We, as human beings, are unique creatures that have a need to form places. This obsession with claiming spaces and turning them into places starts at a young age. Maybe it is the first time a child goes to the park and claims a corner of the sand pit, because they think the sand is better on the right side. Perhaps it is a specific seat in the bleachers a person sits in at every home football game. Or maybe it is much more significant, like the spot on the path by the curved tree, next to the bike shed where you said good-bye to your family the first day of your freshman year in college.

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Thesis (Ph. D.)--University of Oregon, 2000. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 232-242). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9977907.

Made available in DSpace on 2014-06-11T19:27:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-09-19Bitstream added on 2014-06-13T20:17:27Z : No. of bitstreams: 1 gomes_lcr_me_arafo.pdf: 958808 bytes, checksum: cd9470807d9a524ab4400798128ef796 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente estudo teve como objetivo geral a descrição do método fotográfico, visando testar sua validade no diagnóstico do padrão esquelético facial e avaliação postural. Como objetivos específicos, buscou-se a investigação da relação existente entre medidas cefalométricas e fotográficas análogas, e a verificação da eficácia do método no diagnóstico do padrão esquelético classe II hiperdivergente e na avaliação da postura da cabeça e coluna cervical. Materiais e Métodos: Dois artigos científicos foram elaborados e utilizados para a avaliação dos propósitos apresentados. Resultados: Tanto a repetibilidade quanto a reprodutibilidade do método fotográfico foram satisfatórias. A maioria das mensurações apresentou ICC acima de 0,80. Verificaram-se correlações altamente significativas (p ≤ 0,001) comparando a maioria das variáveis fotográficas com medidas cefalométricas análogas. Não foram encontradas correlações significativas para algumas variáveis posturais. Dentre todas as mensurações utilizadas, o ângulo A'N'B' foi o mais eficaz em explicar a variabilidade da medida cefalométrica correspondente, principalmente para indivíduos do gênero feminino (r2 = 0,80). O ângulo FMA' apresentou os melhores resultados para a avaliação vertical (r2 = 0,65). Uma função canônica discriminante composta por duas variáveis fotográficas (A'N'B', FMA') classificou corretamente 85% dos pacientes classe II hiperdivergentes durante a validação interna (p < 0,001). O método demonstrou sensibilidade de 83% e especificidade de 73% no processo de validação externa. Conclusões: O método fotográfico pode ser considerado uma alternativa viável, prática e confiável para o diagnóstico de pacientes padrão esquelético classe II hiperdivergente em estudos epidemiológicos de larga escala, uma vez que um protocolo adequado de padronização da técnica... / The general purpose of this study was to describe the photographic method, in order to test its validity for the diagnosis of skeletal facial pattern and postural evaluations. The specific goals consisted on the investigation of the relationship between analogous cephalometric and photographic measurements, and the verification of method effectiveness in diagnosing the hyperdivergent class II patient and assessing the posture of the head and cervical column. Materials and Methods: Two scientific papers were elaborated and used for assessing the purposes presented. Results: The reliability of the photographic technique was satisfactory. Most measurements showed ICC above 0.80. It was found highly significant correlations (p ≤ 0.001) for almost all analogous photographic and cephalometric variables. No significant correlations were found for some postural variables. Among all measurements used, A’N’B’ angle was the most effective in explaining the variability of its analogous cephalometric, mainly for female subjects (r2 = 0.80). FMA’ angle showed the best results for vertical assessment (r2 = 0.65). A canonical discriminant function composed of two photographic variables (A’N’B’, FMA’) correctly classified 85% of the hyperdivergent class II patients during internal validation (p < 0.001). The method showed 83% sensitivity and 73% specificity in external validation procedure. Conclusions: The photographic method has proven to be a feasible, practical and reliable alternative for diagnosing the hyperdivergent class II patient in large scale epidemiological research, since a standardized protocol is followed. Caution is needed when inferring vertebral alignment from observed surface contours... (Complete abstract click electronic access below)

Orientador: João Roberto Gonçalves / Banca: Ronald de Freitas Paixão / Banca: Luiz Gonzaga Gandini Junior / Resumo: O presente estudo teve como objetivo geral a descrição do método fotográfico, visando testar sua validade no diagnóstico do padrão esquelético facial e avaliação postural. Como objetivos específicos, buscou-se a investigação da relação existente entre medidas cefalométricas e fotográficas análogas, e a verificação da eficácia do método no diagnóstico do padrão esquelético classe II hiperdivergente e na avaliação da postura da cabeça e coluna cervical. Materiais e Métodos: Dois artigos científicos foram elaborados e utilizados para a avaliação dos propósitos apresentados. Resultados: Tanto a repetibilidade quanto a reprodutibilidade do método fotográfico foram satisfatórias. A maioria das mensurações apresentou ICC acima de 0,80. Verificaram-se correlações altamente significativas (p ≤ 0,001) comparando a maioria das variáveis fotográficas com medidas cefalométricas análogas. Não foram encontradas correlações significativas para algumas variáveis posturais. Dentre todas as mensurações utilizadas, o ângulo A'N'B' foi o mais eficaz em explicar a variabilidade da medida cefalométrica correspondente, principalmente para indivíduos do gênero feminino (r2 = 0,80). O ângulo FMA' apresentou os melhores resultados para a avaliação vertical (r2 = 0,65). Uma função canônica discriminante composta por duas variáveis fotográficas (A'N'B', FMA') classificou corretamente 85% dos pacientes classe II hiperdivergentes durante a validação interna (p < 0,001). O método demonstrou sensibilidade de 83% e especificidade de 73% no processo de validação externa. Conclusões: O método fotográfico pode ser considerado uma alternativa viável, prática e confiável para o diagnóstico de pacientes padrão esquelético classe II hiperdivergente em estudos epidemiológicos de larga escala, uma vez que um protocolo adequado de padronização da técnica... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The general purpose of this study was to describe the photographic method, in order to test its validity for the diagnosis of skeletal facial pattern and postural evaluations. The specific goals consisted on the investigation of the relationship between analogous cephalometric and photographic measurements, and the verification of method effectiveness in diagnosing the hyperdivergent class II patient and assessing the posture of the head and cervical column. Materials and Methods: Two scientific papers were elaborated and used for assessing the purposes presented. Results: The reliability of the photographic technique was satisfactory. Most measurements showed ICC above 0.80. It was found highly significant correlations (p ≤ 0.001) for almost all analogous photographic and cephalometric variables. No significant correlations were found for some postural variables. Among all measurements used, A'N'B' angle was the most effective in explaining the variability of its analogous cephalometric, mainly for female subjects (r2 = 0.80). FMA' angle showed the best results for vertical assessment (r2 = 0.65). A canonical discriminant function composed of two photographic variables (A'N'B', FMA') correctly classified 85% of the hyperdivergent class II patients during internal validation (p < 0.001). The method showed 83% sensitivity and 73% specificity in external validation procedure. Conclusions: The photographic method has proven to be a feasible, practical and reliable alternative for diagnosing the hyperdivergent class II patient in large scale epidemiological research, since a standardized protocol is followed. Caution is needed when inferring vertebral alignment from observed surface contours... (Complete abstract click electronic access below) / Mestre

Orientador: Carlos Alberto Sampaio Barbosa / Banca: Áureo Busetto / Banca: Wilton Carlos Lima da Silva / Banca: Angelita Marques Visalli / Banca: Alberto Del Castillo Troncoso / Resumo: Este trabalho se propõe a analisar um conjunto de imagens fotográficas coletadas em acervos de famílias de moradores da região norte do Município de Londrina (PR), cujo tema remete as poses retratadas no Santuário Nacional de Aparecida (SP) entre os anos de 1940 e 1980. A análise presente nesta pesquisa está dividida em duas etapas que se completam em seu fechamento: a primeira etapa - volta-se para o exercício de coleta e pesquisa de campo, o processo de catalogação, orientação e seleção temática a partir da persistência do tema como algo externo a rotina cotidiana, mas permanente no acervo como uma tradição religiosa destes núcleos familiais. A segunda etapa do estudo, estabelece a construção das relações produtoras do tema "Fotografias de Aparecida". Delimitada em um recorte histórico que objetiva examinar tanto as redes como os indivíduos responsáveis pela construção e manutenção do olhar fotográfico sobre os espaços de fé no Santuário de Aparecida (SP). A pesquisa é balizada em sua temporalidade a partir da concepção das fotografias enquanto uma mercadoria de lembrança ou ex-voto explorada economicamente pelos fotógrafos ambulantes nos marcos de concentração de romeiros, especificamente as poses produzidas na Praça Nossa Senhora Aparecida. Sendo assim, propomos um recorte temporal que abarque os períodos áureos desta prática entre as décadas de 1940 a 1980. Logo, a pesquisa se volta para compor através da análise das entrevistas com os fotógrafos da Praça, proprietários... (Resumo completo, clicar acesso eletrônico abaixo) / This study aims to analyze a set of photographs collected from the collections of families who are residents in the northern region in the city of Londrina, in Paraná; which theme refers to poses depicted at the "Santuário Nacional de Aparecida" in the city of São Paulo (National Sanctuary of Aparecida) between the years of 1940 and 1980. The analysis presented in this research is divided into two stages that complete each other in their closure: in the first stage the research turns to the collection and field search, the cataloging process, orientation and thematic selection from the persistence of the theme as something outside the everyday routine, however, permanent to the collection as a religious tradition of these family groups. In the second stage of the research establishes the development of producing relationships in regards of "Fotografias de Aparecida" (Photografs from Aparecida). Bounded by a historical approach that aims to examine both the networks and the individuals responsible for the construction, and maintenance of the photographic look over the faith space at the Sanctuary of Aparecida in the city of São Paulo. The research is highlighted in its temporality from the concept of photographs as souvenir merchandise or votive economically exploited by itinerant photographers in devotees travelers landmark concentrations, specifically the poses produced at "Praça Nossa Senhora Aparecida" (Our Lady of Aparecida Square). Therefore, we propose a time frame encompassing the golden periods from this practice between the 1940s and the 1980s. Thus, the search turns to compose through the analysis of interviews with Square photographers... (Complete abstract click electronic access below) / Doutor

Après la victoire militaire du général Franco, le 1er avril 1939, s’instaure en Espagne une dictature militaire et ecclésiastique. Un « temps du silence » commence pour les vaincus de la guerre. À partir de 1945, cependant, la dictature surnage après la défaite des régimes qui avaient été ses modèles ; elle va traverser plusieurs étapes. L’époque médiane du franquisme (1945-1959) sera celle de la consolidation du régime, qui s’affiche désormais comme nationalcatholique.Dans le domaine photographique, les pratiques professionnelle et amateur vont se heurter à de sévères et nombreux interdits, et l’imagerie nationale sera celle du repli sur soi, du respect des conventions. La photographie espagnole sera adepte du franquisme ou sa vassale obligée ; ses avant-gardes seront balayées, les reportages, muselés, et les mouvements rétrogrades, comme le pictorialisme tardif, magnifiés. Une photographie qui ne donnera qu’une vision borgne de la réalité, tant les sujets traités obéissent à une certaine nostalgie de commande, aux reflets maniérés et académiques d’un passé révolu.Un élan de modernité et des minces filets d’air libre surgiront néanmoins de la province – où naîtront des associations d’amateurs – ainsi que de la vision des quelques photographes étrangers qui parcourent l’Espagne à cette époque. En interrogeant les usages et les pratiques, en scrutant l’esthétisme de ces images, nous tenterons de savoir dans quellemesure, de quelle manière et jusqu’à quel point les photographes espagnols et étrangers ont pu représenter la société espagnole de 1945 à 1959. Les uns, dans un discours de légitimation d’un pouvoir en place ; les autres, dans un esprit moderniste et humaniste / After General Franco’s victory on April 1st, 1939, a military and ecclesiastical dictatorship takes hold of Spain. A “time of silence” sets in for the vanquished of the war. After 1945, however, the dictatorship survives the demise of the political regimes it had modelled itself on and goes through several stages. Under the median period of Franquism (1945–1959), the regime, in a phase of consolidation, sets itself up as National-Catholic. In the realm of photography, both professional and amateur practices are up against harsh, manifold prohibitions, and the national imagery displays introversion and respect for conventions. Spanish photography proves the follower or mandatory vassal of Franquism; its avant-gardesare annihilated, its reports muzzled, while retrograde movements, such as late Pictorialism, are glorified. It conveys only a one-eyed vision of reality in that its subjects respond to a conventional nostalgia reflecting a bygone past in affected, academic fashion.However, a surge of modernity, as well as thin trickles of fresh air, emerges from the provinces –where amateur associations come into light– and from the vision of some foreign photographers then touring Spain. We will question common practices and scrutinize the esthetics of these images in order to find out how, to what extent and in what way theseSpanish and foreign photographers have managed to picture Spanish society between 1945 and 1959: some with a view to legitimizing the authorities in control, others in a modernist, humanist frame of mind

This thesis examines the relationship between photography and sociology as offering complementary ways of understanding ourselves and the world we live in. Drawing from the work of Pierre Bourdieu and Raymond Williams, I examine the idea of a ‘field’ of photography within the field of cultural production more generally. The practises of documentary photography, photojournalism and fine art photography are explored with specific reference to images of war. In this arena, the politics, aesthetics and ethics of representing the body in pain are addressed.

Photography is an unstable medium, the repercussions of technological advancement are constantly redefining its capabilities. As an artist working in this medium, I have often found myself wrapped up in existential reflection over my work’s place within the discipline. With At the End of the Spectrum Next to Orange and Opposite Violet, I have narrowed my interests to focus on the phenomenon of light and the manipulation of color. I am creating work committed to the conceptual foundation that light constitutes the experience of a color. I have been working monochromatically to create images and videos in order to explore this idea of color as an experience. Throughout this document my research has opened a new way of thinking about the interactions of light, color, and the viewer.