How do contemporary imaging devices and the forms in which images are displayed affect our perception of Mars? How are scientists and engineers visually exploring, experiencing and navigating this uninhabitable terrain? Can we better understand this virtual landscape through immersive imaging techniques, or are these simply illusions? At what point does the glitch invade these immersive spaces, throwing us back into the realm of the image? And finally, can the glitch be seen as a method towards another kind of visibility, enabling us to ‘see’ and encounter Mars in productive ways? Through the analysis of contemporary representations of the Martian terrain, Mars, Invisible Vision and the Virtual Landscape: Immersive Encounters with Contemporary Rover Images offers a new contribution to studies of the digital and virtual image. Specifically addressing immersive image forms used in Mars exploration the research is structured around four main case studies: life-size illusions such as panoramas; 3D imaging; false colour imaging; and the concept of a ‘Mars Yard’. The thesis offers a new understanding of human interaction with a landscape only visible through a screen, and how contemporary scientific imaging devices aim to collapse the frame and increase a sense of immersion in the image. Arguing that these representations produce inherently virtual experiences, their transportive power is questioned, highlighting the image as reconstructed – through the presence of a glitch, illusion is broken, revealing the image-as-image. This thesis takes an interdisciplinary approach in which scientific images are analysed through the prism of photography’s relationship to reality, theories of vision and perception, representations of landscape, and digital and virtual image theory. At the heart of this thesis is the act of looking; critical and speculative writing is used to convey immersive encounters with images at NASA and the Jet Propulsion Laboratory (USA); University College London’s Regional Planetary Imaging Facility; Airbus Defence and Space (UK); the photographic archive at the V&A; and the Panorama Mesdag (Netherlands). The research re-examines scientific forms of images against examples from the history of visual culture (be it art or popular culture) to draw parallels between different ways of seeing, representing and discovering the unknown. The eyes of the Mars rovers provide viewpoints through which we regard an alien terrain: windows upon unknown worlds. Rover images bridge a gap between what is known and unknown, between what is visible and invisible. The rover is our surrogate, an extension of our vision that portrays an intuitively comprehensible landscape. Yet this landscape remains totally out of reach, millions of miles away. This distance is an impenetrable boundary – both physically and metaphorically – that new technologies are trying to break. Mars, Invisible Vision and the Virtual Landscape offers a two-way impact, constituting a new approach to the relationship between real and imagined images in order to demonstrate that the real Mars, however it is represented and perceived, remains distant and detached.

CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO is my master essay. It consists of 6 chapters in which I write about my artistic practise and my work around a series of works titled 52 WEEKS AND WORKS and my examination exhibition SELF-PORTRAITS / FOR FAT GIRLS / PORTRAITS.

Cette thèse s’inscrit dans le cadre des études comparées pluridisciplinaires, alliant la littérature à un autre outil d’expression artistique, la photographie. Les démarches comparatistes ont, en effet, contribué à l’émergence d’idées et d’axes d’analyses exclusifs que l’analyse traditionnelle se limitant stricto sensu à l’œuvre n’aurait pas permis de voir, d’où la naissance, depuis peu encore, de la littérature générale et comparée en tant que discipline à part entière. De plus, celle-ci permet l’ouverture de brèches non négligeables sur d’autres disciplines, ce qui permet l’établissement d’un dialogue pluridisciplinaire qui s’installe au cœur de la littérature. Celle-ci devient apte à s’allier, dans une démarche comparatiste, tantôt à la peinture, tantôt au cinéma ou encore à la photographie. De ce fait, cette thèse vise à instaurer un dialogue entre la littérature francophone maghrébine et la photographie. En s’appuyant sur un corpus puisé essentiellement dans la littérature francophone maghrébine contemporaine, nous tentons d’élucider la subtilité de ce dialogue. Ainsi, la photographie a bouleversé le rapport à l’image dans la tradition maghrébine. Plusieurs autres ouvrages affiliés à cette littérature postcoloniale mettent en scène des œuvres photographiques qui sont aptes à témoigner d’une relation nouvelle à l’image, comme on peut le voir notamment dans les travaux de Leïla Sebbar (Mes Algéries en France , par exemple), ou encore dans les écrits de Mohamed Dib qui revient sur ses lieux de la mémoire que sont la photographie et l'écriture (Tlemcen, ou les lieux de l'écriture ). Le rapport à l'image est très présent dans ces textes : nous lisons des témoignages qui s'opèrent à travers des descriptions réalistes de l'espace et des scènes écrites, orchestrées par une fiction qui semble respecter les différentes fonctions diégétiques d'un roman. En parlant de cette relation nouvelle du texte à l'image, nous faisons d'abord allusion au lien texte/archive. La photographie sera alors considérée comme étant une "archive" que le romancier francophone réinvestit dans un récit contemporain. Nous touchons là à la fonction "génératrice" de la photographie et nous tentons de répondre à des questions comme : quelle photographie a généré tel texte? Quelles techniques sont utilisées par l’auteur pour la mettre en scène dans son texte? La littérature postcoloniale acquiert une notoriété non négligeable. Recourant – encore – à la langue du colon, elle devient un genre à part entière qui a toute sa place dans le paysage littéraire et artistique. La photographie jalonne ces œuvres qui y recourent, intuitivement, dans le but de garder une trace, une empreinte d’un passé houleux et mouvementé.Trois auteurs, trois univers littéraires avec leurs divergences et leurs convergences. A travers une démarche intersémiotique, nous explicitons la poétique de la photolittérature dans Le Démantèlement de Rachid Boudjedra, L’Incendie et Tlemcen ou les lieux de l’écriture de Mohammed Dib et Journal de mes Algéries en France et La Jeune fille au balcon de Leïla Sebbar.La photographie n’est plus un simple support auquel recourent ces auteurs pour illustrer leurs textes. Elle est tatouée de manière indélébile dans leur manière d’écrire, de parler, d’être. L’écrivain maghrébin postcolonial est de ce fait un photographe scriptural. Il réinvestit ce même œil qui a vu, qui a observé et a assisté à une guerre de libération dans une écriture où le regard est au centre de tout. Même quand il n’est pas explicitement question de photographie, cette dernière transparaît d’une manière ou d’une autre à travers la mise en scène des espaces, des personnages (quand il s’agit de fiction) et des faits relatés. Le texte dépasse en ce sens le simple entendement descriptif pour épouser une écriture ekphrastique dans laquelle l’auteur semble décrire les différentes composantes d’un cliché qu’il a sous les yeux et qu’il nous donne à voir à travers ses mots. / This thesis is part of multidisciplinary comparative studies, combining literature with another tool of artistic expression which is photography. Comparative approaches have in fact contributed to the emergence of exclusive ideas and axes of analysis that the traditional analysis, which is strictly limited to the work, would not have made it possible to see. Hence, the very recent birth of the general and comparative literature as a distinct discipline. Moreover, it allows the opening of significant breaches on other disciplines, which helps to the establishment of a multidisciplinary dialogue that takes place at the heart of the literature. The latter becomes able to combine in a comparative approach painting, cinema and even photography. This thesis aims to establish a dialogue between the francophone Maghreb’s literature and photography. Based on a corpus drawn mainly from contemporary francophone Maghreb’s literature, we try to elucidate the subtlety of this dialogue. Thus, photography has upset the relationship to the image in the Maghreb’s tradition. Several other works affiliated to this postcolonial literature show photographic works that are able to testify on a new relation to the image, as can be seen in particular in the works of Leïla Sebbar (Mes Algéries en France, for example), or in the writings of Mohamed Dib who returns to his places of memory such as photography and writing (Tlemcen, ou les lieux de l’écriture). The relation to the image is very present in these texts: we read testimonies that are carried out through realistic descriptions of space and written scenes, orchestrated by a fiction that seems to respect the different diegetic functions of a novel. Speaking of this new relationship between text and image, we first allude to the text / archive link. Photography will then be considered as an "archive" that the Francophone novelist reinvests in a contemporary narrative. Here we touch on the "generating" function of photography and we try to answer questions such as: which photography generated such text? What techniques are used by the author to stage it in his text? The postcolonial literature acquires a considerable notoriety. Still using the language of the colonist, it becomes a genre in its own right which has its place in the literary and artistic landscape. Photography intersperses these works intuitively, with the aim of keeping a trace, an imprint of a stormy and turbulent past. Three authors, three literary universes with their divergences and their convergences. Through an intersemiotic approach, we explain the poetics of photoliterature in Rachid Boudjedra's Le Démantèlement, Dib’s L’Incendie and Tlemcen ou les lieux de l’écriture and Journal de mes Algéries en France and La Jeune fille au balcon of Leila sebbar. Photography is no longer a simple medium to which these authors resort to illustrate their texts. It is tattooed indelibly in its way of writing, speaking and being. The post-colonial Maghreb’s writer is thus a scriptural photographer. He reinvests the same eye that has seen, watched and witnessed a liberation war in a writing where the gaze is at the center of everything. Even when it is not explicitly a question of photography, the latter can be seen in one way or another through the staging of spaces, characters (when it comes to fiction) and related facts. In this sense, the text goes beyond the simple descriptive understanding to embrace an ekphrastic writing in which the author seems to describe the different components of a cliché that he has under his eyes and which he gives us to see through his words.

nÃo hà / LanÃamos-nos em um exercÃcio reflexivo buscando entender como a encenaÃÃo, esse gesto originÃrio do teatro, deixando de remeter incessantemente a ele, embora nÃo o exclua por completo, adquiriu sentido na linguagem fotogrÃfica. Para tanto, partimos do entendimento de encenaÃÃo como jogo, como uma operaÃÃo de invenÃÃes, como um gesto criativo que amplia o protocolo do fotografÃvel. Nossa abordagem busca, tambÃm, explorar atravessamentos, fusÃes e contaminaÃÃes que se instauram entre as linguagens fotogrÃfica e teatral e suas reverberaÃÃes na representaÃÃo imagÃtica do humano. AlÃm das reflexÃes de ordem teÃrica, este trabalho propÃe um exercÃcio de leitura de algumas imagens selecionadas da obra dos fotÃgrafos Duane Michals e Jorge Molder. Nossas questÃes sÃo inspiradas, principalmente, em dois pensadores: FranÃois Soulages com sua estÃtica do âisto foi encenadoâ e Andrà Rouillà com seu conceito de fotografia- expressÃo. Suas contribuiÃÃes se constituem nÃcleo de onde partem nossas reflexÃes que, contudo, se expandem e atingem outros autores a medida que realizamos nossa travessia investigativa. / Through a reflexive exercise we search to understand how the staging, this gesture originally from theater, not referring to it incessantly, though not completely excluding it, acquired meaning in photographic language. The starting point was the understanding of staging as a game, as an operation of inventions, as a creative gesture that extends the photographed protocol. Our approach also searches to explore crossings, mergers and contaminations established between the photographic and theatrical languages and their reverberations in the image representation of the human. In addition to reflexions of theoretical nature, this work proposes a reading exercise of some selected images from the work of photographers Duane Michals and Jorge Molder. These issues are mainly inspired in two thinkers: FranÃois Soulages and his aesthetic of "that was staged" and Andrà Rouillà with his concept of expression-photography. Their contributions constitute the core for our reflexions, which however, were expanded and reached other authors as we make our investigative journey.

Orientador: Stephane Remy Georges Malysse / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T03:44:41Z (GMT). No. of bitstreams: 1 Camargo_LucioMartinsde_M.pdf: 2990532 bytes, checksum: 5d566a1de07ede0c47d4df38267485ae (MD5) Previous issue date: 2006 / Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial / Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach / Mestrado / Mestre em Multimeios

Pesquisa de artes visuais que trata do funcionamento da representação de uma cena comum quando modificados seus limites de referência habituais. Para esta investigação são utilizadas a paisagem como fonte de imagens e a fotografia como meio técnico. Aborda a construção da paisagem como gênero e as modulações do meio fotográfico. Tem como imagens resultantes, fotografias do céu diurno sem nuvens e, por isso, trata da cor azul e de alguns aspectos dos planos monocromáticos na arte. / Visual arts research about the way the representation of an usual scene operates when its habitual referential limits are modified. For this investigation the source of images is the landscape and the technical medium is photography. The research approaches the construction of the landscape as a genre and the photographic medium modulations. With photographies of cloudless sky in daytime as resulting images, it also examines the blue color and some aspects of the monocromatic surfaces in visual arts.

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T03:31:45Z (GMT). No. of bitstreams: 1 Mann_OliverNieves_M.pdf: 11056919 bytes, checksum: 19c66149f908fb7bf4df87cd216944cc (MD5) Previous issue date: 2010 / Resumo: Villém Flússer propõe em seu texto Filosofia da Caixa Preta dois conceitos opostos que desafiam a autonomia criativa no fazer fotográfico. Se "funcionário" é operador do aparelho e age de acordo com programa pós-industrial revestido em seu interior, a figura do "fotógrafo" vem acrescentar uma possibilidade de subversão a esse programa. Esta capacidade demonstra-se então bem relativa pois é da natureza do aparelho servir-se da criatividade do fotógrafo criando novos programas que aumentarão as exigências do desvio. Haverá então repertório infinito para novas imagens? Esta pesquisa propõe apontar alguns paralelos entre uma fotografia na qual a documentalidade vinculada a um imaginário fortemente calcado no realismo perspectivista é marca aparente, e uma fotografia que procura finalmente transcender os programas impostos por esta visão aparelhística. Procurou-se exemplos desta problematização em obras heterogêneas como a de Rodtchencko, August Sander e Bernd & Hilla Becher, incluindo também, no último caso, as escolas fundadas a partir de suas metodologias de abordagem entre objeto e referente. Ponto capital na análise de cada obra é o domínio rigoroso da sintaxe fotográfica demonstrada por cada autor, mesmo que, o grau de contingencialidade prevaleça mais em uns que em outros. De forma dialógica, esta pesquisa ainda propõe apontar certos aspectos onde o domínio da programaticidade e da retilinearidade do aparelho escapa a raros estados em que a fotografia não mais se coloca como uma construção semântica codificada por elementos geométricos historicamente convencionados, mas como Barthes nos diz: como "uma força constativa", ao "isto é" e "isto foi", no qual o noema não parte do objeto, mas do tempo. Se este é o caminho para a renovação da fotografia a idéia da liberdade do fotógrafo adquire contornos diversos ao que foi apresentado por Flússer. Concomitante à revisão da literatura, a outra metade do desenvolvimento desta pesquisa compreende um exercício de construção fotográfica em forma de tipologias com móveis domésticos descartados no ambiente urbano, Esta proposta prática é indissociável aos conceitos teóricos aqui propostos / Abstract: Villem Flusser suggested in his text "Towards a Philosophy of Photography" two opposite ideas which challenge the creative autonomy in making photography. If the "worker" is the "operator" of the apparatus and act according to the postindustrial program inward cover, the "photographer" come to add more subversive possibilities to the program. This capacity then demonstrate relativity for it's the apparatus nature to serve the creativity of the photographer creating new programs which adds the demand of diversion. Then there will be a repertory of infinite new image? The proposal of this research is to show some parallels between the photography in which a imaginary documental links strongly - stepped on realistic perspective which is the aparent mark, a photography which search firmly to beyound of its program impose for this visual apparatus. Looking after example of this question in heterogeneous work, like Rodtchencko, August Sander and Bernd & Hilla Becher, which includes also in the last case, the school founded, starting on its methodic approach between object and reference. The analitical highpoint in each work is the rigorous dominion of the photographic sintax demonstrated by each author inspite the degree of contingency that prevails, mor or less at each others. The dialogical form of this research again, suggest certain aspects where dominion of programaticity and the retilianerity of the apparatus escape to rare moments in which photography doesn't set like a semantic construction codified by geometrical elements historically agreed, but as Barthes have said, "confirmed force", a "that is" / "that was" in which perception (noema) don't start from the object, but from time. If this is the way of the photographic renovation, the idea of the emancipation of the photographer acquires diverse configuration which on presented by Flússer. Together with the literary revision, the other half of the development understand the practice of the photographic construction in the tipological form with cast-off household furniture in the urban environment. This practical proposal is unseparable with the theorical ideas as propose / Mestrado / Artes Visuais / Mestre em Artes

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T20:33:40Z (GMT). No. of bitstreams: 1 Tosetto_GuilhermeMarcondes_M.pdf: 140775784 bytes, checksum: 30c8a56f4672bc35deae307dc59c4199 (MD5) Previous issue date: 2009 / Resumo: Esta dissertação tem como fio condutor o estudo das imagens dentro do campo da antropologia. A festa católica de Corpus Christi foi escolhida como objeto de pesquisa por ser uma importante celebração cultural e religiosa em nosso pais e que se manifesta através de sua visualidade. Explorá-la através de fotografias e iconografias nos permite conhecer a cultura humana a partir de uma experiência própria, num primeiro momento apresento o trajeto de pesquisa. Utilizando texto e imagem abro uma espécie de caderno de campo, onde relato os percursos e o método adotado nesta pesquisa. Num segundo momento apresento algumas iconografias, gravuras que contam a historia de Corpus Christi através de texto e imagem. São interessantes ao revelarem uma dinâmica única, que aqui denomino de imagens-narrativas, onde indicações numéricas e textos traçam um caminho de leitura destes quadros. Além desta primeira abordagem estrutural, busco entender como o sagrado e o humano são revelados nestas gravuras, e como texto e imagem são utilizados nestas representações. A importância deste trabalho está em revelar como texto e imagem podem ter suas potencialidades máximas exploradas a partir do encontro dessas formas de comunicação humana, e inseridos no campo da antropologia podemos ir ao encontro dos nós que conectam os estudos da imagem e sociedade. / Abstract: This work has as its leading thread the study of images in the anthropological Field. The catholic party of Corpus Christi was chosen as a research object for being an important cultural celebration in our country, which manifests itself mainly through visuality. Exploring it through photographs and iconographies provide us possibility of both plastic and symbolic approaches. Initially I introduce the research trajectory in which text and image reveal some notes I took, plus the work report, the pathways and the method taken in this research. Secondly I show some iconographies, engravings that tell the Corpus Christi's story also by text and images. These are interesting for revealing an unique dynamics, which I name here narrative-images, in which numeric indications and texts trace a reading path for these pictures. After this first structural approach, I attempt to understand how sacred and human are revealed in these engravings and how text and image are employed in these representations.This work's relevance lays in revealing how two forms of human communication, text and image, can have its maximum potentialities once they meet each other. Inserting these question in the anthropological field, we can get to know the connections that link studies on image and studies on society. / Mestrado / Multimeios / Mestre em Multimeios

Este trabalho nasceu de um discurso fotográfico, isto é, a fotografia não só como uma ferramenta de pesquisa, mas também como um discurso visual, retraduzindo textos em imagens, e que nos revelou que a cruz e a quadra são as marcas da arquitetura da Companhia de Jesus. No primeiro capítulo pretendemos demonstrar que a cruz é o princípio norteador da simbologia dos jesuítas, apresentar quem eles eram, o que queriam, e porque vieram ao Brasil nos primórdios dos primeiros agenciamentos e ordenamentos. No segundo capítulo pretendemos demonstrar como a cruz é um traçado regulador que originou o pátio e a quadra, e o que isso simbolizou ao longo da história; e no terceiro capítulo demonstraremos como isso reflete na arquitetura jesuítica no Brasil. No quarto capítulo verificamos porque a cruz reguladora dos pátios e das quadras foram aplicados no Brasil e de que forma isso foi feito. Concluímos que a arquitetura dos jesuítas foi um lócus onde o modelo cultural, civilizador e educador implantado era o aristotélico-tomismo mesclado aos novos métodos modernos e inacianos tal como os Exercícios Espirituais, as Constituições Inacianas e a Ratio Studiorum, onde seu canteiro e seu desenho foram formas e meios de alcançar o objetivo maior que era tornar o indígena um cristão, a partir da catequese, e um homem, aos moldes europeus. E que no Brasil, entre 1549-1759, a santa linha reta, quadrada, armada, racional e ordeira, da cruz, foi o princípio norteador da concepção, espaço e elementos de uma arquitetura moderna, em quadra, como meio de domínio, conquista e conversão. / This work was born of a photographic discourse, that is, the photograph not only as a research tool, but also as a visual discourse, retranslates text in images, and revealed in the cross and the court are the hallmarks of the company\'s architecture Of Jesus. In the first chapter we intend to demonstrate that the cross is the guiding principle of the symbology of the Jesuits, to present who they were, what they wanted, and why they came to Brazil in the early days of the first assemblages and systems. In the second chapter we intend to demonstrate how the cross is a regulatory route that led to the patio and the court, and what it symbolized throughout history; and the third chapter will demonstrate how this reflects in Jesuit architecture in Brazil. In the fourth chapter we see because the regulatory cross the courtyards and the court were applied in Brazil and how this was done. We conclude that the architecture of the Jesuits was a locus where the cultural model, civilizing and deployed educator was the Aristotelian-Thomism merged to new and modern methods such as the Ignatian Spiritual Exercises, the Ignatian Constitutions and the Ratio Studiorum, where your site and its design They were ways and means to achieve the main objective which was to make the Indian a Christian from the catechism, and a man, the European way. And in Brazil, between 1549-1759, the holy straight, square, armed, rational and orderly, the cross, was the guiding principle of design, space and elements of modern architecture, on the court, as a means of domination, conquest and conversion.

Orientadores: Lilian Lopes Martin da Silva, Carlos Eduardo Albuquerque Miranda / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-24T04:28:01Z (GMT). No. of bitstreams: 1 Rigotti_GabrielaFiorin_D.pdf: 7398175 bytes, checksum: 3713166e0ff28709a47704bae19309b9 (MD5) Previous issue date: 2013 / Resumo: O estudo aqui apresentado é primeiramente uma proposta de investigação sobre a imagem da professora a partir das fotografias obtidas em aulas ministradas pela equipe da Unicamp no curso de formação continuada Teia do Saber entre os anos de 2003 e 2004 e publicadas no livro foto-reportagem "Teia do Saber: capacitação de professores da rede pública", lançado pela Unicamp em abril de 2006. Mesmo tendo como foco primordial as fotografias, esta pesquisa lê as imagens e também os textos publicados no referido livro, a fim de encontrar intersecções de sentido entre eles, visando levantar indícios sobre como a figura da professora vem sendo forma(ta)da pelos órgãos e instituições que se responsabilizam pelas políticas de formação continuada em nosso estado. Para tanto, além da leitura e análise dos textos, este estudo se utiliza de uma metodologia própria do trabalho com as imagens, ou seja, seleciona, conta, enumera e descreve as fotografias analisadas para, só então, correlaciona-las com outros elementos da cultura material que sobressaem quando se olha para elas. Á luz destas leituras e a partir das primeiras análises realizadas, esta pesquisa também traz, num segundo momento, uma proposta de intervenção sobre três fotografias publicadas no livro foto-reportagem, estudado, intervenções estas que partem da rememoração de minhas experiências reais vividas como professora do Teia do Saber. Nesse ponto, esta pesquisa recorre a uma metodologia que abre espaço para a imaginação, ao mesmo tempo em que impede que a pesquisa de caia em trocadilhos simplistas. O pinçar de detalhes destas imagens escolhidas, aliado e ancorado na rememoração de momentos vividos, cria uma brecha capaz de ampliar os limites do olhar e fazer vazar outras leituras, outras histórias sobre as professoras - histórias talvez mais condizentes com as vivências tidas com elas durante o trabalho no referido curso / Abstract: The study presented here is firstly a research proposal about the image of the teacher from the photographs obtained in classes taught by staff from Unicamp in continuing education course Teia do Saber between the years 2003 and 2004 and published in the book photo-reportage "Teia do Saber: training of public school teachers", launched by Unicamp in April 2006. Even having as primary focus the photos, this research reads the images and also the texts published in this book, in order to find intersections of sense between them, aiming to raise evidence about how the figure of the teacher is being forma(tt)ed by the bodies and institutions responsible for the policies of continued education in our state. For this, in addition to the reading and analysis of texts, this study uses an own methodology of work with the images, namely selects, account, lists and describes the photographs analyzed for, only then, correlate them with other elements of material culture that stand out when you looks at this. From these readings and the first analyzes carried out, this research also brings, in a second moment, a proposal for intervention on three photographs published in book photo-reportage studied, interventions based in my real experiences lived as a teacher of Teia do Saber. At this point, this research uses a methodology that opens space for the imagination, while seeking to avoid incurring in correlation simplistic. The pinch of details of these images chosen, ally and anchored in moments lived, creates a breach capable of expanding the limits of look and do leak other readings, other stories about the teachers - stories perhaps more consistent with the experiences had with them during the work in the course. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutora em Educação