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This diploma work is focused on a study of microbial contamination of photographic materials. In the first part of this work the information about the archive and museum microbial contaminations were collected. The most frequent contaminants of photographic collections – Penicillium chrysogenum and Aspergillus niger were studied. Their activity on photographic papers Fomaspeed and Fomabrom was evaluated. It was found that at the given experimental conditions the image layers of Fomaspeed paper are resistant to fungi mycelium growth. On the other hand, the Fomabrom paper image layer was irrecoverably damaged by action of fungi mentioned above. The degree image layer deterioration was evaluated with the aid of sensitometric curves.

The city of Pretoria has a diverse mix of people moving in and around it. This dynamic, ever-changing movement, combined with the city’s cultural diversity, renders it ideal for an investigation into the relationship (or lack thereof) that exists between the moving body and architectural space. The city and its architectural spaces are viewed as static. The human body and its movement is dynamic. These static spaces cannot always accommodate the dynamic movement taking place within and around them. This leads to a lack of dialogue or interaction between the two, causing a tension which is further aggravated by the fact that they are situated within a constantly changing environment. The aim of this thesis is not only to examine the relationship between the city and the human body moving through its architectural spaces, but also to provide the platform for an investigation into the establishment of an active dialogue between the two. CAPTURE is envisaged as an experimental laboratory in the city of Pretoria. It aims to rejuvenate the city’s CBD, as well as to develop and promote arts and culture through the creation of a public exhibition space. It is a design intervention intended to create a space which captures and navigates its users through it, by exposing them to the different functions facilitated within it, as well as to the space and to each other. The introduction of this spatial intervention, informed by the existing pedestrian movement through an identified public thoroughfare, will encourage an active dialogue between the user and the space. Public art, in the form of the photographic image, has been identified as a possible means of communicating the user’s surroundings to him/her. This, in turn, may encourage interaction with, and interpretation of the space. / Dissertation (MInt(Prof))--University of Pretoria, 2009. / Architecture / unrestricted

Indiana University-Purdue University Indianapolis (IUPUI) / New materialist scholars argue that schools are important material-discursive entanglements for engendering, racializing, and subjectivizing human subjects. Despite this claim, there is a dearth of research that examines the perceptions that students have of the messages they are sent from schools about how to perform their gendered subjectivities in schools, particularly from a material feminist framework. This study used native photography through a post qualitative methodological framework to explore the messages that students’ receive from their school related to subjectivity and gender. This study took seriously both the voices and perceptions of the participants and the significance of the material environment of the school. Within the course of the research study, students both resisted and conformed to messages the school sent them about their subjectivities. Students conformed to many of the dominant ideas about gender, including privileging maleness. Students resisted the school’s control of their bodies, as well as the school’s attempts at rendering the student population homogenous. The students, though aware that there were differences in the way the school treated them based in gender and other identity markers, struggled to articulate those differences because the school sent a false message of equality. This false message of equality performed an erasure of their experiences of differences and denied them the language they needed to discuss the inequities they experienced. The results of the analysis contribute to conversations about the ways in which school environments contribute to narratives about identity, particularly as it relates to gender. Additionally, the way in which this post qualitative study unfolded has implications for research, including the importance of emergent design. Finally, the tensions that exist in using the new materialisms as a framework when studying schools led me to question the benefits of choosing to decenter humans in this type of research.

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Esta pesquisa teve como objetivo relacionar operações discursivas distintas a palavra e a imagem a partir de um recorte também duplo, o discurso ecológico constituído pelo Protocolo de Kyoto e as fotografias que se auto-designam como representações imagéticas do mesmo. O trabalho elabora relações, aproximando e diferenciando conceitos como formação discursiva e enunciação de Foucault; escritura, de Derrida; representação, de Heidegger; gesto fotográfico, de Flusser, e ato fotográfico, de Dubois, Sensação, de Deleuze, além de incluir as abordagens teóricas sobre a fotografia de paisagem, de Krauss e considerações sobre a natureza e a história da fotografia, de Fabris. A partir da convenção que define que toda fotografia é permeada por texto ou por formações discursivas, propôs-se a análise de grupos de imagens fotográficas desvinculadas de seus textos de origem, mas às quais se atribui o papel de ilustração do Protocolo de Kyoto. O resultado mostra que há fotografias produzidas como cópias estereotipadas da significação que seus textos de origem lhes impõem e há outras que conseguem desvincular-se deles, apresentando-se ao observador como fruição e Sensação. O Protocolo de Kyoto é representado pelos textos e formações discursivas que o organizam e o instituem, mas não por todas as imagens fotográficas que lhe são associadas. Tais fotografias expressam maior autonomia em relação aos seus contextos de origem porque seus elementos estéticos são vetores de força mais intensa que a escritura científica que legitima o valor de verdade do Protocolo. / This research intended to relate distinct discursive operations considered as the opposition between writing and image, based in another opposition, the ecological speech, constituted by the Kyoto Protocol and the photographs that are assigned as representations to illustrate it. The analysis elaborates relations, by approaching and differentiating concepts such as discursive formation and enunciation in Foucault; scripture and writing, in Derrida; representation, in Heidegger;, in Flusser, and photographic act, in Dubois, Sensation, in Deleuze, beyond including the theoretical approaches on the photograph of landscape, by Krauss and considerations about the nature and the history of the photograph, by Fabris. From the convention that defines that all photography is permeated by text or surrounded by discursive formations, the approach proposed the analysis of groups of photographic images freed from their texts of origin, but to which the role of \"illustration\" of the Protocol of Kyoto is attributed. The result shows that there are photographs produced as stereotyped copies of the significance that their texts of origin impose to them and there are other photographs which seem to be detached from texts, presenting themselves to the observer as fruition and Sensation. The Protocol of Kyoto is represented by the texts and discursive formations that organize and institutionalize it, but not by all the photographic images that are associated to it. Such photographs express bigger autonomy regarding their contexts of origin because their aesthetic elements are vectors of more intensive force than the scientific writing, which legitimizes the value of truth of the Protocol.

Chow Wai Keung Barry. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1999-2000, design report." / Includes bibliographical references (leaf 54). / Chapter 1. --- Introduction and Background / Chapter 1.1 --- Prologue --- p.P.1 / Chapter 1.2 --- Project Issues & Goals --- p.P.2 / Chapter 1.3 --- Research and Programming (Symmary) --- p.P.3 / Chapter 1.4 --- Site Analysis --- p.P.9 / Chapter 2. --- The Project Brief / Chapter 2.1 --- Opportunities and Constraints --- p.P.16 / Chapter 2.2 --- Space Program --- p.P.17 / Chapter 2.3 --- Design Guidelines --- p.P.18 / Chapter 3. --- The Design / Chapter 3.1 --- Schematic Proposal --- p.P.20 / Chapter 3.2 --- Design Development --- p.P.22 / Chapter 3 3 --- Final Scheme --- p.P.27 / Chapter 3.4 --- Special Study --- p.P.38 / Chapter 4. --- Appendices / Chapter 4.1 --- Precedents --- p.P.43 / Chapter 4.2 --- Schedule of Accommodations --- p.P.49 / Chapter 4.3 --- Site Photos --- p.P.50 / Chapter 4.4 --- Code Comp1iance --- p.P.52 / Chapter 4.5 --- Bibliography --- p.P.54

Esta dissertação propõe-se a avaliar a importância de Valério Vieira para a história da fotografia brasileira por meio de seus retratos e suas experimentações fotográficas. Valério, profissional inovador, utilizava recursos diferenciados em todas as expressões artísticas a que se dedicava: música, pintura e fotografia. O resultado da pesquisa abrange a trajetória do fotógrafo, com os fatos mais relevantes de sua vida, pessoal e profissional, os quais foram de grande influência tanto em sua produção como em seu pensamento. Aqui serão apresentados o seu ofício de retratista de estúdio, os panoramas de grande formato, as técnicas de manipulação de negativos e de imagens fotográficas utilizadas nas Fotografias Compósitas, bem como seus usos e aplicações, seguida de uma análise das obras de Valério baseada nas técnicas expostas. O nível técnico dos fotógrafos brasileiros em relação aos profissionais dos centros hegemônicos é um tema pouco explorado entre os pesquisadores da área e esse trabalho busca preencher essa lacuna, ao menos em parte. / The essay intends an evaluation of Valério Vieiras importance to the History of Brazilian photography through his portraits and photographic experimentation. Valério can be seen as a unique professional, who made use of several resources on creating new work on all art forms he used to express himself with, such as: music, painting and photography. The researchs outcome includes his photographic career, with all the significant events, both from his personal and professional life, which were of great influence either on his artistic production as well as his way of thinking. The purpose of this text is to show Valerios expertise as a studio portraitist, the large format panoramas, his technique on handling negative films and photographic images that can be found on Composite Photographic, as well as its uses and applications, followed by an analysis of Valerios personal work based on the pre-mentioned techniques. The equity between the Brazilian photographers technical level and his colleagues abroad, on the hegemonic centers, is a rare subject among researches and this dissertation aims to fill this gap, or at least part of it.

Esta dissertação propõe-se a avaliar a importância de Valério Vieira para a história da fotografia brasileira por meio de seus retratos e suas experimentações fotográficas. Valério, profissional inovador, utilizava recursos diferenciados em todas as expressões artísticas a que se dedicava: música, pintura e fotografia. O resultado da pesquisa abrange a trajetória do fotógrafo, com os fatos mais relevantes de sua vida, pessoal e profissional, os quais foram de grande influência tanto em sua produção como em seu pensamento. Aqui serão apresentados o seu ofício de retratista de estúdio, os panoramas de grande formato, as técnicas de manipulação de negativos e de imagens fotográficas utilizadas nas Fotografias Compósitas, bem como seus usos e aplicações, seguida de uma análise das obras de Valério baseada nas técnicas expostas. O nível técnico dos fotógrafos brasileiros em relação aos profissionais dos centros hegemônicos é um tema pouco explorado entre os pesquisadores da área e esse trabalho busca preencher essa lacuna, ao menos em parte. / The essay intends an evaluation of Valério Vieiras importance to the History of Brazilian photography through his portraits and photographic experimentation. Valério can be seen as a unique professional, who made use of several resources on creating new work on all art forms he used to express himself with, such as: music, painting and photography. The researchs outcome includes his photographic career, with all the significant events, both from his personal and professional life, which were of great influence either on his artistic production as well as his way of thinking. The purpose of this text is to show Valerios expertise as a studio portraitist, the large format panoramas, his technique on handling negative films and photographic images that can be found on Composite Photographic, as well as its uses and applications, followed by an analysis of Valerios personal work based on the pre-mentioned techniques. The equity between the Brazilian photographers technical level and his colleagues abroad, on the hegemonic centers, is a rare subject among researches and this dissertation aims to fill this gap, or at least part of it.