This paper presents the study about the Centro Universitário Franciscano´s stories and memories, which can be caught through the analysis of the photographic collection of the institution. The general objective of this work consists on the treatment according to the criteria archival photographic of the Centro Universitário Franciscano, referring to the period between the years 1955 and 1980 with the aim to study and recall the stories and memories of the institution. As specific objectives, are listed the following activities: to do the diagnosis of the acquis and the physical conditions of the images, the lifting of the documentary volume; to do the hygienic process and pack the collection according to the archival criteria and finally to study the histories and institutional memories from the analysis of the photographic selected series. The work is structured as follows: the first chapter discusses conceptual issues about the central themes of work: stories and institutional memories and cultural heritage. The second chapter presents a detailed study of the producer institution of photographic collection and its supporting institution, since its creation in Heythusen the Netherlands, until it s arrive in Brazil and consequently in Santa Maria. Chapter three deals with the haracterization of the photographic collection of the institution, in which activities were developed for the diagnosis and management of the collection, with activities related to hygiene, identification, organization and packaging. The last chapter covers the analysis of the photographic collection, through the use of the methodology proposed by Boris Kossoy for the construction of a photographic narrative, and that consists of the central focus of the work. So, the work is finished with the final considerations of the author and the reference used. / Este trabalho apresenta o estudo acerca das histórias e memórias do Centro Universitário Franciscano, que podem ser interpretadas por meio da análise do acervo fotográfico da instituição. O objetivo geral desse trabalho consiste no tratamento, de acordo com os critérios arquivísticos, do acervo fotográfico do Centro Universitário Franciscano, referente ao período situado entre os anos de 1955 e 1980, com a finalidade de estudar e evocar as histórias e memórias da instituição. Como objetivos específicos, elencaram-se as seguintes atividades: realizar o diagnóstico do acervo e das condições físicas das imagens, com o levantamento do volume documental; higienizar e acondicionar o acervo de acordo com os critérios arquivísticos; verificar a possibilidade de utilização do acervo fotográfico como fonte de pesquisa; e por fim estudar as histórias e memórias institucionais, a partir da análise das séries fotográficas selecionadas. O trabalho encontra-se assim estruturado: o primeiro capítulo aborda questões conceituais acerca dos temas centrais do trabalho: histórias e memórias institucionais e o patrimônio cultural. O segundo capítulo apresenta um estudo aprofundado acerca da instituição produtora do acervo fotográfico e de sua instituição mantenedora, desde sua criação em Heythusen na Holanda, até a sua chegada no Brasil e, consequentemente, na cidade de Santa Maria. O capítulo três aborda a caracterização do acervo fotográfico da instituição, no qual foram desenvolvidas atividades referentes ao diagnóstico e gestão do acervo, com atividades referentes à higienização, identificação, organização e acondicionamento. O último capítulo diz respeito à análise do acervo fotográfico, por meio da utilização da metodologia proposta por Boris Kossoy para a construção de uma narrativa fotográfica, e que consiste no foco central do trabalho. Assim, finaliza-se o trabalho com as considerações finais da autora e o referencial utilizado.

This research sought to analyze, based on the principles of Contemporary Diplomatic, elements and characters that allow to guarantee the authenticity and the organicity in the photographic collections of documentary heritage. For a long time the photographs were treated as documents belonging to special files, as needed to be stored in different places than where the text documents were kept considering its specific support, and received differentiated technical treatment from the other documents. Due to this physical separation, the photographs did not receive a proper archival treatment, becoming mere document accumulated masses, affecting their organic relations and authenticity. Currently, with the facilities provided by the use of digital technologies, the situation of photographic collections can be even more compromised. The photos are produced and disseminated quickly in digital media, and can easily lose its identity, its origin, its organicity and all the information that should remain linked to it, hurting its authenticity this way. The research was conducted under two Federal Institute of Superior Education (UFAM and UFSM), where interviews were conducted with the producers of photos and sent questionnaires to the central archives of the institutions, using e-sic, to understand how to give the archival processing of photographs. This research is characterized as exploratory, from the objective point of view and has qualitative and applied nature approach. The organicity and authenticity nature of the photographs belonging to the archival document heritage are closely linked to the treatment to be given to them throughout their life cycle. Therefore, the analysis and discussion of the results was based on three axes considered fundamental to ensure the authenticity and organicity of the photographic collections of cultural heritage: the maintenance of chain of custody of digital photographs with the use of reliable systems to provide management and the archival management of digital photos; the understanding of the specificity and complexity of digital archival documents, aiming to propose performing procedures to properly handle photographs as digital archival documents; the inclusion of photographs in the document management programs of institutions according to Resolution 41, recently published by CONARQ. It was stated that the control of the production of photographs, the correct storage, preservation of the characteristics of archival documents, the adequacy of the classification plans to contemplate the photos, assigning codes to photos while in production, carrying out elimination procedures based on the evaluation of documents and the execution of all these procedures using archival management information systems that follow the requirements of e-ARQ Brazil avoid the appearance of accumulated document mass and the break-up of sets of documents, ensuring that photographs keep their organic relations, and remain whole and authentic. The achievement of the objective of this research, made possible the formulation of recommendations to ensure the authenticity and the organic in the collections of documentary heritage, focused to photograph production sectors of the institutions and central archives that define policies for these sectors. Please note that this research, a pioneer in its context, must be expanded in order to include all issues related to the chain of custody and management of digital archival documents associated to photography. / Esta pesquisa procurou analisar, com base nos princípios da Diplomática Contemporânea, elementos e caracteres que viabilizem garantir a autenticidade e a organicidade nos acervos fotográficos do patrimônio documental. Por muito tempo as fotografias foram tratadas como documentos pertencentes aos arquivos especiais, já que necessitavam ser armazenadas em ambientes diferenciados dos locais onde eram guardados os documentos textuais, considerando suas especificidades de suporte, e recebiam tratamento técnico diferenciado dos demais documentos. Em decorrência dessa separação física, as fotografias não recebiam tratamento arquivístico adequado, tornando-se meras massas documentais acumuladas, afetando suas relações orgânicas e autenticidade. Atualmente, com as facilidades proporcionadas pelo uso das tecnologias digitais, a situação dos acervos fotográficos pode ficar ainda mais comprometida. As fotografias são produzidas e difundidas rapidamente em meio digital, podendo perder facilmente sua identidade, sua proveniência, sua organicidade e todas as informações que deveriam se manter vinculadas a ela, ferindo sua autenticidade. A pesquisa foi realizada no âmbito de duas Universidades Federais de Ensino Superior IFES (UFAM e UFSM), onde foram feitas entrevistas com os produtores das fotografias e enviados questionários aos arquivos centrais das instituições, via e-sic, visando compreender como se dá o tratamento arquivístico das fotografias. Esta pesquisa caracteriza-se como exploratória, do ponto de vista dos objetivos, possui abordagem qualitativa e natureza aplicada. A organicidade e a autenticidade das fotografias pertencentes ao patrimônio documental arquivístico estão intimamente ligadas ao tratamento que será dado a elas durante toda seu ciclo vital. Diante disso, a análise e discussão dos resultados foi pautada em três eixos considerados basilares para garantir a autenticidade e a organicidade dos acervos fotográficos do patrimônio cultural: a manutenção da cadeia de custódia das fotografias digitais com a utilização de sistemas confiáveis para proceder o gerenciamento e a gestão arquivística das fotografias digitais; a compreensão acerca das especificidade e complexidades dos documentos arquivísticos digitais, visando propor a realização de procedimentos para tratar adequadamente as fotografias como documentos arquivísticos digitais; a inserção das fotografias nos programas de gestão documental das instituições, de acordo com o que preconiza a Resolução 41, publicada recentemente pelo CONARQ. Concluiu-se que o controle da produção das fotografias, o correto armazenamento, a preservação das características dos documentos arquivísticos, a adequação dos planos de classificação visando contemplar as fotografias, a atribuição de códigos à fotografias já na sua produção, a realização de procedimentos de eliminação baseados na avaliação de documentos e a execução de todos esses procedimentos via Sistemas Informatizados de Gestão Arquivística que sigam os requisitos do e-ARQ Brasil evitam o surgimento de massas documentais acumuladas e o desmembramento dos conjuntos documentais, garantindo que as fotografias mantenham suas relações orgânicas, além de se manterem integras e autênticas. O atingimento do objetivo geral desta pesquisa, viabilizou a elaboração das recomendações para garantir a autenticidade e a organicidade nos acervos do patrimônio documental, voltada aos setores produtores de fotografias das instituições e arquivos centrais que emanam políticas para esses setores. Salienta-se que esta pesquisa, pioneira em seu contexto, deverá ser ampliada no sentido de contemplar todos os assuntos referentes à cadeia de custódia e gestão de documentos arquivísticos digitais no que tange a fotografia.

The fundamental essence covered the central role of representation of meaning within signs of photographic images captured of the September 11, 2001 terrorist attacks on the United States of America, in Time magazine’s September 11, 2001 special edition. This was done in order to determine how sign representation appeared in relation to philosophical sociologist Jean Baudrillard’s concepts of simulacra, simulation, hyperreality and massification. These concepts were assessed in relation to dominant theme categories and sub themes contained in the photographic images of this publication by means of a qualitative thematic content analysis. The motivation for the selection of this event was based on its magnitude and worldwide consequences. Furthermore, the images were selected in the specified mass media medium of Time magazine based on Baudrillard’s inference that consumption within a society is based on the controlling codes of society and one of these codes is the mass media. Hence the mass media have control over the value which a sign will have in a specific society thus giving it meaning, and on its inception AOL/Time Warner was the largest media conglomerate ever formed. Therefore what messages they deem as significant to be disseminated will become a controlling code of what signs have which meaning on a global scale. Moreover, Baudrillard believes that the mass media create a dominant belief system, which creates mass ideas and one of the ways in which massification occurs is through the use of images. As such, visuals play a powerful role in the representation of major world events. Particularly photographs because they are a reflection and thus form part of the registration process of what is being witnessed, where in this case it was the terrorist attacks of September 11, 2001. Hence visual images of world events are displayed globally by the mass media, which in turn propagate their own mediation of events and in this particular case terrorism fuelled the massified information that was dispersed. This information is circulated on a global scale via the mass media based on what will generate the most capital by creating what is consumable. What has occurred in the mass media arena is that ownership structures have changed and today there is a major increase in media conglomerates with media power being in fewer and fewer hands. This leads to information flow that is skewed by a specified ideology, which in the case of Time magazine would be a western ideology. In line with the established motivation as well as the dominance of visual supplements in much of the coverage of September 11, 2001, the overriding research problem was to determine how meaning was represented in the signs, from a Baudrillardian perspective, in the dominant themes in selected visuals in Time magazine’s September 11, 2001 special edition. Based on the research, a key underlying finding revealed the idea that in mass mediated cultures everything is a sign and representation of the real and therefore the real loses meaning and is replaced by a hyperreal and thus image and form devour the real and audiences are seduced by the values of signs. / Andrea Crystal

The factors involved in calculating Standard Visual Range (SVR) are discussed, and a comparison is made between the visibility reported by airport observers and the photographic slide/ optical densitometer method of calculating SVR. Using slides of Houston, Texas, from the fall and winter of 1988-89, it was found that the altitude at which the contrast measurements are made significantly affects the SVR. Also an index for predicting high and low humidity was developed using the blue/red ratio of the log exposure of the sky, and sun/shade target condition.

The twofold purpose of this study was to ground a model of Lens Meaning in the literature of the Fine Arts and Social Sciences and to use that term as a referent in evaluating three Media Studies curricula. Lens Meaning is a term derived from a variety of sources, particularly Peirce (1955), whose semiotic theory described three systems of signs used as terms on one axis of a matrix or model by which Lens Meaning can be described. These terms are: "index", "icon", and "symbol". DeLauretis' (1984) expanded understanding of another system of signs described by Peirce, interpretants, is the foundation for the three terms on the other axis of the matrix. Those terms, which describe interpretation or response, are: "emotional", "energetic", and "habit changing". These, and other terms identified in the literature, provided a conceptual model that might be applied to the analysis and evaluation of programs of Media Studies, and similar documents. Three Media Studies programs were selected for study: from Western Australia, Ontario, and Scotland. Application of the model permitted conclusions to be drawn on the extent to which current issues of an ideological and sociopolitical nature were addressed by these programs. It was concluded that the model achieved the purposes required of it and that it may be of further utility for educators. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Esta dissertação aborda o campo das políticas públicas para a juventude, a partir da realização de uma pesquisa-intervenção no ProJovem Adolescente na cidade de Porto Alegre/RS. O objetivo deste estudo é analisar a visão dos jovens sobre tais políticas, observando-se os discursos que as atravessam no que concerne à “questão da juventude”. Nesse sentido, problematizam-se as práticas de prevenção social da Assistência Social que, ao focar suas ações em estratégias de capacitação dos jovens marginalizados, podem acabar lhes atribuindo o caráter de capital humano. Para se ter um panorama dessas ações, é feito um mapeamento da produção de políticas para a infância e adolescência no Brasil até a atualidade. Discute-se como essas políticas podem ser compreendidas enquanto uma biopolítica que regula a vida da juventude através de estratégias de governamentalidade, a partir de uma discussão teórica embasada nos conceitos de Michel Foucault. A estratégia metodológica é fundamentada na pesquisa-intervenção, destacando-se as ferramentas da análise de implicação e construção de analisadores. A intervenção fotográfica realizada no coletivo ProJovem Adolescente foi um dispositivo em que se pôde oportunizar uma ruptura nas relações de força e jogos de verdade que compõem as estratégias de governamentalidade no trabalho com a juventude naquele contexto. Também se discute o processo de produção de imagens pelos jovens, de forma que suas fotografias são exibidas ao longo de toda a dissertação. / This master thesis aproaches the field of youth public policies, beginning with an intervention-research practice in the ProJoven Adolescente program in the city of Porto Alegre/ Brazil.The main objective of this study is to analyze the vision of the youth about such policies, by observing the conflicts that cross them regarding the "youth issue", in order to problematize social prevention practices from Social Assistance that focus on professional training actions of the marginalized youth – often seen as human capital. For this, a mapping of the childhood and adolescence policy development in Brazil was undertaken. These policies can be understood as biopolitics that regulate the life of the youth through strategies of governmentality, and are discussed substantiated on the concepts of Michel Foucault. The methodological strategy is based on intervention research, highlighting the tools of analysis of implication and analyzer construction. A photographic intervention was carried out in the ProJovem Adolescente program, in which it was made possible for its participants to rupture with force relations and games of truth that compose the context of governmentality strategies in the youth work. It is also debated the process of producting images made by the adolescents, and their photos are showed throughout the thesis.

The contemporary photographer, Joel-Peter Witkin, has described his remaking of some of the most iconic paintings in the history of art as a “divine revolt”. However, there are no attempts to unravel the meaning of this project nor to analyse the visual changes that Witkin has made. This thesis argues that Witkin's re-creations serve to subvert the negation or diminishment of ugliness in art history's depictions of the mystical, and to present the experience of ugliness as alternatively inherently Godly. Through engaging in the problems in philosophical aesthetics, it contrasts the notions “aesthetically ugly” (a quality that cannot be objectively identified and studied because it ascribes aesthetic non-worth) with the “ugly aesthetic”, which refers to the “perceptive-felt” experience of an object. By integrating descriptions of this experience of the ugly aesthetic with those of the early development stage of the “psychoanalytic pre-symbolic”, it provides heuristics with which to identify perceptual identifiers ugly objects, ugly worlds and the expression of ugly feelings in mystical invocations of paintings of three chosen art historical periods and Witkin's recreations. In his reconstructing of the heavenly realms given Renaissance paintings of Leda and the Swan (1510-1515) and The Birth of Venus (1485), Witkin makes a “pre-symbolic” space with ugly objects to present a contrary vision of an ugly dwelling place for God. In amending the Catholic Baroque's Little Fur (1638) and the Protestant Baroque's Still Life of Game, Fish, Fruit and Kitchen Utensils (1646), the artist replaces mystical feelings that imbue scenes of ugly objects with an expression of ugly feelings themselves, thereby guiding the viewer into a full immersion into these objects the real site of Godly experience instead. This theoretical formulation and its application to the works at hand, evidence that Witkin's work points to the mystical power of the ugly aesthetic to unleash a personal and collective memory of Godly reality as ontologically formless and mysterious, and thereby makes a case for ugliness' value.

The fast growing revolution of digital printers has made customized printed textiles easy to come by asanyone can order them online. As a result the use of prints in fashion is more common than ever andthe difficulty to distinguish individuality rises.This degree work has therefore glanced through history to search for new possibilities in the oldtechniques. The discovery is the unexplored potential of light sensitive dyes. A technique borrowedfrom analogue photography and that dates back to the 19th century, yet there is very little trace of itbeing used in the field of fashion. The directness of this technique opens for possibilities to createprints directly onto voluminous and irregular forms without the dye interfering with the materialsqualities. Hence this work is investigating the relation between print and form and by printing directlyonto garments it aims to challenage the hierarchical structure between the two.Can printing directly onto garments create a closer relation between print and form design? Are therepotential expressions in analogue techniques that can’t be achieved digitally? And does it make senseto be analogue in a digital world if it equals individuality? That is what this degree work aims to answeras it takes advantage of the technique’s unique qualities and presents new aesthetic expressions infashion design.

The seeming lack of barriers to gene flow in the northwest Atlantic ocean has led to the general assumption that the population of the American lobster (Homarus americanus) is largely panmictic. However, morphological and genetic data presented in this dissertation suggest that lobster populations are less homogenous than once believed with potential for behavioral barriers to mating and selection of locally adaptive traits. Additionally, both long-term fishing pressures and the recent spread of a destructive epizootic shell disease may have impacted population structure. We developed a novel photographic technique to rapidly collect accurate morphological data with the ability to maintain a database of images for the purposes of re-sampling and testing additional hypotheses. During this study, we found significant morphometric differences between samples of lobsters from collection sites as close as 25km apart. Morphological differences may have originated due to differential selection or plastic responses to environmental variation. To analyze population genetic structure, I surveyed genetic variation using RADseq. Analysis of 1614 putatively neutral SNPs found little genetic difference (Average F¬ST=0.00137) between sample sites suggesting a high level of gene flow between regions. Several additional markers appeared to be under divergent selection between sample sites. A genome scan analysis of both neutral SNPs and SNPs under selection found several selected SNPs associated with principal components of morphological characters. A subsequent BLAST analysis identified a number of the selected SNPs lying in the H. americanus transcriptome, suggesting functional importance. Further experimentation is required to quantify the impacts of plasticity or local adaption in the origin of morphological differences between lobster populations, although the significant differences identified in this research are likely due to a combination of the two. The overarching conclusion is that lobster populations are, in fact, more differentiated than previously predicted and, as such, the findings presented here may have significant management implications.

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