International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.

Esta dissertação tem por objetivo analisar a produção de vistas da cidade de Porto Alegre, realizadas pelos Irmãos Ferrari e por Virgílio Calegari, dentro do contexto da história da representação da paisagem. Para tanto, a pesquisa desenvolveu-se em torno de dois álbuns produzidos pelos fotógrafos mencionados. Os primeiros produziram um álbum colecionável a partir de fascículos, e a cada mês o assinante recebia uma fotografia da cidade. Já o segundo foi editor de um livro, intitulado Porto Alegre, composto por uma série de fotografias dos principais pontos da cidade e arredores. Estes profissionais são responsáveis por um levantamento iconográfico da cidade de Porto Alegre, estabelecendo uma cultura visual relacionada com a arte. Organizadas em álbuns ou livros, estas imagens engendram sentido à cidade. Esta dissertação partiu da hipótese de que existiam padrões visuais específicos para determinados tipos de imagens. A partir disso, foi feito um percurso a fim de perceber as características formais das paisagens urbanas, não apenas na fotografia, mas também na pintura, com o objetivo de estabelecer possíveis influências na composição das fotografias do corpus documental. / This thesis has the objective of analyzing the production of views of the city of Porto Alegre by the Ferrari brothers and by Virgílio Calegari, from within the context of the history of landscape representation. In order to do so, the research revolved around two albums produced by the mentioned photographers. The first ones have produced a collectable album using booklets; the subscriber would receive, monthly, a picture of the city. The second was the editor of a book called Porto Alegre, this book was compound by a series of pictures of the main spots of the city and its environ. These professionals are responsible for an iconographic survey of the city of Porto Alegre which established a visual culture related to art. Put together in albums or books, these images give the city sense. This thesis accepted the hypothesis that there are specific visual patterns in specific kinds of images. Starting with that, a specific path was taken towards the end of perceiving the formal characteristics of urban landscapes, not only in photography, but also in painting; this was done with the objective of establishing possible influences on the composition of the pictures from the documental corpus.

In an age of ever-expanding digital communication platforms and the presence of news online becoming paramount, the amount of information being shared and the truth of that information is becoming more and more difficult to track. The power of these social platforms is one that all should recognize and reflect upon in terms of their use of them, and reliance on them for the information they need. This thesis seeks to explore this power and the ways in which to remedy the falsities spread on the platforms faster than ever before, through photographic journalism.

abstract: In the 1930s, several key fashion photographers were practicing Surrealists: Man Ray, Georges Hoyningen-Huené, Horst P. Horst, Cecil Beaton, and Erwin Blumenfeld. Each photographer explored surrealist-influenced fashion photography and drastically changed the way fashion was seen in the pages of Harper’s Bazaar and Vogue magazine. While scholars believe the assimilation of surrealist aesthetic devices in fashion photography commercialized Surrealism during the thirties, such photographic output has yet to be assessed in relation to surrealist thought and practice. This thesis argues that Ray, Hoyningen-Huené, Horst, Beaton, and Blumenfeld did not photograph fashion in the surrealist style to promote desire for the commercial product. Instead, they created new pictures that penetrated, radicalized, and even destroyed conventions of mass culture from inside the illustrated fashion magazine. / Dissertation/Thesis / Masters Thesis Art History 2018

This study examines how photographic material has been classified and contextualized on the digitization platforms of the major Swedish memory institutions – the National Library of Sweden, the National Archives of Sweden, and the Nordic Museum. Combined with a series of interviews with digitization practitioners at these institutions, the paper examines the cultural-historical approach to defining the concept “photography” and classifying digitized photographs, as well as how photographic material is treated similarly to or differently from other kinds of material housed at these institutions. These results of this question are used to examine the likelihood that, driven by similarities in digitization practices, significant differences between Swedish libraries, archives, and museums are disappearing.

Orientador: Telma Campanha de Carvalho Madio / Banca: José Washington de Morais Medeiros / Banca: Virgínia Bentes Pinto / Banca: Bernardina Maria Juvenal de Oliveira Freire / Banca: Walter Moreira / Resumo: A presente pesquisa justifica-se pela necessidade de analisarmos o papel da imagem fotográfica no contexto das romarias, uma vez que essa forma de comunicação tornou-se uma fonte privilegiada para o estudo do pensamento social, científico, cultural, político e histórico de romeiros na Região do Cariri Cearense. Objetiva propor uma metodologia de organização da informação voltada para o registro icônico das fotografias do Laboratório de Ciência da Informação e Memória (LACIM). Os enquadramentos teóricos e metodológicos da pesquisa nos levam a: 1) mapear as fotografias de romeiros existentes no acervo do LACIM; 2) utilizar os pressupostos da Análise Documental para possibilitar a validação das informações, existentes nas imagens e obtidas nas entrevistas; 3) elaborar um roteiro para identificação dos dados das fotografias; 4) identificar os olhares e a palavra dos fotógrafos utilizando a Análise de Discurso. O eixo teórico metodológico se apoiou na Análise Documental que se preocupa com a construção, organização, disseminação e recuperação das fotografias. Outro procedimento que se adotou foi a entrevista com os fotógrafos e o comportamento desses profissionais frente às imagens, em relação ao clique e apreensão de uma fé que se move. Mostramos que a Ciência da Informação através da abordagem transdisciplinar, contribui com a sua estrutura teórica e prática para a informação na área da Comunicação em busca do conhecimento contextualizado, validando a captação dos processos informacionais com os registros e intenções das fotografias. Diante da proposta de análise das fotografias, verificamos que cada procedimento de representação documental é pontuado a partir do contexto de produção de dados gerados pelos processos de análise, síntese, condensação, representação e recuperação do conteúdo informacional. Compreender os vários papéis sociais, culturais, políticos e... / Abstract: This research is justified by the need to analyze the role of the photographic image in the context of pilgrimages, since this form of communication has become a prime source for the study, scientific, cultural, political and social thought in the history of pilgrims Cariri Ceará. Aims to propose a methodology for organizing information focused on the record of the iconic photographs of the Laboratory for Information Science and Memory (LACIM). The theoretical and methodological frameworks of research lead us to: 1) map the photographs in the collection of existing pilgrims LACIM; 2) using the assumptions of Document Analysis to enable the validation of information existing in the images and obtained in the interviews; 3) develop a roadmap for identification data of the photographs; 4) identify the looks and the word of photographers using discourse analysis. The theoretical and methodological axis leaned on Document Analysis who cares about the construction, organization, dissemination and retrieval of pictures. Another procedure that was adopted was the interview with the photographers and the behavior of these professionals when faced with images in relation to click and seizure of a faith that moves. We show that information science through the transdisciplinary approach contributes its theoretical and practical framework for information in the area of communication in pursuit of knowledge contextualized by validating the capture of information processes with records and intentions of photographs. Given the proposed analysis of the photographs, we found that each procedure is punctuated documentary representation from the context of production data generated by the processes of analysis, synthesis, condensation, representation and retrieval of information content. Understand the various social, cultural, political and historical roles constructed through images, provides notice forms like photography conveys an Pilgrimage in defense... / Doutor

Made available in DSpace on 2014-06-11T19:24:09Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-04-19Bitstream added on 2014-06-13T20:12:04Z : No. of bitstreams: 1 spineli_pk_me_bauru.pdf: 2937318 bytes, checksum: bc0941523158674ffe60b146de644c1f (MD5) / Quando considerado o contexto contemporâneo da nossa civilização, baseada principalmente na imagem, o estudo dos diferentes usos da fotografia em peças de design gráfico torna-se importante. Dado um mundo em que as imagens são cada vez mais numerosas, diversificadas e intercambiáveis, faz-se necessária a investigação da efetividade comunicacional de tais imagens na cultura imagética iniciada no século XX e que continua no século XXI. A presente pesquisa buscou ampliar a compreensão da fotografia no design gráfico contemporâneo, identificar a presença histórica da fotografia como elemento do discurso em comunicações visuais socioambientais, e discutir os usos da fotografia digital na construção do discurso de sedução e persuasão usado em campanhas socioambientais. Aqui é analisada a campanha Meia Amazônia Não desenvolvida pela Organização Não-Governamental Greenpeace Brasil. Tal objeto foi examinado a partir da semiótica peirceana, para o estudo dos signos e da relação entre significados, e da retórica visual, para entender como as imagens criam significados. O objetivo foi verificar se a linguagem fotográfica utilizada nas campanhas socioambientais tem potencialidades para convencer o receptor da mensagem a aderir às causas defendidas. Os elementos levantados na presente análise corroboram tal hipótese. Nesse contexto, a discussão possibilita entender o valor da linguagem fotográfica no design gráfico para comunicações de cunho político, social e ambiental / When considering the contemporaneous context of our civilization, mostly based on image, the study of the different usages of photography in graphic design pieces becomes important. Given a world in which images are numerous, diverse and interchangeable, it is necessary to investigate the communicative effetiveness of such images in the imagetic culture that began in the 20th century and continues in the 21th centuty. The present research sought to broaden the understanding of photography in contemporary graphic design, to identify the historical presence of photography as an element of visual communication in social and environmental speech, and the uses of digital photography in constructing the discourse of seduction and persuasion used in environmental campaigns. Herein, the campaign No to Half Amazon, developed by the Non-Governmental Organizations Greenpeace Brazil, is analyzed. Such an object was examined based on Peirce's semiotics, to study signs and relationship among meanings, and on classical or visual rhetoric, to understand how pictures create meanings. The aim was to verify if the photographic language used in environment campaigns have the potencial to convince the message recipient to adhere to the causes the campaign advocated. The elements raised during the present analysis corroborate this hypothesis. In this context, the discussion allows to understand the value of photographic language in graphic design for communicating political, social and environmental trends

Made available in DSpace on 2016-12-08T16:18:57Z (GMT). No. of bitstreams: 1 123647-1.pdf: 6643585 bytes, checksum: abfed103aa9f66e47145eef855171406 (MD5) Previous issue date: 2015-07-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation deals with the act of walking as an artistic practice, trying to translate this experience through records. It is made up of four chapters named by the words that define the principal actions I perform: walking, writing, photographing and listening. It seeks to answer the question How to register the experience of walking? , since this is a practice that occurred in a remote natural environment, and that it was not witnessed. To this end, it discusses how an ephemeral and immaterial practice as walking can be registered: notes, texts, photographs, videos, maps, GPS tracings and sounds. / Essa dissertação aborda o ato de caminhar como prática artística, buscando traduzir essa experiência através de registros. É composta por quatro capítulos nomeados pelas palavras que definem as principais ações que realizo: caminhar, escrever, fotografar e escutar. Procura responder à seguinte pergunta Como registrar a experiência de caminhar? , pois se trata de uma prática que ocorreu em um ambiente natural remoto, e que não foi presenciada. Para tanto, discute-se como pode ser registrada uma prática efêmera e imaterial como caminhar: anotações, textos, fotografias, vídeos, mapas, traçados de GPS e sons.

In this essay my aim is to understand the machinations of the action of taking a photograph and putting it in circulation, and what the role of a sculpture becomes in a world where this is possible. In a general sense, how does instant representation through photography activate sculpture? Can sculpture change photography, or is the connection a one-way feed? Can it be that this connection determines our lives to such an extent that the success of one medium informs the strength of the other? / Nej

Orientador: José Paiani Spaniol / Banca: Agnaldo Farias / Banca: José Leonardo Nascimento / Resumo: A dissertação descreve as concepções, os princípios e os procedimentos que utilizei em minha produção dos últimos 10 anos. Essa investigação procura apontar o caráter específico dos meios utilizados, tais como a fotografia, a pintura e mais recentemente, as produções têxteis bi e tri dimensionais. A pesquisa permitiu também a identificação de algumas relações entre o meu repertório pessoal e as diversas dimensões espaço temporais articuladas pelos meios de representação / Abstract: The dissertation describes the concepts, principles and procedures that I used in my production over the last 10 years. This research tries to point out the specific character of the means used, such as photography, painting and more recently, two and three dimensional textile productions. The research also allowed the identification of some relations between my personal repertoire and several temporal spatial dimensions articulated by those means of representation / Mestre