Orientador: Paula Ramos de Oliveira / Banca: Denis Domeneghetti Badia / Banca: Silvio Donizetti de Oliveira Gallo / Resumo: Esta pesquisa tem como objetivo investigar o texto "Carta a Ernest" resultado de um exercício da disciplina optativa "Filosofia com crianças" oferecida pelo curso de Pedagogia da FCLAr - UNESP. Sob a orientação de escrever uma carta a uma criança, tal tarefa de escrita surgiu paralelamente à leitura de A Câmara Clara de Roland Barthes (1984), obra inicial que trouxe a fotografia e a escrita como um caminho para movimentar o pensamento. Desta obra nos apoiamos no conceito punctum para embasar a escrita da carta como afeto, como desejo e principalmente como ponto de fuga para movimentar pensamentos e novos problemas. Consequentemente, pelo caminho que se iniciou para pensar a carta e o ato de escrever sobre ela, fomos ao encontro da perspectiva da filosofia como criação de conceitos desenvolvido por Gilles Deleuze e Félix Guattari. Para tanto, por esse embasamento teórico, através dos termos "conceito", "plano de imanência" e "personagem conceitual", pretendemos ampliar ainda mais o sentido de punctum que inicialmente foi responsável por uma relação com a produção da carta até então não sentida, mas que se demora em ser entendida devido a potencialidade de criação que está envolvida. Afinal, o que fez com que a escrita de uma carta se tornasse tão importante, ao ponto de escrevermos até o momento sobre ela? Estabelecemos, portanto, a hipótese de que o punctum Ernest desencadeou a escrita de forma vital na carta, mas que o pensamento parece mudar seu foco não mais ao que propriamente significa o conceito punctum, mas à forma como pode ser criado um conceito. A carta já estava escrita e a compreensão do termo punctum aparentemente satisfeito. Mas o afeto não estava findado, pois no escrever e pensar o detalhes da carta, a fotografia será novamente um elo disparador de tantas outras escritas e pensamentos / Abstract: This research aims to investigate the text "Letter to Ernest" result of an exercise of the elective course "philosophy with children" offered by the Faculty of Education of FCLAr - UNESP. Under the guidance of writing a letter to a child, such writing task emerged in parallel to the reading of Camera Lucida Roland Barthes (1984), early work that brought photography and writing as a way to move the thought. This work we rely on punctum concept to support the writing of the letter as affection, as desire and mainly as a vanishing point to move thoughts and new problems. Consequently, the way he began to think the letter and the act of writing about it, went to the meeting from the perspective of philosophy as creating concepts developed by Gilles Deleuze and Felix Guattari. To do so, by this theoretical basis, through the terms "concept", "plane of immanence" and "conceptual character", we intend to further expand the meaning of punctum that was initially responsible for a relationship with the production of the letter so far not felt but that it takes to be understood because of the potential for creation that is involved. After all, what made the writing of a letter to become so important to the point where we write about it so far? Established, so the hypothesis that Ernest punctum triggered the vital form of writing in the letter, but the thinking seems to shift your focus to what no longer properly means the punctum concept, but to how you can create a concept. The letter was already written and understanding the apparently satisfied punctum term. But the affection was not findado because the writing and thinking the details of the letter, the picture is again a link trigger so many other writings and thoughts / Mestre

Memories Made in Seeing considers the relationship between memory and film through examining what is its cultural and experiential effect, how it can show and write memory and History. Four post-war films - Muriel, or the Time of a Return (Resnais, 1963), (nostalgia) (Frampton, 1971), Level Five (Marker, 1996) and Memento (Nolan, 2000) – that are complex manifestations of thought in practice, which trace and examine film’s ability to distinctly embody and produce memory, and are part of a dialogue in form and time. To contextualise and consider memory’s effect, it is charted from the advent of film (the nineteenth century’s ‘memory crisis’, the founding and understanding of modern memory, the related ideas of Proust, Bergson and Freud), through the twentieth century (the development of a more subjective reckoning, the seeming impossibility of memory (and understanding) that followed World War II’s trauma), till its millennial disposition (multi-various considerations, the inception of prosthetic memory, the seeming need for nostalgia). The case studies’ varied forms and alignments consider the tension between the demands of narrative resolution and the mutable and open-ended nature of memory, and how different film practices seek to utilize and appraise its perceived function, relevance and production. These films are also a record of viewing experiences, which influence one another and create a narrative of personal engagement that forms and substantiates recollection. To examine this conceptual process further I contend the tension between narrative (something fixed by duration and intention) and memory’s imperatives (formal and personal) form an axis of experimentation and exploration and this correspondence is central to comprehending the ways in which films represent and invoke forms of subjective and cultural recollection. I propose that film’s unique and associative account of memory’s evolving resonances becomes a series of palimpsests, which emphasize that the experience of film is an act of re-writing and recollection and misrecollection. This context tethers the subject, is the point of initiation, and explores how memories, which are made when seen, are mutable, historical and present, essential.

This thesis examines the work of New Zealand artist Darcy Lange (1946-2005) who,trained as a sculptor at the Royal College of Art (1968-71), subsequently developed a socially engaged video practice, making remarkable studies of people at work that drew from social documentary traditions, structuralist videomaking and conceptual art. My research into his oeuvre draws on intertwined artistic, theoretical, historical and cultural discourses from the period in which he was active, particularly those concerned with realism and representation, reflexivity and video feedback, the document and documentary, the dialogic and participation, art and society, and social activism. Starting with his last sculptural ‘environment’ Irish Road Workers (1971) and ending with the series Work Studies in Schools (1976-77), labour was the sole subject of Lange’s oeuvre for much of the 1970s. In his words, his aim was “to convey the image of work as work, as an occupation, as an activity, as creativity and as a time consumer”. He engaged in comprehensive studies of people at work in industrial, farming and teaching contexts across Britain, New Zealand and Spain. A commitment to realism guided his works in the early 1970s, evident in his adherence to an observational practice reduced to its bare essentials. Using photography, film and video (at times simultaneously), he portrayed workers performing their tasks, and cast workplaces, schools and mines as complex societal mechanisms engaged in the production and reproduction of class identity. Work Studies in Schools introduced a radical shift in his practice, influenced by current epistemological and philosophical concerns about the politics of representation that recognised representation (and its making of meaning) as contingent and dependent on context. Rather than engage in the examination of the image’s process of signification through structuralism and semiotics, Lange grounded his analysis in human experience and opted for the dialogic possibilities of camera lens media. Focusing on pedagogical practices in the classroom, Lange explored the implications of video for teaching and learning, inviting his subjects to speak through their own analysis of their experiences of work and class. In enabling a situation where the social exchange between teacher and pupils could be observed and analysed collectively, Lange turned a closed process of exchange into something more open that could be mutually redefined and transformed. In so doing, his images of people at work sought to confer agency, in an effort to realise his expressed ‘socialist aspirations’. Lange’s political awareness grew in a decade of intense politicisation in the United Kingdom. In New Zealand, the 1970s saw the beginning of the so-called ‘Maori Renaissance’. Lange joined the efforts of fellow activists and documentarians there to raise awareness and support for the land claims by the Maori indigenous people and, working in collaboration with Maori activist and photographer John Miller, produced the Maori Land Project (1977-1980). It was in the Netherlands where he further developed the ideas and aspirations behind this project, collaborating with René Coelho, founder of Montevideo in Amsterdam, and Leonard Henny, professor at the Sociological Institute’s Centre for International Development Education in Utrecht. Theoretical debates about cultural difference of the period framed this project, driven also by Lange’s desire to further extend social agency with his videomaking. An activist impulse also lay behind his political multimedia musical performances People of the World (1983-84) and Aire del Mar (1988-94). Unlike many of his contemporaries, Lange’s turn to video was not to engage in conceptual activities or as a deconstructive exercise. I argue that he was drawn to video (film and photography) for its experiential and dialogical nature and capabilities, as “a way to get closer to people” and leave the isolation of a studio practice. He was driven by a desire to seek out a social purpose to artistic activity while avoiding the dogmatic political advocacy of his community art contemporaries.

1 / Natalie McCann

This creative report deals with the project of photographing a remote area in· Southern Idaho, near Almo, called City of Rocks. The photographer worked in the tradition of "Straight Photography." The goal was not to document the area but to make images about what one might feel from the subjects rather than images about the subject. The hope was that the resulting photographs would have a "life sense of their own."

[Abstract]: Mapping agencies, national and regional, are finding it increasingly difficult to maintain the currency of their suite of map related products and services. These products include topographic maps and the provision of up to date topographic data. The maintenance of this socially important spatial information is at issue through the duplication of effort that presently exists within government agencies at all levels. A dedicated data sharing and topographic maintenance program has the potential to solve all of these issues. The "NOW Map" gives the "map hungry" public the ability to obtain spatially located data and products in time frames and formats of their choosing. This system is capable of delivering consistent, dynamic and contemporary geospatial information. It will be flexible, in response to a modern ever-changing society, and capable of providing up to date topographic maps and data that not only meets current standards, but also continually exceeds them. After the development of initial procedures, a pilot study was conducted to expand and further refine data collection and analysis procedures. This was followed by a final data-gathering research phase. The research used relevant local, interstate and international examples in all areas of the study. The outcomes of the pilot study and analysis of the second research segment demonstrated that maps can be maintained more efficiently through the utilisation of accurate up to date information. These topographically significant updates can be provided incrementally by organisations that maintain data as part of their own core business.

This project is an investigation of visual illusions created through the interaction of light on different surfaces and structures. Illusion implies deception - an optical illusion, in a sense is misunderstood information that creates a 'false' visual reality. This project incorporates macro and non-macro photography to generate illusion through scale and shape. Through deliberate acts of deception the images play on the human desire for mystery. It is through the 'eye of the imagination' that the images reveal themselves. The photographic images are of dioramas created on the top of a light box, using everyday substances and materials such as glass, felt, coloured transparencies, detergents and liquids of varying consistencies. This project reveals the extraordinary in the ordinary. The outcome of this project is a photographic body of work, the product of my experimentation and research, in which the ambiguous content of the composition, compels the viewer to their own interpretation. Translating some of the resulting images into a three-dimensional light based installation of an illusory nature invites people to take on a participatory role, furthering their experience with the artwork. This project makes us aware of our role within the experiential process, ma king us appreciate and question its very nature.

This thesis explored the credibility and usefulness of beef cattle magazine articles with and without photographs perceived by students at a Southern land-grant institution. The thesis also explored the use of alternate forms of repeated measure to determine if a relationship existed in instrumentation when a photograph was presented first or presented second. The study found that credibility was perceived to be greater when photographs were present in an article. The study found that usefulness was perceived to be greater when photographs were not present in an article. The study found a relationship between credibility and usefulness when presented with and without photographs. The study found that perceived credibility was greater when an article presented with a photograph was presented first. The study also found that perceived usefulness was greater when an article without photograph was presented first. The findings of this study indicated that magazines should take these factors into account when a desired outcome is to increase editorial credibility and increase the effectiveness of the message.

Thesis (Ph. D.) -- Lincoln University, 2009. / Also available via the World Wide Web.

Thesis (M.S.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 22-23).