Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-08-01T19:47:01Z No. of bitstreams: 1 YURI ALMEIDA LACERDA - DISSERTAÇÃO PPGCC 2009..pdf: 6501376 bytes, checksum: bd856ffa46be0061ca6b093199752e86 (MD5) / Made available in DSpace on 2018-08-01T19:47:01Z (GMT). No. of bitstreams: 1 YURI ALMEIDA LACERDA - DISSERTAÇÃO PPGCC 2009..pdf: 6501376 bytes, checksum: bd856ffa46be0061ca6b093199752e86 (MD5) Previous issue date: 2009-05-12 / A grande facilidade de capturar fotografias com as câmeras digitais fez com que as pessoas estejam produzindo uma quantidade enorme de imagens digitais. Isto acarretou num aumento da complexidade no gerenciamento desse tipo de arquivo. Além disso, os dispositivos móveis com chip GPS e câmera digital embutidos passaram a prover armazenamento nos metadados desses arquivos, além de informações temporais, também informações relativas à posição geográfica (latitude e longitude) do momento da captura da foto, permitindo que seja explorado o aspecto geográfico da fotografia. Os sistemas existentes de organização de fotografias georreferenciadas não exploram de forma eficiente essas informações. Desta maneira, nesta dissertação é proposta a criação de uma ferramenta, chamada PhotoGeo, que permite aos usuários organizarem, navegarem, anotarem e consultarem suas fotos georreferenciadas de maneira simplificada e explorando adequadamente as informações geográficas e temporais. O PhotoGeo propõe um mecanismo novo de organização automática de fotografias, que realiza uma classificação utilizando esses metadados e informações extraídas de fontes externas. Também, é proposto no PhotoGeo uma interface multi-modal para navegar em uma coleção de fotos, dotada também de um mecanismo de consultas avançadas de fotografias que explora os domínios de dados convencional, espacial e temporal. Outra contribuição muito importante do PhotoGeo, é uma nova solução para a sugestão de pessoas que estão presentes nas fotografias, ampliando e utilizando as informações de contextos do usuário. / Since digital cameras made photography capturing easy, people are producing and storing an enormous amount of digital images. This caused an increased complexity in managing this kind of media file. Furthermore, the mobile devices with embedded GPS and digital cameras are capable of store temporal (timestamp of the shot) and geographic (latitude and longitude) information in image files metadata, enabling the treatment of the geographical aspects of photography. The existing geographic photo organizers, however, do not efficiently explore spatial-temporal metadata. In this study, we propose a new photo organizer tool - PhotoGeo - which provides the functionalities of organizing, navigating, annotating, and searching geo-referenced photos, which has enhanced usability and adequately explores geographic and temporal information. PhotoGeo proposes a novel automatic photo organizing mechanism which classifies pictures based on metadata and external sources. It also proposes a multi-modal interface to enable navigation within a photo collection, accompanied by a mechanism to perform advanced search in photography collections which explores the conventional, spatial, and temporal domains. Another very important contribution of PhotoGeo, is a new solution to suggest identification of people who are subject in the photos, expanding and utilizing the contextual informations of user.

Souvent considérée comme une « discipline de mots », l’ethnologie française a vu naître dans ses rangs une véritable culture de l’image photographique à partir des années 1930. Cette thèse se propose de mettre en perspective ce moment fécond des rapports de l’ethnologie à la photographie,en envisageant l’évolution de la place et du statut des images dans la discipline jusqu’aux années1960. Elle prend pour cela comme point d’ancrage les discours portés sur l’image photographique et les politiques institutionnelles en matière de photographie – au musée d’Ethnographie du Trocadéro,au musée de l’Homme puis à l’Institut Français d’Afrique Noire – qu’elle met en dialogue avec l’analyse des supports de diffusion et des pratiques de terrain.Ce travail révèle alors qu’un ambitieux projet visuel s’élabore dans les années 1930 autour du Trocadéro, qui contribue à la naissance d’un public de l’ethnologie. Il s’exacerbe dans les décennies suivantes, autour du succès de la photothèque du musée de l’Homme et face à l’engouement renouvelé pour l’exotisme et l’exploration. Néanmoins, les mutations du paysage institutionnel et les tensions coloniales des années 1950 viennent mettre en question cette adhésion aux images : l’intérêt d’avoir recours aux photographies, de les accumuler et de les diffuser ne fait plus l’unanimité. / Often looked upon as a « discipline of words », French anthropology saw the birth of a real photographic image culture within its ranks from the 1930’s onward. The present dissertation wants to contrast this fruitful moment in the relationships between anthropology and photography, and to consider the evolution of the place and the status of pictures until the 1960’s. In this end, its draws on discourses dealing with photography and on photographic institutional policies – at the muséed’Ethnographie du Trocadéro, the musée de l’Homme and the Institut Français d’Afrique Noire – and open up this in dialogue with an analysis of distribution medium and field practices.Thus, this work reveals that an ambitious visual project is developed in the 1930’s from theTrocadéro, which contributes to the creation of an anthropological audience. It heightens throughout the following decades, with the success of the musée de l’Homme’s photo library and the renewed craze for exoticism and exploration. However, the mutations of the institutional landscape together with the colonial tensions of the 1950’s put into question this predilection for pictures: the interestfor using photographs, for collecting and spreading them is no longer agreed upon unanimously.