Esta dissertação foca um processo de criação de imagens fotográficas a partir de manipulações químicas feitas sobre superfícies fotossensíveis, diretamente sobre o papel ou negativo, sem utilizar para isso o aparato tecnológico – a câmera. A partir dessa abordagem, a dissertação analisa os limites daquilo que conhecemos como fotografia. A pesquisa convergiu para a investigação das possibilidades fotográficas inerentes às superfícies sensíveis e fotossensíveis, às soluções fotoquímicas e para o cruzamento dessas possibilidades fotográficas com outras linguagens artísticas. O trabalho confrontou a fotografia com suas especificidades e buscou desvendar os domínios da fotograficidade, que se configurou como um lugar apropriado para vasculhar as certezas e incertezas do que é a fotografia. As reflexões teóricas foram instituídas pelo trabalho plástico. / This dissertation aims at a photographic images creation process from chemistry manipulations made over light sensitive surfaces, directly on the paper or negative, without the camera. From this point of view the dissertation analyses the limits of which we know as photograph. The research converged to an investigation of the inherent photographic possibilities to sensitive and light sensitive surfaces, to photochemical solutions and to an approaching of these photographic possibilities to other kinds of artistic languages. The creation process faced photograph and its unique features and, by dealing with them, tried to reveal the photographs unique characteristics, which showed a specific place to search the certainties and uncertainties of what photography is. The theoretic reflections were established by the artistic work.

La recherche propose une étude sur le statut de matières `pauvres', vestiges provenant de l'expérience quotidienne et leurs implications conceptuelles dans la production artistique abordée. À travers la photographie et de l'installation, le travail articule une tension entre le caractère précaire des matériels et les tentatives de les commander et les appréhender, moyennant des procédures artistiques, comme la concentration et de l'organisation de résidus. Analyser la tension entre les procédures, l'instabilité des matériels et les procédures de désintégration impliquées dans le travail, en ayant la poussière domestique comme image paradigmatique, dans sa condition de lacune, proliférant et fragmentaire, la recherche discute l'insoutenabilité de programmes rangés et développe une réflexion sur le travail avec/comme des échecs, en détachant sa dimension négative, utopique, processive et déstabilisante. / A pesquisa propõe um estudo sobre o estatuto de matérias 'pobres', vestígios provenientes da experiência cotidiana e suas implicações conceituais na produção artística abordada. Através da fotografia e da instalação, o trabalho articula uma tensão entre o caráter precário dos materiais e as tentativas de ordená-los e apreendê-los, mediante procedimentos artísticos, como concentração e organização de resíduos. Ao analisar a tensão entre os procedimentos, a instabilidade dos materiais e processos de desintegração envolvidos no trabalho, tendo a poeira doméstica como imagem paradigmática, em sua condição lacunar, proliferante e fragmentária, a pesquisa discute a insustentabilidade de programas ordenatórios e desenvolve uma reflexão sobre o trabalho com(o) fracasso, destacando a sua dimensão negativa, utópica, processual e desestabilizadora. / The research proposes a study about the statute of "poor" material, vestiges from the everyday experience and its conceptual implications in the approached artistic production. Through photograph and installation, the work articulates a tension between the precarious character of the material and the attempts of ordering and apprehending them, through artistic procedures, like concentration and residue organization. In analyzing the tension between procedures, the materials' instability and process of disintegration involved in the work, having domestic dust as paradigmatical image, in its lacunars condition, proliferating and fragmentary, the research discusses ordenatory programs' unsustainability and develops a reflection about the work as/with failure, highlighting its negative, utopist, processual and destabilizing dimension.

Este trabalho representa a reflexão e o conhecimento buscado e construído a partir do que aconteceu quando uma comunicadora resolveu desenvolver um projeto de comunicação audiovisual numa outra comunidade – a dos surdos - em que a comunicação com os de fora é uma barreira. Chegar com 'meu' projeto, achando que seria bom 'para eles', foi pura pretensão. O desenvolvimento do projeto - seu tempo, seu modo, sua expressão, sua língua e sua linguagem – teria que ser uma busca cujo tempo e maneira não poderiam ser estabelecidos por mim. Para me recuperar do impacto dessa constatação óbvia e quase ingênua, fui buscar orientação nos conceitos de cultura de Clifford Geertz, de identidade de Stuart Hall, de pensamento e linguagem de Vygotsky, de história de Peter Burke, de narrativas de Hayden White e Ecléa Bosi, nas histórias exemplares e inspiradoras de Oliver Sacks, na aprendizagem da comunicação com a língua de sinais e, sobretudo, na convivência com a comunidade surda. Mais observando e sendo observada do que propondo intervenções que pudessem 'desarranjar' uma cultura construída com dificuldades significativas. O mais importante descrito neste trabalho foi o processo, que me levou à experiência que hoje vivo, 'convidada' a construir novas conquistas, agora COM a comunidade. O resultado audiovisual foi um vídeo feito com fotografias da Associação dos Surdos de São Paulo (ASSP), sem som, limitado por datas: a da festa de 50 anos da ASSP e a da entrega da minha dissertação. A ausência de som não representa apenas apertar o 'mudo' do controle remoto, mas uma outra forma de comunicação e de ver o mundo. Meu trabalho, de fato, está começando agora. / This work represents the reflection and the knowledge researched and built over what happened when a communicator decided to develop an audiovisual communication project within a community – the deaf community - whose the communication with the outsiders is such a barrier for them. To get there with 'my' project, believing that would be good 'for them' was pure pretension. The development of the project - its time, its way, its expression, its language – would have to be a way that could not be set by me. To recover me from the impact of this obvious and almost ingenuous evidence, I looked for orientation on the concepts about culture of Clifford Geertz, about identity of Stuart Hall, about thought and language of Vygotsky, about history of Peter Burke, about narratives with Hayden White and Eclea Bosi, on the exemplar and inspiring histories of Oliver Sacks, on the communication Sign Language learning and, mainly, on the companionship with the deaf community. More observing and being observed than proposing interventions that could 'disarrange' a culture built with meaningful difficulties. The main part descript in this work was the process that guided me to the experience I’ve been living today, 'invited' to build new conquests, now WITH the community. The audiovisual result was a video made with pictures of the Deaf Association of Sao Paulo, with no sound, limited by dates: the Association 50-year party’s, and the delivery of my dissertation´s. The absence of sound doesn’t represent only to press the 'mute' bottom of the remote control, but another way of communication and perceiving the world. My work, indeed, is beginning now.

Made available in DSpace on 2016-04-15T21:46:49Z (GMT). No. of bitstreams: 2 Marco Antonio Dresler Hovnanian1.pdf: 17363212 bytes, checksum: 670c0b3b152bb3a8536ddfe10f7f6365 (MD5) Marco Antonio Dresler Hovnanian2.pdf: 79135569 bytes, checksum: dc6a7ebab2f686a4f8a67012bf06cf15 (MD5) Previous issue date: 2014-02-05 / Banco Santander S.A. / The objective of this work is the construction of an artistic view on rythms and way of living of the homeless population. In academic point of view, the conception of valid performance from Cloke works as an important element of the textual argumentation here represented on the sense that the homeless stage actions as sleep, eat and share similarly as the population that has fixed residence. However, as the first group is seen as declassed and excluded, the second is as central and included, perceptions discussed on this thesis. This thesis discusses the connotation of stranger, generally assigned to the homeless population throw the sociological discussion bias, based mainly on Zygmunt Bauman and Michel Foucault thoughts about the stranger and the ways of lead and control of this population. The artistic view is at the systematic work of construction of light, time and of the photographic register in sequence using the stop motion technique. The nightly light of the exposures as light that not exist, or, in other words, is built from the fleeting and irregular of cars headlights that were going by. The light of each car headlight is different, the angle which it focus too. The camera setup needs constantly to be readjusted. In this process the time assumes a protagonist role. An important aspect as the way this thesis was conducted focus on the shared experiences conducted as essential manner of the research, both in the speculative role as in the moments it was employed systematically. The rapprochement and the entrance on the habitual of those persons are one of the results of this manner of living, the settlement of empathy, of dynamics compatibility of experiences sometimes based on language, sometimes without it, only by the gestural or the emotional observant presence and intellectually relaxed. The domain of the technique guided some intuitive steps, but conducted, at the end, the construction of this language. / O objetivo deste trabalho é a construção de um olhar artístico sobre os ritmos e os modos de vida da população moradora de rua. Do ponto de vista acadêmico, o conceito de performance válida de Cloke funciona como importante elemento da argumentação textual aqui apresentada, no sentido de que os moradores de rua encenam ações como dormir, comer, compartilhar, de modo semelhante à população que tem residência fixa. Entretanto, enquanto o primeiro grupo é visto como marginal e excluído, o segundo o é como central e incluído, percepções discutidas neste trabalho. O trabalho aborda a conotação de estranho, comumente atribuída à população moradora de rua pelo viés da discussão sociológica, fundamentada principalmente no pensamento de Zygmunt Bauman e Michel Foucault ao abordar o estranho e os modos de governo e controle dessa população. O ponto de vista artístico situa-se no trabalho sistemático de construção da luz, do tempo e do movimento no registro fotográfico em sequência por meio da técnica de stop motion. A luz noturna dos registros fotográficos é uma luz que não existe, ou, em outras palavras, constrói-se a partir da iluminação fugidia e irregular dos faróis dos carros que passam. A luz de cada farol é diferente, o ângulo em que ela incide também. A regulagem da câmera precisa ser constantemente reajustada. Neste processo, o tempo assume um papel protagonista. Um aspecto importante do modo como esse trabalho foi conduzido centra-se na vivência compartilhada, conduzida como prática essencial da pesquisa, tanto no seu papel especulativo como nos momentos em que foi empregada mais sistematicamente. A aproximação e a entrada no cotidiano destas pessoas é um dos resultados dessa prática de vivência, do estabelecimento de empatia, de dinâmicas de compatibilidade na convivência às vezes por meio da linguagem, às vezes sem ela, apenas pelo gestual ou a presença emocionalmente atenta e intelectualmente relaxada. O domínio da técnica guiou certos passos intuitivos, mas conduziu, ao final, a construção desta linguagem.

Web2.0的時代來臨，「使用者創作內容（UGC）」概念開始提出。照片分享服務Instagram出現，大量照片上傳至此。因此，本研究希望探討以下三個研究問題：社群媒體上的熱門影像風格是如何建立的？社群媒體上meme是如何保持和變化的？Meme是否會有一個特定的影像風格？本研究通過資料探勘和內容分析的方法建立了一個以圖片為主的研究方法。本研究選擇了現在在Instagram上熱門的“follow me to”的背面牽手照為例來進行分析。 通過比較分析原攝影師Murad Osmann“follow me to”照片和其仿拍者的照片，得出了熱門影像有以下幾個特點：1） 與社群媒體的平台特性做結合。2) 容易模仿。3) 注重服装和影像的敘事性。4) 有充裕的經濟資本找到全球的風景作為背景。5) 有高藝術美感和技術操弄的精細度。仿拍型meme在構圖和內容的部分上有較高一致。不同之處有以下幾點：1) 在景別、內容上相似但更豐富。2) 不注重影像的敘事性表達，只呈現景色和人。3) 個人仿拍者的場景變化度小。4) 不注重攝影技巧的模仿。總之，仿拍型Meme的不穩定性強，較難形成特定的風格，但有部分仿拍者有自己的特點。 / In the age of web 2.0, the concept of ‘the User Generated Content (UGC)’ is put forward. Now millions of images posted on the photo sharing service such as Instagram. We want to explore the following three questions: How is the style of hot images on the social media set up? How are memes on social media to maintain and change? Do memes have a specific image style? We performed the image-based method of data mining and content analysis to study the three research questions. We choose ‘follow me to’—the hot photos on Instagram— as an example for analysis. Though the comparative analysis of the ‘follow me to’ photos of photographer Murad Osmann and the imitators. The hot images on social media have characteristics: 1) They combine with social media platforms’ characteristics. 2) It’s easy to imitate photo’s composition and view. 3) Pay attention to model’s clothing and image narrative. 4) Have enough fund to take pictures around world. 5) Have arts beauty and skilled photography. The photos of imitators and photographer Murad Osmann have the same composition and contents. There also have some differences: 1) Richer in shooting scale and contents. 2) Not pay attention to image narrative. 3) Not have enough fund to take pictures around world. 4) Not have enough arts beauty and skilled photography. In conclusion, compare to hot photos, most of imitators’ don’t have their own characteristics. But some imitators have some characteristics.

The thesis examines the relationship between (photographic) image and text in two novels accompanied by photographs: Georges Rodenbach's Bruges-la-Morte and The Rings of Saturn by W. G. Sebald. As in the essence of photographic image lies the question of its relation to reality, we decided to make from the theme of relation between reality and fiction, which differs according the type of representation, our central theme. The thesis is also concerned with the themes of passing, mourning and order, which connect examined novels. Our interpretation is based mainly on Roland Barthes' theoretical text Le message photographique in which he defines various types of photographic connotation that we search in analyzed phototexts. Concerning the partial theme of connection between photograph and death we base our analysis on Barthes' Camera Lucida, than we proceed mainly from the essays of the collection Co je to fotografie which concern with photographic pose (Thierry de Duve), photograph and remembering (André Bazin), photograph and mirror (Craig Owens).

This thesis studies several methods for enhancing details in digital photographs. Methods' algorithms are described and implemented to existing system using C++ and OpenCV. Methods are then compared in terms of the time and memory complexity and their results are evaluated using users' questionnaire. Work overally gives overview of present photographic detail enhancement methods and discuses their future development.

This thesis investigates efficient manual image tagging approaches. It specifically focuses on organising images into clusters depending on their content, and thus on simplifying the selection of similar photos. Such selections may be efficiently tagged with common tags. The thesis investigates known techniques for visualisation of image collections according to the image content, together with dimensionality reduction methods. The most suitable methods are considered and evaluated. The thesis proposes a novel method for presenting image collections on 2D displays which combines a timeline with similarity grouping (Timeline projection). This method utilizes t-Distributed Stochastic Neighbour Embedding (t-SNE) for otpimally projecting groupings in high dimensional feature spaces onto the low-dimensional screen. Various modifications of t-SNE and ways to combine it with the timeline are discussed and chosen combination is implemented as a web interface and is qualitatively evaluated in a user study. Possible directions of further research on the subject are suggested.

The master’s thesis deals with a business plan for selling photos and illustrations on microstock agencies. The theoretical part describes the basic concept related to business, business plan and microstocks. The practical part focuses on the analysis of the environment and development of the business plan based on the analysis results. The business plan consists of marketing, operational and financial plan, including also risk and feasibility evaluation.

The diploma thesis as a whole deals with the topic of tracks in contemporary art. It is divided into three parts. Theoretical, didactic and practical part. In the theoretical part, I first define what a track means to me and I apply this definition when searching for tracks in the works of contemporary artists. The theoretical part of the work includes an interview with Patrik Proška, an artist creating some of his works in public space. In the didactic art project, created for high school students, the topic of tracks is viewed somewhat more freely. The main goal of the thematic unit is to lead students to think about tracks through their own artistic activity. Based on the experience gained, they should be able to think about the transience of the tracks, the meaning of our legacy and the consequences of our existence. I especially focus on the art area related to land arts and street art or graffiti. The practical part is the result of my reasoning about the tracks left in public space. I established my reasoning on the knowledge gained in the theoretical part. The result is a set of author's books that document my thoughts on the tracks found or created. I focused my attention mainly on the human desire to leave their tracks in the public space. KEY WORDS track, public space, art, land art,...