Orientador: Lúcia Helena Reily / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T22:15:38Z (GMT). No. of bitstreams: 1 Caldas_MariaCeciliaCaxambu_M.pdf: 1214871 bytes, checksum: 8d8338ba8b72c4e7da9634aa2d289d9e (MD5) Previous issue date: 2012 / Resumo: A pesquisa trata sobre fotografia para deficientes visuais - indivíduos cegos e com baixa visão. Relatos na literatura mostram que a pratica fotográfica para deficientes visuais acrescenta experiências com as quais esses indivíduos anteriormente não tinham oportunidade de contato. O objetivo desta pesquisa foi investigar a relação de pessoas com deficiência visual com a fotografia. A partir da perspectiva dos participantes da pesquisa, nosso intuito foi apreender o que consideram significativo para a pessoa com deficiência visual, considerando como foco a fotografia. Buscamos entender como as falas sobre a produção fotográfica de interlocutores não deficientes (aquelas pessoas que descrevem as imagens para os deficientes visuais) encaminham novas possibilidades de compreensão das imagens. Os métodos usados no estudo foram trazidos de praticas de outros casos similares dentro desta temática, investigados durante o desenvolvimento do estudo, incluindo: observação de grupos e de exposições, atuação pratica e interlocução verbal com públicos especiais. Os resultados mostram que a associação entre a descrição verbal e o toque que segue a trajetória das linhas principais em relevo na imagem contribui para o acesso a fotografia, uma atividade presente no cotidiano de todas as pessoas. Essa pratica ajuda a abrir caminhos, não somente para a fotografia propriamente dita, mas também para a compreensão das múltiplas imagens que se apresentam diariamente para todas as pessoas na vida moderna / Abstract: This study addresses the issue of photography for people with visual impairments - blindness and low vision. Reports in the literature show that the practice of photography enables people with visual impairments to have experiences that they would not ordinarily have had. The aim of this study was to investigate how people with visual impairments can relate to photography. Based on the perspective of the participants in the study, our aim was to apprehend what they consider to be meaningful for persons with visual impairments regarding photography. We attempted to understand how enunciations about photographic production by the non disabled communication partner (those persons that described the images for the participants with visual impairments) generated new possibilities for understanding the images. The methods used in the study were borrowed from practices used in similar cases regarding this theme, and were investigated while the study was underway. They included observation of groups and exhibits, workshop practicum and verbal exchanges with special groups. The results showed that the association between verbal description and touching a trajectory of the main lines in relief on the image helped to enable access to photography, an activity that is present in the everyday lives of everyone. This practice can significantly open pathways not only to photography itself, but also to the understanding of multiple images that present themselves daily to all people in modern life / Mestrado / Artes Visuais / Mestre em Artes

Cavitation is the formation of vapour filled bubbles in a liquid. They can be generated either by the reduction of the ambient water pressure at constant temperature or by a temperature increase at constant pressure. In the results of the experiments presented in this work a range of different diameter cavitation bubbles were generated by focusing pulses of near IR radiation (le = 1064 nm) from a Q-switched Nd:YAG laser of varying energy in a small water tank. Single exposure high speed shadow photography and Schlieren techniques are used to visualise the oscillating motion of the cavitation bubbles with high temporal and spatial resolution. The optical analysis of the cavitation bubble in free water shows a smooth symmetrical oscillating motion during the first cycle. When the bubble is collapsing near a solid boundary the motion becomes asymmetrical. The Schlieren images in combination with matching plots of a thin film polyvinylidene fluoride (PVDF) pressure transducer confirm the formation of a liquid jet as well as different shock wave emissions for certain bubble to boundary parameters. They also indicate the importance of the resulting fluid flow to stresses induced in the solid boundary. In an attempt to visualise the fluid flow field around an oscillating cavitation bubble the IR laser radiation is focused in a solution of copper sulphate (CUS04) for contrast enhancement. High speed photography in combination with an accurately positioned Schlieren knife edge displays the heated path of the laser beam and the different shapes of the cavitation bubble. For the case of a bubble in free space the marked laser path indicates radial fluid flow only. For a bubble in front of a solid boundary the marked laser path clearly shows the motion of the fluid into the toroidal shaped bubble during the collapse process. For this case the marked paths are similar to numerically calculated streamline plots. In contrast to the solid boundary a flexible boundary was also used. The interaction of the cavitation bubble with the flexible boundary visualises partially the movement of the water but is found to still destroy some of the symmetry of the bubble.

La « défonctionnalisation » d’une architecture transforme intégralement la lecture de l’objet: les traces d’usure ont une charge symbolique et expressive qui en modifient sa réception. Les «ruines modernes» renvoient à une obsolescence précoce qui caractérise une époque dans laquelle l’industrialisation des procédés de construction incite au remplacement de l’ancien par le nouveau et multiplie les destructions. Elles sont étroitement liées au progrès et à l’accélération du renouvellement des constructions urbaines. Les architectures des grands ensembles sont les derniers symboles de l’ère moderne menacés par la destruction ; elles intriguent et fascinent par leur fragilité et leur monumentalité. La photographie artistique peut-elle proposer une contribution critique qui invite à porter un autre regard tout en cherchant à susciter un questionnement sur les ruines comme composantes du paysage urbain actuel ? Il semble que la reconsidération des ruines par la création est possible. L’objet de recherche de cette thèse n’est pas la ruine en elle-même, mais ses représentations par la photographie. Il ne s’agit pas de proposer une méthodologie, ni un guide pour photographier les ruines, mais de présenter les questionnements émergeant de pratiques photographiques des espaces en déshérence, en tant qu’expériences spatiales, culturelles et sensibles. / The « Defunctionalization » of architecture completely transforms the reading of the object : traces of erosion have a symbolic and expressive charge that modifies its interpretation. «Modern ruins» refer to early obsolescence, characteristic of the industrialization of building process which encourages the substitution of old things by new ones and increase destructions. They are closely linked to progress and the acceleration of urban renewal. Tower blocks of social housing appear to be the ultimate symbols of modern structures threatened by destruction; their monumentality and weakness intrigue and fascinate. How could artistic photography offer a critical contribution that changes the way we gaze at ruins as a component of actual urban landscape? It seems that reconsidering ruins through creation is possible. The subject matter of this thesis is not the ruin itself but its representations through photography. It’s not about proposing a methodology neither a guide to photograph ruins, but to present some questions that arises from photographic practices of derelict spaces as spatial, cultural and sensitive experiences.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Jessica Canfield / The contemporary globalized world is full of wicked problems. A wicked problem is difficult to resolve, complex, and solving one aspect of a problem may create other problems. Wicked problems are shaped by invisible forces and flows. Landscape architects are uniquely poised to address wicked problems with their skills and capacity to think across systems and scales in spatio-temporal, ecological, and cultural dimensions. Landscape architects also communicate through visually-accessible methods which tell a story. Storytelling in landscape architecture seeks to reveal, connect, and tie together relationships and processes of the past and present to inform future possibilities of a place. Methods of storytelling can be used to address wicked problems because of their utility in inquiry and ideation. Developed through an original methodology using maps, diagrams, photomontage, and photographs, this project creates a storytelling framework which iteratively uses inquiry and representation to identify dilemmas, pose questions, and address issues as a means to reveal the impacts of forces on a wicked problem. The site selected to test this proposed methodology is the Athabasca oil sands in northern Alberta, Canada. Visible from space, the potential minable area of the oil sands spans an area the size of New York State. The world’s quest for oil has placed this landscape and its people on center stage. Billions of dollars’ worth of industry investment has put the landscape and people under siege through ever-shifting visible and invisible forces and flows. Dilemmas created by the region’s mining industry not only directly impact local people and landscape, but the greater world as well. Hampered with environmental, social, political, and economic issues, the future of this region is largely unknown, as there are few formal plans and regulations to ensure landscape reclamation and guide urban development. To tell the story of the oil sands, four themes—oil, infrastructure, environment, and people were analyzed. These themes—referred to as "ghost ecologies" because of their inconspicuous nature—when considered together, reveal key regional dilemmas and highlight new opportunities for future directions. Analysis inspired thinking toward future scenarios that imagine a series of new, highly productive and programmatically-integrated futures for the oil sands and its people. The unique process of inquiry and discovery led to a final project framework that identified methods for landscape architects to use in addressing wicked problems. A variety of audiences can consume this work to address the challenges of the Athabasca oil sands and other wicked problems in the world. To the public, the work serves as an evocative display of critical dilemmas worthy of future consideration. For professional and student landscape architects, the work reveals methods of inquiry to address wicked problems through the discipline.

This study is situated in a social documentary photography context, and is concerned to explore whether the collaborative interaction between photographer, subject (as collector) and material object (as collection) might enable a practice that presents a more mutual and subject-centred visual identity emerge. In particular, photographers Jim Goldberg and Gideon Mendel have focused more on the subject themselves, using collaborative processes such as photo-voice and photo elicitation, as well as the use of peoples’ handwritten captions on photographic prints themselves. Claudia Mitchell’s overview of visual methodologies is drawn on, together with Ken Plummer’s Documents of Life 2 (2001) and Gillian Rose’s Visual Methodologies (2001) to extend on these possibilities of conducting collaborative visual research.The practical component of this study focuses on personal collections and follows a number of theorists, including Susan Pearce, and John Elsner and Roger Cardinal. It follows Pearce’s identification of three major modes of collecting, and suggests that collections are essentially narratives of the self, and reveal experiences and expressions of personal desire. By drawing on these approaches and the various ways the twelve collectors were photographed, as well as implementing collaborative research processes (handwritten text, archival photographs and the re-staging of the collections), the study confirms Pearce’s three primary modes of collecting, and acknowledges that they are often interlinked or overlap one another. The study further found that a more subject voiced visual identity did indeed become apparent through the collaborative methods applied and discussed. The collaborative research equally demonstrated that these narratives of identity are not singular, but rather narratives of multiple, personal identities of the self.

This thesis presents and develops an advanced method of self-exploration for artists. The method, which incorporates the process of self-representation, enables a more authentic identification of the psyche of the artist to be created. The objective of the research is to develop a restorative and valid therapeutic process that artists can apply to achieve further authenticity in terms of the work that they conduct. The process that is developed as a product of this research is an advancement of ‘pathography’, a term used by Sigmund Freud in 1910 in the final chapter of Leonardo da Vinci and a Memory of His Childhood, to describe the psychoanalytic study of an artist through the works produced by the artist. The specific method employed in the research involved myself as artist creating a photographic self-portrait, sharing this image with two psychoanalytic psychotherapists, who each then responded with their written analysis of the image. This led to the creation of a series of twenty-four images, informed by the written interpretations provided by the analysts, at approximate intervals of once a month over two years. This method allows the interaction of artist, artworks and analysts to develop dynamically. This collaborative process where the written word is generated from the viewing of visual information, allows patterns or themes relevant to the research to be identified. The research findings contribute to the existing body of knowledge by revisiting of ‘pathography’ and developing a new method within phototherapy, and, in doing so, provide a material progression in the context of the artist as a photographer. Recommendations are also made in respect of the implementation of this new method. Guidance is provided for researchers who wish to further investigate this area, particularly in terms of the research processes that can be adopted. I conclude that making photographic self-portraits in this way can be a restorative and valid therapeutic process.

This PhD by practice sets out to reformulate the meeting between photographer and subject, from one that is commonly constructed as a power relationship to an empathic meeting between subjectivities. It is an attempt to re-engage with the original promise of photography –that of connecting with the ‘soul’ of the other. I take a phenomenological perspective, applying recent research in the field of neuroscience and psychology to throw new light on processes at play, both when we view photographically reproduced human faces and when we come face to face with others in the meeting preceding photographic portraits. My original contribution to knowledge consists of beginning to construct a theory as to why certain photographic portraits invoke an embodied reaction, whilst others leave us cold. What is it that makes us look again and again at particular photographic portraits? I propose that emotional contagion is an important factor both when making and viewing photograpic portraiture. It was not within the scope of this thesis by practice to explore this proposition, but it is an area suitable for further research. I use the practice as a testing ground, letting each new step develop out of my reflections on the previous work, using a qualitative methodology. I approach the face-to-face meeting through the writing of Maurice Merleau-Ponty and phenomenology, and make a series of experimentations, letting the practice twist and turn upon itself. I strip away and interchange the components of the photographic portrait one by one, project by project, letting my practice respond experimentally to both the theoretical research and the situation in which it is conceived. I move from still to moving and back again, through performance, text and sound, in an attempt to find that elusive embodied connection between subject matter and audience.

This portfolio and commentary documents an approach to audiovisual composition that utilises sound and photographic images in an effort to create immersive, affective art which I call audio-photographic art. When presented in an immersive context, I contend that the temporal dissonance between still image and sound opens up a space between the materials. I draw upon Gernot Böhme's writings on the aesthetic of 'atmosphere', as well as the the theoretical writings of Roland Barthes, Paul Ricoeur and Eleni Ikoniadou among others to illustrate how this experience is constituted. This space between is an affective conceptual space in which the participant enters into a relationship with the materials of the piece, transcending their usual perception of time as they are immersed in the internal times of the artwork, their own memories and atmosphere. Through the use of maximal aesthetics and atmosphere as compositional tool, these themes are explored and developed throughout the creative portfolio. In the written submission I study the practical and theoretical concerns of the space between from three perspectives: 'The Temporal Space', 'The Memorial Space' and 'The Atmospheric Space'.

This thesis traces the acquisition and potential applications of 35 mm aerial photography as a tool in helping to make decisions in the allocation of land to forest recreation. The advantages of the 35 mm aerial system, including its versatility, simplicity, applicability, and relatively low cost, were tested and applied to the field of forest and wildland recreation. Dealing first with the technology and equipment available, methods of acquiring the imagery were investigated, experimented with, and adopted. Then, working with the results of eleven hours of flying time, photogrammetric and photointerpretive techniques were applied to the reflected attributes of the physiographic, edaphic, hydrologic, and vegetative environments. In addition, the use of the system was investigated for recording recreational use on existing sites. The 35 mm aerial system can help identify those attributes of the land important to forest recreation. In addition it has benefit in the closely related fields of archaeology, protection, and wildlife and in evaluating hazard potential. Used in conjunction with either the small scale imagery soon becoming available through the Earth Resources Technology Satellite Program or existing air photos, the 35 mm system can accurately capture and monitor changes in the natural and artificial environments at a relatively low cost and assist the forest manager in decisions relating to the allocation of forest land to recreational use. / Forestry, Faculty of / Graduate

L’essor de la photographie au milieu du 19ème siècle est contemporain de changements importants survenus au sein de la société française. A Paris sous le Second Empire, la forte hausse du pouvoir d’achat, due en grande partie aux travaux haussmanniens, influence l’image publique des citadins. La ville et ses grands boulevards offrent aux plus privilégiés la possibilité de se promener, de s’exhiber, de paraître selon certaines normes pour se mettre en lumière. Représentations qui seront ensuite fixées par les artistes : écrivains, peintres, sculpteurs, caricaturistes et photographes, ils concourent tous à immortaliser ce nouveau mode de vie et ses acteurs.Le portrait, ce moyen de représentation par excellence auparavant réservé à l’aristocratie, deviendra finalement accessible aux autres milieux sociaux. En comparaison avec les autres techniques, le portrait photographique gagnera davantage de succès et ce, grâce à de multiples critères : la baisse progressive de son coût, sa vitesse d’exécution, sa véracité reconnue par le public, sa capacité d’être reproduit à l’identique en grand nombre depuis l’invention du procédé collodion humide, sans oublier la naissance du portrait-carte de visite qui accélère sa démocratisation.Notre recherche repose sur un dépouillement minutieux d’archives photographiques. Elle aura comme objectif d’analyser le rôle joué par la photographie dans la procédure de représentation sous le Second Empire en répondant à un certain nombre de questions. / When portraiture was made accessible to French citizens in the nineteenth century, someconservative critics did not consider all individuals to be “portrayable”. This did notprevent people of means from hiring portrait painters to create their own “visiblememory”. In the process, they redefined the nature of the artist’s model. These newsitters, who were employers rather than employees, were not obedient: they insisted uponimposing their individual style and references. Photographic artists, on the other hand,persisted in directing their sitters—as artists did their paid academic models—and had toseek compromises that, without relinquishing their favoured styles, would satisfy theirdemanding clients. Some photographers published manuals and treatises explaining howto produce a good portrait without being unduly disturbed by the model’s whims andfancies. Furthermore, self-proclaimed experts in modern “etiquette” taught people how totalk, how to walk and how to appear in society. A careful examination of the conditionsbehind the production of photographic portraits, especially those representing fashionablecitizens taken during the era of the carte-de-visite, reveals the importance of the rolesplayed respectively by the model, the portrait photographer and the social codes ofconduct of the day.