Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains viii, 57 p. : ill. Includes bibliographical references.

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Newspaper article: "This thorn tree, standing in the heart of Lourenco Marques business district, is reputed to be over 100 years old. Legend says it is the tree under which transport riders from the Transvaal used to outspan after the long trek to Delgoa Bay. It is also claimed as the tree under which Sir Percy Fitzpatrick and his immortal Jock camped before leaving for the interior.”

Caption "D8. Monk’s Cowl & Champagne Castle across the Injasuti Valley. Oct. 1958."

Esta pesquisa teve por objetivo a utilização da fotografia como fonte para uma aprendizagem significativa sobre o tempo histórico. Parte da percepção de que a fotografia é uma fonte histórica por ser uma produção humana no tempo e, como tal, pode ser observada como um documento/monumento, conforme Le Goff (1996). Ao mesmo tempo, por ser capaz de produzir significado e sentido naquele que a observa, a fotografia adquire status de linguagem, uma linguagem não verbal, semiótica. Ao analisarmos a fotografia nesses dois sentidos – como fonte histórica e como linguagem –, partindo dos pressupostos de Kossoy (2007) e sua metodologia de desconstrução dessa fonte imagética, por meio da análise de seus aspectos iconográficos e iconológicos, objetivou-se que alunos do 3º ano do ensino médio da Escola Estadual Técnica de Caxias do Sul, fossem capazes de produzir legendas em forma de narrativa histórica que privilegiassem o tempo histórico em suas múltiplas dimensões, de rupturas, permanências, transformações e continuidades. Para tanto, foram utilizadas fotografias do acervo familiar dos alunos, portanto, situadas no tempo passado, em contraponto com fotografias que foram produzidas pelos alunos no tempo presente. Cabe ressaltar que os jovens de hoje já convivem e operam com as tecnologias de forma cotidiana, estão constantemente registrando seu cotidiano por meio da fotografia sem se darem conta de que estão produzindo um registro, um documento e uma memória de seu tempo. Esse fato pode estar relacionado ao que Hartog (2014) anuncia como uma crise em relação ao tempo e suas temporalidades, o “presentismo”, que tem seu início no final do século XX. Há uma urgência no ato de viver o tempo presente que acaba desconsiderando as relações existentes entre passado e futuro. Ao mesmo tempo, utilizar tecnologias que fazem parte do dia a dia dos jovens para mediar a análise do tempo histórico está em acordo com as teorias pedagógicas sobre aprendizagem significativa. / The objective of this research is the use of photography as a source for meaningful learning about the historical time. Beginning from the perception that photography is a historical source, because it is a human production in time and, as such, according to Le Goff (1996), can be observed as a document/monument. At the same time, by being able to produce meaning and feelings in that one who observes it, photography acquires language status, a non-verbal, semiotic language. In analyzing photography in these two senses - as a historical source and as a language -, starting from the presuppositions of Kossoy (2007) and its methodology of deconstruction of this imagistic field, through the analysis of its iconographic and iconological aspects, it was intended that students of the 3rd grade of high school from Escola Estadual Técnica de Caxias do Sul, were able to produce legends in the form of a historical narrative that privileged historical time in its multiple dimensions, ruptures, stays, transformations and continuities. In order to do so, we used photographs of the students' family collection, therefore, located in the past, in counterpoint with photographs that were produced by the students in the present time. It is worth mentioning that today's young people already live and work with technologies on a daily basis, they are constantly recording their lives through photography without realizing that they are producing a record, a document and a memory of their time. This fact may be related to what Hartog (2014) stated as a crisis in relation to time and its temporalities, the "presentism", which began in the late twentieth century. There is an urgency in living the present moment that ends up disregarding the relations between past and future. In addition, using technologies that are part of the daily life of young people to mediate the analysis of historical time is in agreement with the pedagogical theories about meaningful learning.

This arts-based thesis is a personal account of making sense of loss, embracing emotion, and the cathartic qualities of mixed-media art relying greatly on family photographs. The findings from this will inform my teaching approach and assist budding artists (my pupils) in creating connections by breaking down walls to promote growth of their artistic voice.

One of the aims of forensic sciences is to determine the identities of victims of crime. In some cases the investigators may have ideas as to the identities of the victims and in these situations, ante mortem photographs of the victims could be used and identities established through skull-photo superimposition. The aim of this study was to evaluate the accuracy of a newly developed digital photographic superimposition technique on a South African sample of cadaver photographs and skulls, from the Pretoria Bone Collection. Forty facial photographs were selected and for each photograph, 10 skulls (including the skull corresponding to the photograph) were used for superimposition. The investigator did not know which of the 10 skulls corresponded to the photograph in question. The skulls were scanned 3-dimensionally, using a Cyberware™ Model 3030 Colour-3D Scanhead scanner. Once scanned, the raw data for the skulls were ‘cleaned’ using Cysurf™ programme. The photographs were also scanned for superimposition in the 3D Studio Max programme. Superimposition in 3D Studio Max involves a morphological superimposition, whereby a skull is superimposed over the photograph and assessed for a morphological match. Superimposition using selected anatomical landmarks was also performed to assess the match. A total of 400 skull-photo superimpositions were carried out using the morphological assessment and another 400 using the anatomical landmarks. In 85% of cases the correct skull was included in the possible matches for a particular photograph using morphological assessment. However, in all of these cases, between zero and three other skulls out of 10 possibilities could also match a specific photograph. In the landmark based assessment, the correct skull was included in 80% of cases. Once again, however, between one and seven other skulls out of 10 possibilities also matched the photograph. When using the morphological and landmark assessments combined, 97.5% of correct skulls were included in the list of possibilities, but between one and seven false positives per case were found. This study indicates that skull-photo superimposition has limited use in the identification of human skeletal remains, but may be useful as an initial screening tool. Corroborative techniques should also be used in the identification process. / Thesis (PhD)--University of Pretoria, 2011. / Anatomy / unrestricted

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.

Epidemiological studies that conform to the highest possible standards of research design are required to provide good quality caries data necessary for disease surveillance, health needs assessments and the evaluation of oral health intervention strategies. Caries detection methods used in such studies should be suitable for “blinding” examiners collecting research data, to exposure or group allocation of participants in order to minimise the introduction of bias. The purpose of the studies in this thesis was therefore to assess the diagnostic performance and the pragmatic applicability of the use of intra-oral photographs as a caries detection method in epidemiological studies.Phase I compared the caries detection performance of intra-oral photographic assessments with visual examination and histology as the reference standard. Extracted teeth were assessed for caries using visual examination and assessments of photographs. The diagnostic decisions made were compared to histology. The visual examination and photographic assessments method had median sensitivity values of 65.6% and 81.3%; and median specificity values of 82.4% and 82.4% respectively. The two methods both had good intra- and inter-examiner reliability.The study in phase II compared the assessment of intra-oral photographs as means of detecting dental caries with visual dental examination in 5-year-olds and 10/11-year-olds in an epidemiological survey setting. 5-year-olds and 10-/11-year-olds were visually examined. Intra-oral photographs taken of the children’s teeth were also assessed by the same examiners. There was good intra-examiner reliability for both the visual and the photographic methods for all the examiners. However the photographic method was found to be lengthier than visual examination.Phase III compare caries data obtained from a full mouth visual examination with that obtained from eight, six and four intra-oral photographs of index teeth in two groups of children aged 5 years and 10/11 years. The views of users of the methods (examiners) as well as those on whom the methods were used (children) were also sought using focus group discussions. The examiners found it easier to make caries detection decisions on intra-oral photographs of primary teeth and they suggested that the use of other drying methods are required to improve the utility of photographic method. Generally, the intra-oral camera was well received by the children as a means of caries detection. Caries information obtained from the assessment of eight intra-oral photographs of the primary dentition was comparable to that from full mouth visual examination and may be used as an alternative caries detection method in situations where the visual examination method may not be applicable.

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