Typescript (photocopy). / Digitized by Kansas Correctional Industries

Em busca de uma abordagem interdisciplinar para o ensino de Geografia, articulada à Fotografia e Língua Portuguesa, este trabalho considera a importância de pesquisas teóricopráticas no ambiente escolar, é fruto da aplicação de uma sondagem diagnóstica com professores da Educação Básica sobre sua concepção e prática quanto ao uso dos recursos audiovisuais, em um primeiro momento; e da aplicação de uma sequência didática por gênero discursivo textual em duas classes de Ensino Fundamental II, na segunda fase do campo empírico. Como pressupostos principais, consideramos a Geografia como ciência que apresenta às crianças e adolescentes conceitos científicos que as permitem entender o espaço geográfico em que vivem e as múltiplas relações que se dão nele; a Fotografia como técnica e linguagem imagética precursora de amplos avanços nos meios de comunicação de massa, inventariante visual da história do mundo e da história de nosso olhar sobre o mundo, além de ter contribuído desde seu surgimento para as metamorfoses da percepção que ainda vivemos; e, a Língua Portuguesa, assim como as demais linguagens verbais orais escritas, bases da estruturação do pensamento e do desenvolvimento de conceitos espontâneos e científicos, intrínsecos à formação da autonomia intelectual e discursiva humana. Detectou-se neste estudo a dificuldade dos professores em conceber e utilizar os recursos audiovisuais, e dentre eles a Fotografia, como uma linguagem imagética que tem uma gênese histórica, oriunda de múltiplos avanços da ciência, passível de ser instrumento para enunciados de sujeitos discursivos e de significação e argumentação a partir de sua relação com a linguagem verbal escrita, portadora e geradora de conceitos. Inclusive os professores estão em descompasso com a realidade de ampla disseminação de tecnologias e linguagens imagéticas, uma vez que elas já fazem parte de seu meio sociocultural e do cotidiano das crianças e adolescentes da gerações atuais, porém os professores têm uma lacuna na formação e não estão capacitados para utilizá-las de forma complexa e associada aos conceitos científicos das disciplinas escolares para propiciar melhor desenvolvimento das funções intelectuais de seus alunos. Com as atividades de leitura de Fotografias dos contextos geográficos Caatinga e Amazônia associada à expressão pela linguagem verbal escrita, obtivemos o resultado de que os alunos das duas classes de 6ª série trabalhadas, têm acesso massificado e banalizado à Fotografia, e conceitos espontâneos sobre a mesma, o que não garante sua conceitualização profunda, percepção clara e precisa de dados visuais ou a inferência e correlação de dados geográficos a partir de fotografias. A fluência na linguagem verbal escrita e a capacidade de linguagem de argumentação se mostrou determinante para o entendimento do conteúdo da linguagem imagética, uma vez que sem a palavra e o conceito formados na mente, a criança tende a se perder na polissemia da imagem fotográfica e não articula hierarquizações, generalizações e sistematizações típicas do pensamento científico e fica limitada aos conceitos espontâneos e à imprecisão sensorial da visão. Nas considerações finais esboçamos uma proposta de Mapa Técnico-Analítico e Mapa Conceitual de fotografias para próximas pesquisas aplicadas ao ensino-aprendizagem de Geografia e outras disciplinas escolares. / In the search of an interdisciplinary approach for Geography teaching, articulated to Photography and the Portuguese Language, this work considers the importance of theoreticalpractical research inside school environments, and it is the result of a diagnostic survey with teachers of Elementary Education on their concepts and practice with audiovisual resources, at first; and the application of a textual discoursive genres didactic sequence in two Elementary School classes, the second phase of our practice. Our main assumptions are: Geography as a science that presents to children and adolescents scientific concepts that allow them to understand the geographical space they live in and the multiple relations ocurring in it; Photography as a precursory technique and imagetical language responsible to large advances in mass media communications, a visual gatherer of the history of the world and of the history of our vision about the world, besides contributing since its emergence to the methamorphosis of perception we are still living; and Portuguese Language, just as the other verbal languages, as the basic structures of thought and the development of spontaneous and scientific concepts, intrinsical to the formation of intellectual and discoursive human autonomy. We detected in this study the difficulty of the teachers to conceive and utilize the audiovisual resources, and among them Photography, as an imagetical language that has a historical origin, derived from multiple advances in science, wich can be a tool for utterances of discoursive subjects and of significance and argumentation from its relation with verbal language, bearer and generator of concepts. Teachers are out of step with the reality of broad propagation of imagetical technology and languages, even though it\'s part of their sociocultural environment and from nowadays children\'s and adolescents\' quotidian, although teacher have a gap in their formation and are not qualified to use them in a complex way and associated to the scientific concepts of the school disciplines to provide a better development of the intellectual functions of their students. With the \'reading\' activities over photographs of the geographical contexts of Caatinga and Amazônia associated to the verbal language expression, we obtained the result that the students of the two classes of the 6th Grade we dealt, have massified access to Photography and even spontaneous concepts on it, but that doesn\'t guarantee their profound conceptualization, clear and precise perception of visual data or the inference or correlation of geographical data from photographs. The fluence at the written verbal language and the language capacity of argumentation revealed itself determinant for the understanding of the imagetical language, since that without the formation of word and the concept forged in its mind, the children tends to get lost at the polysemy of the photographic image and don\'t articulate hierarquizations, generalizations and sistematizations typical of the scientific thought and stays limited to the spontaneous concepts and to the sensorial imprecision of the eye vision. At last we outline a proposal of Technical- Analytical Map and Conceptual Map of photographs for further research applied to teaching and learning Geography and other school disciplines.

This thesis is in support of the Master of Fine Arts exhibition entitled The McFarlands at East Tennessee State University, Slocumb Galleries, Johnson City, Tennessee, November 5th - 9th, 2007. This artist's photographic survey, which lasted approximately two years, investigated the lifeworld of a family in a rural Appalachian town. His photographic work depicts the subjects working on their farm growing tobacco and their relationships within the family unit. The artist discusses his work in terms of historical and contemporary influences with an emphasis on the relationship to the work of Lewis W. Hine, Wright Morris, Mary Ellen Mark, and David M. Spear. The thesis includes images and discussion of four works.

Review of Fashion's Front Line : Fashion Show Photography from the Runway to Backstage.Nilgin Yusuf Bloomsbury. 2016. 196p, 9781472596598, $40.00

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The Afterthoughts project is composed of five photographic collages. The assemblages presented are documentations and transformations of various kinds of visual elements into compositions connected by a common aesthetic. They are shown on computer screens and animated, gently going through an array of micro-movements; a cinematic articulation of once still images. This exhibition format was chosen because it underlines the partnership between the machine, which I need, and me, as a well-trained human, that it requires. It also allows for a discourse around technology, particularly image editing software and recording devices, as technê, and as the rapport of a person in possession of such tools with the world. The images depict animal-like imaginations. Whether they are ghosts of the past or specters of the future is unclear but they are, unmistakingly, on display for an audience. Ultimately they belong to a personal mythology and are pixel proof of my search for the hidden beings cohabiting my thoughts, for the animals and the specific ontological terrain they inhabit; fading, disappearing, removed from everyday experiences, yet haunting, restless and lurking as fantasies. This work is fueled by a certain urgent need of preserving but also reconstructing nature, of embalming it representationally in the dead-alive museal looking exhibits trapped in the small confines of little dioramas. My hope is that underneath the surfaces, the flamboyancy, the modern baroque and surrealist techniques one can find deep non/organic life and allow for fascination to pulsate through.

Light field photography offers a new approach to digitally captured images. These commercially available cameras are able to capture the 4D light field in a single image. This allows for a variety of image processing capabilities that traditional cameras do not offer. For example, the image can be digitally refocused after it is captured and its depth can be estimated. In terms of application, these capabilities could be beneficial on airborne platforms. However, a limitation of currently available light field cameras is that they are not fully functional at medium or long ranges. If these cameras were to capture light fields at longer ranges, they would have a practical application when mounted on low-flying aircrafts. This dissertation takes current light field photography techniques and modifies them so they work better to capture medium-range images. The majority of cameras that capture the 4D light field use a microlens array to modulate the incoming light before it hits the image sensor. Previous work using printed modulation masks garnered the same effect obtained by microlens arrays. This dissertation details the development of a modulation mask that has medium-range applications. A new way of extracting the 4D light field from raw images that uses a digital Fourier transform is presented. This method works for images captured with microlens arrays and printed mask cameras. Two prototype cameras were built and tested to demonstrate some of these concepts. The concepts demonstrated by these cameras could be used in the future designs of light field cameras.

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Charge-Coupled-Device (CCD) cameras have opened a new world in astronomy and other related sciences with their high quantum efficiency, stability, linearity, and easy handling. Nevertheless, there is still noise in raw CCD images and even more noise is added through the image calibration process. This makes it essential to know exactly how the calibration process impacts the noise level in the image. The properties and characteristics of the calibration frames were explored. This was done for bias frames, dark frames and flat-field frames at different temperatures and for different exposure times. At first, it seemed advantageous to scale down a dark frame from a high temperature to the temperature at which the image is taken. However, the different pixel populations have different doubling temperatures. Although the main population could be scaled down accurately, the hot pixel populations could not. A global doubling temperature cannot be used to scale down dark frames taken at one temperature to calibrate the image taken at another temperature. It was discovered that the dark count increased if the chip was exposed to light prior to measurements of the dark count. This increase, denoted as dark offset, is dependent on the time and intensity of the prior exposure of the chip to light. The dark offset decayes with a characteristic time constant of 50 seconds. The cause might be due to storage effects within chip. It was found that the standard procedures for image calibration did not always generate the best and fastest way to process an image with a high signal-to-noise ratio. This was shown for both master dark frames and master flat-field frames. In a real world example, possible night sessions using master frame calibration are explained. Three sessions are discussed in detail concerning the trade-offs in imaging time, memory requirements, calibration time, and noise level. An efficient method for obtaining a noise map of an image was developed, i.e., a method for determining how accurate single pixel values are, by approximating the noise in several different cases.

I feel like I can get home from here is an archive of the resilience, multiplicity, and survival of butch lesbians who continue to straddle the margins of a larger LGBTQ community and heterosexual world, and the lines of hypervisibility and erasure. As both a print book and digital archive, this project aims to compile meaningful textual and visual content about butch lesbians into one space and explore themes of identity, childhood, community, memory, history, and trajectories. Combining digital photography, questionnaire answers, interview transcripts, photo manipulation, and personal writings, the project aims to encapsulate a snapshot of contemporary understandings of butch embodiment in a manner that is documentary and figurative. 60 participants shared their stories and experiences in the form of in-person interviews and an online questionnaire. I feel like I can get home from here highlights the ideas that butch is a multiplicitous and nebulous identity that is vital to understandings of gender and sexuality and that a butch-designed archive can combat systematic erasure and stereotyping. Within its scope, the project serves as its own standalone emotive archive and gives greater depth and voice behind a butch image superficially propagated by media and commonplace stereotyping. The project derives influence from and negotiates theories that deal with symbolic annihilation and the conceptual archive, lesbian semiotics and identification, and (lesbian) photography. At its core, this project is a celebration, a living history, and a deep embodiment of community and love that speaks to a butch past, present, and future and the possibilities of masculinity.