackle photographic history, criticism, and visual literacy.

ARQUIVO 2.0 – des_memórias fotográficas é uma pesquisa na linha de Poéticas Visuais que trata do conceito de latência a partir de arquivos fotográficos disponíveis on-line. Abordando processos de criação que investigam a imagem e seus desdobramentos em meios, procedimentos e tecnologias, explorase relações entre palavras e fotos, a partir de duas séries: DELETE.use e RASTER. Em DELETE.use (2013-2015), a latência é investigada através da supressão da figura humana em clássicos da fotografia, procurando ressignificações para imagens de vários gêneros. Já em RASTER (2012-2016), a latência é analisada através de interferências sobre os códigos estruturais de arquivos fotográficos digitais. Nas duas séries, procurou-se criar estratégias para manipular, expor e compartilhar fotografias notórias, observando questões relacionadas com apropriação e coautorias, processos artísticos colaborativos, tradução e deslocamento de sentidos para arquivos fotográficos digitais, que culminaram na formulação do conceito de des_memória, como um estado poético e transitório, que influi nos modos de ver e falar sobre fotografia como um bem cultural. / ARCHIVE 2.0 - photographic des_memórias is a research in Visual Poetics line dealing with the concept of latency, from photographic archives available online. Addressing creation processes that investigate the image and its developments in media, procedures and technologies, explores relationships between words and photos, from two series: DELETE.use and RASTER In DELETE.use (2013-2015), the concept of latency is investigated by eliminating the human figure in photography classics, looking reinterpretation of images of various genres. Already RASTER (2012-2016), latency is analyzed by interference on the structural codes of digital photo files. In both series, we tried to create strategies to manipulate, display and share notorious photographs, observing issues related to ownership and coauthorships, collaborative artistic processes, translation and displacement directions for digital photo archives, which culminated in the formulation of the concept of des_memory as a poetic and transient state, that influence the ways of seeing and talking about photograph as a cultural asset.