Este trabalho discute a importância do estabelecimento de uma política de indexação e a proposição de uma linguagem documentária (LD) para orientar o documentalista quanto ao processo de indexação de fotografias, alinhado às necessidades do usuário e ao perfil da instituição. Foi realizada uma análise comparativa entre o referencial teórico e as práticas existentes em três instituições-memória. A questão fundamental foi verificar se a metodologia utilizada estava alinhada ao perfil da instituição-memória e se atendia às necessidades dos usuários. Averiguamos que, apesar de haver métodos já consagrados referentes à análise do conteúdo da imagem e à criação de linguagens documentárias, estes não foram utilizados nas instituições-memória com acervos fotográficos. A tarefa de indexação foi realizada ali a partir de critérios muito particulares; no entanto, atendeu às necessidades da instituição, desde que a busca fosse mediada pelo documentalista. Essa constatação reforça a percepção de que o conteúdo da imagem geralmente é identificado conforme o perfil da instituição e as necessidades dos usuários, mas que a adoção de critérios socializáveis de representação do conteúdo da imagem se torna essencial quando o sistema não prevê a mediação do profissional documentalista. / The present paper discusses the importance of establishing an indexing policy and the proposal for a documentary language (DL) to guide documentalists regarding photographic indexing processes, which are aligned to the users´ needs and the institutional profile. A comparative analysis between theoretical references and existing practices has been carried out within three memory-institutions. The pivotal issue was to verify whether the methodology used was aligned to the profile of the memory-institution and whether it catered to users´ needs. The conclusion reached was that, despite the existence of already-established methods related to image content analysis and creation of documentary language, such were not employed at memory-institutions with photo archives. The task of indexing was performed therein by using very particular criteria; nevertheless, it catered to institutional needs, as long as the search was mediated by the documentalist himself. Such evidence reinforces the perception that image content is usually identified according to institutional profiles and users´ needs, but also that the adoption of socializable criteria of image content representation becomes essential when the system does not foresee mediation by the documentalist.

Este trabalho discute a importância do estabelecimento de uma política de indexação e a proposição de uma linguagem documentária (LD) para orientar o documentalista quanto ao processo de indexação de fotografias, alinhado às necessidades do usuário e ao perfil da instituição. Foi realizada uma análise comparativa entre o referencial teórico e as práticas existentes em três instituições-memória. A questão fundamental foi verificar se a metodologia utilizada estava alinhada ao perfil da instituição-memória e se atendia às necessidades dos usuários. Averiguamos que, apesar de haver métodos já consagrados referentes à análise do conteúdo da imagem e à criação de linguagens documentárias, estes não foram utilizados nas instituições-memória com acervos fotográficos. A tarefa de indexação foi realizada ali a partir de critérios muito particulares; no entanto, atendeu às necessidades da instituição, desde que a busca fosse mediada pelo documentalista. Essa constatação reforça a percepção de que o conteúdo da imagem geralmente é identificado conforme o perfil da instituição e as necessidades dos usuários, mas que a adoção de critérios socializáveis de representação do conteúdo da imagem se torna essencial quando o sistema não prevê a mediação do profissional documentalista. / The present paper discusses the importance of establishing an indexing policy and the proposal for a documentary language (DL) to guide documentalists regarding photographic indexing processes, which are aligned to the users´ needs and the institutional profile. A comparative analysis between theoretical references and existing practices has been carried out within three memory-institutions. The pivotal issue was to verify whether the methodology used was aligned to the profile of the memory-institution and whether it catered to users´ needs. The conclusion reached was that, despite the existence of already-established methods related to image content analysis and creation of documentary language, such were not employed at memory-institutions with photo archives. The task of indexing was performed therein by using very particular criteria; nevertheless, it catered to institutional needs, as long as the search was mediated by the documentalist himself. Such evidence reinforces the perception that image content is usually identified according to institutional profiles and users´ needs, but also that the adoption of socializable criteria of image content representation becomes essential when the system does not foresee mediation by the documentalist.

ABSTRACT The major theme of this research investigates artists' representations of journeys; the ritual activity of people's daily journeys along fixed routes, and long distance travel. Through specific projects by David Goldblatt, Usha Seejarim and Carouschka Streijffert, the differences between the experience of actual journeys and the visual codes and conventions used to represent these journeys in artwork is interrogated. In particular, this research is concerned with the presence and absence of the body within these represenations of journeys, focussing on how journeys construct otherness. These concerns have been linked to my own practical work. The Putco bus service also appears in all three artists' works. Through qualitative research, this report shows how ordinary subject matter has been used by the three identified artists to produce interesting work.

As members of extended families and genealogical lines we collect and view photographs to remember. By situating the present investigation within the context of archival family photographic collections, this research seeks to understand the assumptions surrounding the interplay between the practice of viewing photographs and notions of remembering. Historically, photography has been connected to concepts of stability and truth with photographic images acting as a metaphor for ‘real lived experiences’. When a photograph is viewed, whatever was present before the camera is verified. In his seminal text Camera Lucida: Reflections on Photography (1980), French theorist Roland Barthes describes this as ‘a truth to presence’ (Barthes 1980: 84). Barthes links this position to Poststructuralist theory, by determining that photographic signifiers, denotative data, are stable where as the signified, the idea or meaning, is contingent on what a viewer brings to that particular ‘text’. Therefore the viewer relies on denotative data to process meaning. This research explores the ways photographers play with photographic processes to disrupt ideas of stability of meaning surrounding this medium. The visual component of this research explores the expectations that socio-cultural groups, specifically extended families, have when viewing photographs. The subsequent work will endeavour to lay bare the interplay between such expectations and the supposed reliability of the photograph in respect to both meaning and perception. Using an archive of my own extended family’s collection of photographs, this thesis seeks to disrupt the story-telling qualities of photographs. This interruption strategy points to poststructuralist discourses surrounding the stability of the photographic image and the context in which photography is grounded. The work will challenge viewers to re-assess what the photograph can or cannot do. The final work will be comprised of 80% practice and 20% exegesis.

The kinematics characteristics of the human knee joint can be represented by its centrodes. This paper provides a method, called the photograph method, to construct the centrodes by using commercial digital camera to take the sequential pictures. In order to eliminate the undesired movements, a testing chair and a brace are specially designed. Two types of curve fitting methods are introduced to smooth the measured data. The differential method is applied to construct the centrodes of knee joints from the measured data. This paper provides a safe way to measure the centrodes of human knee joints.

Tyrimo objektas yra 1918–1940 m. Lietuvos provincijoje fotografijos verslą plėtojusių fotografų personalijos, jų darbo sąlygos, užfiksuoti vaizdai bei šių vaizdų sklaidos aplinkybės. Tai pirmasis mokslinis darbas, tiriantis Lietuvos provincijos fotografiją, žiūrint iš provincijos fotografų perspektyvos, kompleksiškai nagrinėjantis jų kilmę, išsilavinimą bei profesinę veiklą, jų savivoką, socialinį statusą bei materialinę padėtį, be ko neįmanoma atskleisti fotografavimo paskatų, o taip pat jų užfiksuotų vaizdų funkcionavimą tarpukariu, reikšmę sovietmečiu bei recepciją nepriklausomybės laikotarpiu. Nauja yra tai, kad į tiriamąjį objektą žiūrima iš muziejaus kuratoriaus pozicijų, tad nemažas dėmesys skiriamas fotografijų atribucijai bei fotografinių vaizdų reikšmei, tiriant lokalias istorijas. / The object of the research is personalities of photographers who were developing photography business in Lithuanian province in 1918–1940, their working conditions, captured photo images and the circumstances of these images dispersion. This is the first scientific study dealing with the Lithuanian province photography viewed from the perspective of photographers who lived and worked in Lithuanian province. This study researches professional activity of photographers in complex with their self-concept, their economic and social situation, and the functioning of their captured photo images in the interwar period, the importance of these photos in the Soviet period and their reception during the independence period. The novelty in this dissertation is the point of researcher view: the surveyed object is studied from the position of the museum-curator. Therefore much attention is paid to photo attribution and the significance of photographic images while researching the local histories.

The evidential quality of photographs has grown out of their early uses in tourism, colonialism, social control and media, and their often unconscious perception makes them not only susceptible to manipulation but also gives them the power to impart messages beyond those consciously considered by the viewer. This thesis explores seemingly innocuous photographs of the 2003 war in Iraq from the BBC and The New York Times online as published evidence that moves beyond simple coverage of the war by using subtle visual cues that speak to historically rooted power relationships between the Western ‘self’ and the Muslim ‘other’. Further, using Baudrillard’s understanding of simulation and dissimulation as a guide, this thesis introduces the notion of iconification and reveals how these images portrayed consistent themes thereby rendering the photographs icons for abstract concepts such as terrorism, oppression, and liberation. / Graduate

The album of Nellie Letitia Mooney McClung (1873-1951) is housed in the British Columbia Archives' Visual Records and is the only photographic album in the McClung Papers. This thesis proposes to contextualize the album within women's photographic history in general, and McClung's photographic practice in particular. The following points will be argued: first, photo albums are complex socio-historical documents which provide insight into gender and class constructions; second, late nineteenth and early twentieth century album-making was considered a female pursuit linked to the domestic sphere; third, the Nellie McClung album dates primarily from 1896-1911, the years McClung lived with her husband, Wesley, and children in Manitou, Manitoba; and fourth, I propose that a number of the album's photos are not only private mementos, but also public documents, having been used or considered as illustrations and advertisements for works written by or about Nellie McClung in these years. / Graduate / 0377 / 0334

As members of extended families and genealogical lines we collect and view photographs to remember. By situating the present investigation within the context of archival family photographic collections, this research seeks to understand the assumptions surrounding the interplay between the practice of viewing photographs and notions of remembering. Historically, photography has been connected to concepts of stability and truth with photographic images acting as a metaphor for ‘real lived experiences’. When a photograph is viewed, whatever was present before the camera is verified. In his seminal text Camera Lucida: Reflections on Photography (1980), French theorist Roland Barthes describes this as ‘a truth to presence’ (Barthes 1980: 84). Barthes links this position to Poststructuralist theory, by determining that photographic signifiers, denotative data, are stable where as the signified, the idea or meaning, is contingent on what a viewer brings to that particular ‘text’. Therefore the viewer relies on denotative data to process meaning. This research explores the ways photographers play with photographic processes to disrupt ideas of stability of meaning surrounding this medium. The visual component of this research explores the expectations that socio-cultural groups, specifically extended families, have when viewing photographs. The subsequent work will endeavour to lay bare the interplay between such expectations and the supposed reliability of the photograph in respect to both meaning and perception. Using an archive of my own extended family’s collection of photographs, this thesis seeks to disrupt the story-telling qualities of photographs. This interruption strategy points to poststructuralist discourses surrounding the stability of the photographic image and the context in which photography is grounded. The work will challenge viewers to re-assess what the photograph can or cannot do. The final work will be comprised of 80% practice and 20% exegesis.

Thesis (Ph. D.)--University of Chicago, Department of Art History, June 2003. / Includes bibliographical references. Also available on the Internet.