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Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T11:25:50Z (GMT). No. of bitstreams: 1 Barros_ErnaRaisaLimaRodriguesde_M.pdf: 17623615 bytes, checksum: 3fe497bb6760be522d553bdb37a2d353 (MD5) Previous issue date: 2012 / Resumo: Nossa pesquisa se constitui em uma tentativa de aproximação com o universo do grafite e aborda alguns aspectos de sua linguagem enquanto prática transgressora, arte contestatória, subversiva, mas também enquanto forma de expressão e representação artística que tem a capacidade de informar, carregar idéias e também de ser apresentado como veículo de expressão lúdica e poética presente nas cidades. Propomo-nos a refletir representações e intervenções estéticas que se referem a temáticas e questionamentos singulares com os quais nos munimos para pensar o papel das imagens na contemporaneidade, e o mundo através da arte / Abstract: Our research is an attempt to approach the world of graffiti and some aspects of their language as a practice transgressive, contestatory, subversive art, but also as a form of artistic expression and representation that has the ability to inform, carrying ideas and also to be presented as a means of ludic and poetic expression present in the cities. We propose to reflect representations and aesthetic interventions that relate to issue and questions with which we equip us to think the role of images in contemporary society and the world through art / Mestrado / Multimeios / Mestre em Multimeios

Conventional Ag/AgX electrodes, responsive to halide X, cannot be used to monitor the addition of a second halide Y since such additions result in a slow chemical conversion of the macroscopic halide coating AgX to AgY. This is a serious problem in the manufacture of photographic emulsions that frequently contain more than one silver halide. The thesis describes a new electrochemical measurement technique with the ability to make appropriate determinations in solutions of mixed halides. In the new technique (termed "clean/coat/measure"), silver electrodes were prepared "in situ" by applying square wave pulses to the electrode. First the previous halide layer was removed, then the electrode was coated in situ with a new layer of silver halide and this was used to measure the open circuit potential before the cycle was repeated. In this way the halide coating reflected the composition of the measurement solution. Existing commercial instrumentation was inappropriate for the proposed measurement sequence. Thus, a range of instrument hardware and software was designed and built by the author and used to study the influences of a multitude of parameters on the measurement performance. 1. A stable and accurate measurement system was designed and fabricated allowing the potentials of eight electrodes to be measured simultaneously in grounded solutions. Data was collected and stored on a PC using custom written software. Calibration curves for conventional silver/silver chloride, bromide and iodide electrodes were obtained over a range of concentrations and temperatures. Silver/silver halides electrodes with small surface areas (< 9 mm2) and thin halide coatings (< 1 nm thick) were studied to ensure that such electrodes performed as conventional large, thickly coated electrodes. Calibration curves showed no deterioration of response due to small surface areas and, over short time scales (< 2 min), no deterioration due to thin layers. 2. A laboratory instrument was designed and built to apply potential pulses, control a rotating disc electrode (RDE) and collect data. The system allowed both controlled potential pulses to be applied to the electrodes and open circuit potentiometric measurements to be made. Measurements of potential and current were collected at a rate of 10,000 measurements per second. The system used custom software running on a PC to control the instrumentation and to store data on the PC. Using this instrumentation a RDE was used to study the new "clean/coat/measure" pulsed technique. Results from the RDE study indicated that an electrode capable of sensing halide could be produced by this technique if an applied potential pulse with sufficient charge was applied. This minimum charge (11 x w-s C cm-2) produced a coating thickness approximately equivalent to a monolayer. The study also indicated that the technique was independent of the speed of rotation of the silver electrode and was successful over a wide range of conditions of pulse time, applied potential and cycle times for solution of potassium bromide in the range 0.001 to 0.05 M. The technique also successfully measured the addition of potassium iodide to a solution of potassium bromide while conventional thickly coated electrodes did not. 3. Two further instrumentation systems were designed and built to be used in a grounded stainless steel emulsion making vessel , one to apply controlled potential pulses and one to apply constant current pulses. Using these instruments and the conditions found for the RDE, static cylindrical electrodes in stirred solutions were investigated using both controlled potential and constant current square wave pulses of between 50 and 500 ms. Both potential step and current step techniques successfully measured the halide concentration of solutions of potassium chloride and bromide (0.001 to 0.5 M) and potassium iodide (0.0001 to 0.5 M). Both methods were also shown to be able to successfully monitor the addition of iodide to bromide and chloride solutions. With respect to future work, modifications to the instrumentation are proposed, including the replacement of the PC by an on-board microprocessor, the design of a multi-channel system and use of intelligent software to determine the optimum potential or current to apply. Areas of work required to be carried out before the system could be used in a production environment are given.

Philosophiae Doctor - PhD / How far can landscape photographic images allow us to interrogate the extent to which collective socio-political, cultural and economic aspirations of marginalised South Africans have, or have not, been achieved since the dawn of democracy in 1994? In thinking about such aspirations, I posit that the victims of colonialism and the Apartheid system had expectations of living in a free, non-racial South Africa where equality would be realised in political, social, cultural and economic spheres. However, I use landscape as the basis for determining the extent to which such aspirations might or might not have been achieved within the context of post-Apartheid South Africa. What role can the work of David Goldblatt (born 1930) and Santu Mofokeng (born 1956) play in facilitating our ability to read a post-Apartheid diagnosis regarding this question? These issues are the primary focus of this thesis, and connect to a range of other questions. For instance, what methodological approaches do these practitioners employ in framing their photographed landscape scenes, be they populated or depopulated? Why is landscape in the centre of this thesis, and why are these practitioners considered relevant in the context of this study irrespective of their disparate racial and cultural backgrounds? The main body of the thesis traces these photographers’ individual methodological approaches, distinguishing them from predominant modes associated with the Afrapix Collective (1982-1992) and the later Bang-Bang Club (1990-1994). It locates them within the context of ‘struggle photography’ with which the Afrapix members and the Bang-Bang Club were primarily concerned. The Bang-Bang Club in particular had a preoccupation with the framing of violent scenes that ensued in the South African political arena during the early 1990s, leading up to the national democratic elections in 1994. My argument centres on what I consider the main element that distinguishes the practitioners in question from the Afrapix and the Bang-Bang Club – the everyday. I explore how specific examples of Goldblatt’s and Mofokeng’s focus on the everyday contribute to an articulation of the role of landscape as a medium of social critique. Instead of framing sensationalist and newsworthy episodes of violent political strife within pre-1994 South Africa, Goldblatt’s long career traces the underlying causes of the social injustices and resultant power contestations while Mofokeng, who was also a member of Afrapix, looks at what I term the spiritual or ethereal elements within landscape. It is this subtlety in their approach that sets them apart from their counterparts as they use landscape as a kind of proverbial text in which we can ‘read’ human actions over time. Thus time and space are inevitably significant in the study of these photographers’ oeuvre. But what do all these elements have to do with the challenging question of land in South Africa? What do they have to do with the construction of the South African landscape? What is the role of the camera in that construction? Using photographic images as important tools, I place the land issue, especially as it is mediated through landscape construction, at the centre of my interrogation of power relations in Apartheid and post-Apartheid South Africa.

Much like a photograph, a casts creates a replica of its referent, thereby immobilising the subject in time. While the subject continues in time and hence ages and inevitably dies the replica does not. With this basic notion of fixing a subject, I have built an argument to contextualise my sculptures, which are made using casts of elderly people. In this discussion I have looked at my works through the ideas of different theorists. The main theorist I have cited is Roland Barthes, specifically with regards to his notion of the photograph as discussed in his book Camera Lucida. I have also referenced three particular artists: Rachel Whiteread, Diane Arbus and Churchill Madikida, as I have found each of their works relate to my work in various ways, creating a different reading from each viewpoint.

Orientador: Wencesláo Machado de Oliveira Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-27T00:07:09Z (GMT). No. of bitstreams: 1 Martinelli_IvaniaMarques_M.pdf: 15026094 bytes, checksum: 39353e48fe101470b920fb34ccab01c3 (MD5) Previous issue date: 2014 / Resumo: Imagens como forma de conhecer-pensar os sentidos espaciais da cidade de Americana/SP. Propor fascinar/encantar os sentidos dos alunos/professores com a linguagem fotográfica, com câmeras pinhole (câmeras fotográficas artesanais feitas pelos alunos), percorrendo os limites do município, captando imagens, produzindo imagens, rasurando postais. Fotógrafos tornam-se produtores de suas próprias imagens, questionando e movimentando seus saberes. Experimentações e fabulações expressam a força imagética do olhar dos alunos e dos docentes para o espaço urbano, descobrindo outras perspectivas dos lugares, permitindo elaborar outros sentidos / Abstract: Images as a way of getting to know-thinking the spatial senses in the city of Americana. We have proposed to fascinate/enchant the senses of students and teachers with the photographical language, with pinhole cameras (hand-made cameras produced by the students), as we walked the city borders, capturing images, producing images, blurring postcards. The photographers became the producers of their own images, questioning knowledge and moving thought. Experimentation and fabulation express the image strength of the way students and teachers see the urban space, finding new perspectives of the places, allowing them to create distinct senses / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestra em Educação