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.

本篇論文意在分析探討葛拉斯的小說《錫鼓》中主角侏儒奧斯卡照片影像式的敘事觀點，以其顛覆且批判德國二次大戰納粹時期的歷史。透過侏儒奧斯卡以回憶述說故事的方式，從被主流歷史掩埋的廢墟殘跡中，提出斷簡殘篇但相互關聯如星宿圖般的照片影像，以存留於照片影像中破碎的個人歷史抵抗正統歷史泯滅真相的力量。由奧斯卡小人物般卑下的目光如攝影鏡頭或伸縮、或放大、或停格的控訴納粹法西斯的惡行，及支持此一罪行的共犯結構— 德國中產階級的狂熱盲從，指摘納粹歷史如場荒誕鬧劇，德國小市民的亂倫敗德與搖旗吶喊的愚昧瘋狂。本論文欲透過班雅明(Walter Benjamin)、蘇珊•宋塔(Susan Sontag)、巴特(Roland Barthes)及德勒茲(Gilles Deleuze)與瓜達里(Félix Guattari)等人之理論架構逐章論述，分析奧斯卡之敘事觀點。首先以其畸形矮小身形猶如攝影式觀看，維持自身與外在世界的批判距離，且將事件做極度怪奇的放大或縮小，試圖還原歷史洪流中被淹沒或為人輕忽的細節。接著透過奧斯卡親人的死亡和他們留存在家庭相簿中的身影，以之視為凝結停頓時空的休止(caesura)和刺點(punctum)，交互出生者與死者，過去與現在，個人與歷史之間的辯證對話。最後探討照片式影像如部份物體(partial object)具有流動、多元、破碎的顛覆特質，檢視奧斯卡的觀點如何逃脫歷史、民族、國家所匯聚的統一整體，解除支配社會場域的「父–母–我」的伊底帕斯關係之力量，揭露納粹如父如神之形象背後的壓抑與荒謬，使其造成的歷史浩劫定格顯影。 / This thesis investigates Gűnter Grass’s The Tin Drum from the perspective of photographic images, using theories drawn from Walter Benjamin, Susan Sontag, Roland Barthes, Gilles Deleuze and Felix Guattari. Acclaimed as the greatest German novel written since the end of World War II, The Tin Drum is supposedly an autobiographical fiction of Oskar Matzerath, a character who, willingly stunting his growth at the age of three, has lived through the long Nazi nightmare and the loss of Danzig City. Wielding his tin drum and piercing scream as weapons, Oskar furnishes the reader with a profound yet hilarious recollection in the form of fragmented yet correlative photographic images on both German history and the human predicament in the modern world. Chapter One explores the effect of alienation resulting from Oskar’s grotesque perspective from Sontag’s idea of photographic seeing and Benjamin’s “distraction” element of the technical media. Oskar observes the adult world, from which he chooses to withdraw, from an unusual angle gained by his dwarfish size. His perspective, likened to the enlargement or close-up of a camera, displays the grotesquery in ordinary events to reveal what is hidden from us. Chapter Two prospects the force of interruption or arrest grounded on Oskar’s bereavement, with Benjamin’s caesura and Barthes’ punctum of photographic images. Death in the photographic images is endowed with the capacity to arrest and petrify the historical movement. The break from the present moment enables the rereading and refiguring of history. The Deleuzo-Guattarian conception of partial objects is employed in Chapter Three to explore how Oskar viewing the external world as objectivized images helps engender revolutionary forces to subvert the orthodox history. The photographic images in the appearance of partial objects break through the totalizing power of orthodox history and bring forth a dialectical optic to examine the past, present and future.

Made available in DSpace on 2016-04-27T17:26:53Z (GMT). No. of bitstreams: 1 Paulo Eduardo Rodrigues Ruiz.pdf: 17241835 bytes, checksum: 3ae3cf02e74bd112c2c13464d3b713ec (MD5) Previous issue date: 2010-11-23 / The aim of this dissertation is to analyze the question of the photographic ambiguity in the 19th century from the theoretical assumption that photography was considered, in its origins, a kind of pencil of nature . This concept was developed by the English researcher and photographer William Henry Fox Talbot, in the work The Pencil of Nature, published between 1844 and 1846. Our discussion is based on the assumption that The Pencil of Nature already presented ambiguities and ambivalences typical of the photographic practice in the 19th century and, to an extent, until today, as regards the technical, scientific, commercial and artistic appeal of an industrial society. We draw examples from the photographic production at the time, using concepts developed by philosophers and theorists of photography such as Martin Heidegger, Walter Benjamin, Roland Barthes, Susan Sontag, Philippe Dubois, André Rouillé and Boris Kossoy, related to some basic notions about the photographic language: the question of technology and photographic verisimilitude, the shift in the perception of reality through photography and the presence of death in the photographic image / O objetivo deste trabalho é refletir a respeito da questão da ambiguidade fotográfica no século XIX a partir do pressuposto teórico de que a fotografia era considerada, em seus primórdios, uma espécie de lápis da natureza . Este conceito foi concebido pelo pesquisador e fotógrafo inglês William Henry Fox Talbot, na obra ThePencilofNature, publicada entre os anos de 1844 e 1846. O fio condutor de nossa discussão parte da hipótese de que ThePencilofNature já apresentava uma série de ambiguidades e ambivalências características da prática fotográfica do século XIX e, em parte, até os dias de hoje, em relação ao apelo técnico-científico, comercial e artístico de uma sociedade industrial. Para tal reflexão, utilizaremos alguns exemplos da produção fotográfica da época, fazendo uso de alguns conceitos de filósofos e de pensadores da fotografia tais como Martin Heidegger, Walter Benjamin, Roland Barthes, Susan Sontag, Philippe Dubois, André Rouillé e Boris Kossoy, relacionados a alguns preceitos básicos sobre a linguagem fotográfica: a questão da técnica e da verossimilhança fotográficas, a transformação da percepção do real por meio da fotografia e a presença da morte no registro fotográfico

A dissertação (\"Em Flagrante - leitura de fotografias de rua do cotidiano da cidade de São Paulo nas duas primeiras décadas do século XX\" tem por fio condutor a história cultural ao lidar com a representação fotográfica. O objetivo da pesquisa realizada e o de apresentar dois pontos de vista diferenciados do comportamento do homem urbano na cidade de São Paulo antiga. Essas visões cunham o memento da modernidade da fotografia, gerada pelo flagrante ou instantâneo, que e um dos impulsos para o surgimento da cultura de massa estruturada no universo dos textos visuais. O enfoque central parte da leitura de dois olhares contrastantes de uma mesma cidade: a fotografia aplicada nas revistas A Vida Moderna e A Cigarra e o trabalho autoral do fotógrafo italiano Vincenzo Pastore. As interpretações imagéticas permitem uma reflexão sobre a questão da formação cultural da identidade brasileira no primeiro quarto do século XX. / The dissertation (Snapshots- street photographs of everyday So Paulo, during the first two decades of the twentieth century\", takes cultural history as a conducting wire, while dealing with photographic representation. The objective of the study is to present two distinct points of view of the urban man on the São Paulo streets of old. These images enhance the moment of modern photography, brought about by the snapshot, as being one of the drives for the emergence of visually based mass culture. The main focus arises in observing two contrasting photographic documentation of the same city: those of the photographs employed in the magazines A Vida Moderna (Modern Life) and A Cigarra (The Cricket) and those of the Italian photographic artist Vincenzo Pastore. The interpretations of the pictures allow for an analysis of the roots of Brazil\'s cultural identity in the first quarter of the twentieth century.

En kamera fångar ögonblick av det ljus som människan kan uppfatta, eller verkligheten som det ibland kallas. Dessa ögonblick i form av fotografier, arbetar de elever och den lärare med, som Ola Lindholm har följt på gymnasiet. Läsaren kan följa hur eleverna interagerar, hur det sociala samspelet organiseras under lektioner och redovisningar, vad som görs viktigt samt hur bildteoretiska- och yrkesmässiga kunskaper framträder i interaktionen. I studien framträder ett arbetssätt som ger eleverna ansvar och möjlighet att visa vad de kan i interaktionerna och vid redovisningarna av deras fotografier. Resultatet visar hur läraren försöker få eleverna att se skillnader i fotografiets uttryck, skärpedjup, bildbeskärning etcetera. Ibland gör eleverna motstånd och förhandlar med läraren där eleverna hävdar sin kunskap och sina åsikter om sina bilder. I bildanalysen av ett elevfotografi framträder två olika intentioner med de förslag som läraren och eleven förhandlar om. Studien visar att bildteorier, bildspråket och vad bilden kan berätta, inte är lika framträdande i interaktionen som frågor om teknik och process. Ola Lindholm, är bild- och medielärare på Sundstagymnasiet i Karlstad. Licentiatavhandlingen har skrivits inom Forskarskolan i yrkesämnenas didaktik. / A camera captures the moment of light that humans can perceive, or the reality as it is sometimes called. The work and the interaction in the classroom with these frozen moments in the form of photographs can be followed in this study at a media program in high school. The aim of the study is to research how students interact, how the social interaction is organized in lectures and presentations, what becomes important and how the pictorial theory and professional knowledge emerges from the interaction.The study reveals a didactical way of working that gives students the responsibility and opportunity to communicate and show what they can, both in interactions with the teacher during their work with the photographic picture and in the presentations of their photographs. The results show how the teacher tries to get students to see the differences in the photographic expression, depth of field, cropping and so on. Sometimes the students make resistance and negotiate with the teacher, showing knowledge and arguing for their opinions about their pictures. One picture analysis of student photography reveals different intentions with the proposals that the teacher and student negotiates about. The study shows that pictorial theories, picture language, and the communicative intention, are not as prominent in the interaction as issues about technique and process.

Within the accepted historiography of photography, the importance of George Eastman and the Eastman Kodak Company (EKC) has become unassailable. They have been placed as the key, and often sole, agent in “revolutionizing” the amateur photography market in the late nineteenth century. While the photographic landscape and market of 1885-1914 was indeed radically altered, the historiographical dominance of what can be identified as the “Kodak story” has obscured the means through which EKC’s successful re-structuring of the existing manufacturing and distribution networks of photographic materials occurred. I argue that the changes effected by Eastman and the EKC began not with imaging desires, but with their acknowledgment, and profound understanding of the existing and competing interests within the photographic industry. This thesis focuses on the EKC’s re-structuring of the extant and evolving communities involved in the manufacturing and distribution of photographic materials in Canada between 1885-1910. Focusing particularly on the period immediately surrounding the establishment of the Canadian Kodak Co. Limited in 1899, I demonstrate the re-structuring processes at work, including: market and financial diversification; governmental lobbying; purchase and mergers; and other business and marketing-based strategies. I frame my theoretical positions and analysis of network re-structuring through the experiences of Ottawa professional photographer and photographic business owner William James Topley (active 1868-1907), and CKCoLtd manager John Garrison Palmer (active 1886-1921). Topley and Garrison’s professional experiences and interactions with expanded communities of photographic consumers and industry participants provide an opportunity for specific and detailed findings which challenge understandings of the evolution of the practice of photography during this transitional period. In doing so, I provide evidence of the primary role network re-structuring played in the EKC’s ability to shape the wider international photographic industry to their advantage in the early twentieth century.

The purpose of the essay is to see (1) how being a bricoleur works within the framework of academic discourse, specifically an archaeological one, (2) if, by usinga bricoleur approach, incorporating object-oriented philosophy, phenomenology, aesthetic theory and photography, one can get at different interpretations of an archaeological place and material; specifically the cairn at Skårby and how it ”should” be approached, and (3), if the incorporation of a photography that’s not aimed at textual illustration or representation, along with a looser language, can make an academic text like this one more approachable.

published_or_final_version / abstract / Electrical and Electronic Engineering / Master / Master of Philosophy

High quality digital images have become pervasive in modern scientific and everyday life — in areas from photography to astronomy, CCTV, microscopy, and medical imaging. However there are always limits to the quality of these images due to uncertainty and imprecision in the measurement systems. Modern signal processing methods offer the promise of overcoming some of these problems by postprocessing these blurred and noisy images. In this thesis, novel methods using nonstationary statistical models are developed for the removal of blurs from out of focus and other types of degraded photographic images. The work tackles the fundamental problem blind image deconvolution (BID); its goal is to restore a sharp image from a blurred observation when the blur itself is completely unknown. This is a “doubly illposed” problem — extreme lack of information must be countered by strong prior constraints about sensible types of solution. In this work, the hierarchical Bayesian methodology is used as a robust and versatile framework to impart the required prior knowledge. The thesis is arranged in two parts. In the first part, the BID problem is reviewed, along with techniques and models for its solution. Observation models are developed, with an emphasis on photographic restoration, concluding with a discussion of how these are reduced to the common linear spatially-invariant (LSI) convolutional model. Classical methods for the solution of illposed problems are summarised to provide a foundation for the main theoretical ideas that will be used under the Bayesian framework. This is followed by an indepth review and discussion of the various prior image and blur models appearing in the literature, and then their applications to solving the problem with both Bayesian and nonBayesian techniques. The second part covers novel restoration methods, making use of the theory presented in Part I. Firstly, two new nonstationary image models are presented. The first models local variance in the image, and the second extends this with locally adaptive noncausal autoregressive (AR) texture estimation and local mean components. These models allow for recovery of image details including edges and texture, whilst preserving smooth regions. Most existing methods do not model the boundary conditions correctly for deblurring of natural photographs, and a Chapter is devoted to exploring Bayesian solutions to this topic. Due to the complexity of the models used and the problem itself, there are many challenges which must be overcome for tractable inference. Using the new models, three different inference strategies are investigated: firstly using the Bayesian maximum marginalised a posteriori (MMAP) method with deterministic optimisation; proceeding with the stochastic methods of variational Bayesian (VB) distribution approximation, and simulation of the posterior distribution using the Gibbs sampler. Of these, we find the Gibbs sampler to be the most effective way to deal with a variety of different types of unknown blurs. Along the way, details are given of the numerical strategies developed to give accurate results and to accelerate performance. Finally, the thesis demonstrates state of the art results in blind restoration of synthetic and real degraded images, such as recovering details in out of focus photographs.

Amphibian populations are declining on a global scale and although disease outbreaks are a commonly accepted hypothesis they are not the only one. My aims for my thesis were to study the home range of Leiopelma hamiltoni, to determine whether a photographic database could be used to individual identified them and monitor the health status of the population. Habitat loss is a possible cause. For this reason monitoring an animals' home range is a possible method to detect early impacts the population is facing. By tracking 12 L. hamiltoni within a 12 m x 6 m grid on Maud Island, it was shown that the home range size can vary from 0.5 m2 to 25 m2 based on the minimum convex polygon method. However, to track multiple individuals it is important to be able to distinguish among frogs. The commonly used methods of identification, such as toe clipping, pose potentially detrimental effects. Therefore, non-invasive methods based on natural markings need to be established. Through the use of the dark pigmented patterns found on the skin of L. hamiltoni individuals can be identified on recapture with a mean accuracy of 93%. By developing a database to maintain the photographs used for individual identification, the database can also be used to monitor the status of the population. During 2003 numerous L. hamiltoni were observed with denuded patches predominantly on the facial region. By monitoring five individuals within the captive facility at the University of Canterbury it was discovered that frogs appear to be able to cure themselves. Through researching the home range requirements and developing a photographic database to monitor the population status of L. hamiltoni, it will aid in the management of ensuring the long-term survival of this archaic species of frog.