Contemporary digital imaging practice has largely adopted the visual characteristics of its closest mediatic relative, the analogue photograph, In this regard, new media theorist Lev Manovich observes that "Computer software does not produce such images by default. The paradox of digital visual culture is that although all imaging is becoming computer-based, the dominance of photographic and cinematic imagery is becoming even stronger. But rather than being a direct, "natural" result of photo and film technology, these images are constructed on computers" (Manovich 2001: 179), Manovich articulates the disjuncture between the technical processes involved in the digital image creation process and the visual characteristics of the final digital image with its replication of the visual qualities of the analogue photograph. This research addresses this notion further by exploring the following. What are the defining technical features of these computer-based imaging processes? Could these technical features be used as a basis in developing an alternative aesthetic for the digital image? Why is there a reticence to visually acknowledge these technical features in contemporary digital imaging practice? Are there historic mediated precedents where the inherent technical features of the medium are visually acknowledged in the production of imagery? If these defining technical features of the digital imaging process were visually acknowledged in this image creation process, what would be the outcome? The studio practice component of the research served as a foundation for the author's artistic and aesthetic development where the intent was to investigate and highlight four technical qualities of the digital image identified through the case studies of three digital artists, and other secondary sources, These technical qualities include: the composite RGB colour system of the digital image as it appears on screen; the pixellated microstructure of the digital image; the luminosity of the digital image as it appears on a computer monitor, and the underlying numeric and (ASCII based) alphanumeric codes of the image file which enables that most defining feature of the image file, that of programmability, Based on research in the visualization of these numeric and alphanumeric codes, digital images of bacteria produced through the use of the scanning electron microscope, were chosen as image content for an experimental body of work to draw the conceptual link between these numeric and alphanumeric codes of the image file and the coded genetic sequence of an individual bacterial entity.

Thesis (MScEng)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: Diabetic- and hypertensive retinopathy are two common causes of blindness that can be prevented by managing the underlying conditions. Patients suffering from these conditions are encouraged to undergo regular examinations to monitor the retina for signs of deterioration. For these routine examinations an ophthalmoscope is used. An ophthalmoscope is a relatively inexpensive device that allows an examiner to directly observe the ocular fundus (the interior back wall of the eye that contains the retina). These devices are analog and do not allow the capture of digital imagery. Fundus cameras, on the other hand, are larger devices that o er high quality digital images. They do, however, come at an increased cost and are not practical for use in the eld. In this thesis the design and implementation of a system that digitises imagery from an ophthalmoscope is discussed. The main focus is the development of software algorithms to increase the quality of the images to yield results of a quality closer to that of a fundus camera. The aim is not to match the capabilities of a fundus camera, but rather to o er a cost-e ective alternative that delivers su cient quality for use in conducting routine monitoring of the aforementioned conditions. For the digitisation the camera of a mobile phone is proposed. The camera is attached to an ophthalmoscope to record a video of an examination. Software algorithms are then developed to parse the video frames and combine those that are of better quality. For the parsing a method of rapidly selecting valid frames based on colour thresholding and spatial ltering techniques are developed. Registration is the process of determining how the selected frames t together. Spatial cross-correlation is used to register the frames. Only translational transformations are assumed between frames and the designed algorithms focuses on estimating this relative translation in a large set of frames. Methods of optimising these operations are also developed. For the combination of the frames, averaging is used to form a composite image. The results obtained are in the form of enhanced grayscale images of the fundus. These images do not match those captured with fundus cameras in terms of quality, but do show a signi cant increase when compared to the individual frames that they consists of. Collectively a set of video frames can cover a larger region of the fundus than what they do individually. By combining these frames an e ective increase in the eld of view is obtained. Due to low light exposure, the individual frames also contain signi cant noise. In the results the noise is reduced through the averaging of several frames that overlap at the same location. / AFRIKAANSE OPSOMMING: Diabetiese- en hipertensiewe retinopatie is twee algemene oorsake van blindheid wat deur middel van die behandeling van die onderliggende oorsake voorkom kan word. Pasiënte met hierdie toestande word aangemoedig om gereeld ondersoeke te ondergaan om die toestand van die retina te monitor. 'n Oftalmoskoop word gebruik vir hierdie roetine ondersoeke. 'n Oftalmoskoop is 'n relatiewe goedkoop, analoë toestel wat 'n praktisyn toelaat om die agterste interne wand van die oog the ondersoek waar die retina geleë is. Fundus kameras, aan die ander kant, is groter toestelle wat digitale beelde van 'n hoë gehalte kan neem. Dit kos egter aansienlik meer en is dus nie geskik vir gebruik in die veld nie. In hierdie tesis word die ontwerp en implementering van 'n stelsel wat beelde digitaliseer vanaf 'n oftalmoskoop ondersoek. Die fokus is op die ontwikkeling van sagteware algoritmes om die gehalte van die beelde te verhoog. Die doel is nie om die vermoëns van 'n fundus kamera te ewenaar nie, maar eerder om 'n koste-e ektiewe alternatief te lewer wat voldoende is vir gebruik in die veld tydens die roetine monitering van die bogenoemde toestande. 'n Selfoonkamera word vir die digitaliserings proses voorgestel. Die kamera word aan 'n oftalmoskoop geheg om 'n video van 'n ondersoek af te neem. Sagteware algoritmes word dan ontwikkel om die videos te ontleed en om videogrepe van goeie kwaliteit te selekteer en te kombineer. Vir die aanvanklike ontleding van die videos word kleurband drempel tegnieke voorgestel. Registrasie is die proses waarin die gekose rame bymekaar gepas word. Direkte kruiskorrelasie tegnieke word gebruik om die videogrepe te registreer. Daar word aanvaar dat die videogrepe slegs translasie tussen hulle het en die voorgestelde registrasie metodes fokus op die beraming van die relatiewe translasie van 'n groot versameling videogrepe. Vir die kombinering van die grepe, word 'n gemiddeld gebruik om 'n saamgestelde beeld te vorm. Die resultate wat verkry word, word in die vorm van verbeterde gryskleur beelde van die fundus ten toon gestel. Hierdie beelde is nie gelykstaande aan die kwaliteit van beelde wat deur 'n fundus kamera geneem is nie. Hulle toon wel 'n beduidende verbetering teenoor individuele videogrepe. Deur dat 'n groot versameling videogrepe wat gesamentlik 'n groter area van die fundus dek gekombineer word, word 'n e ektiewe verhoging van data in die area van die saamgestelde beeld verkry. As gevolg van lae lig blootstelling van die individuele grepe bevat hul beduidende ruis. In die saamgestelde beelde is die ruis aansienlik minder as gevolg van 'n groter hoeveelheid data wat gekombineer is om sodoende die ruis uit te sluit.

Made available in DSpace on 2014-10-09T12:51:09Z (GMT). No. of bitstreams: 0 / Made available in DSpace on 2014-10-09T13:56:37Z (GMT). No. of bitstreams: 0 / Dissertacao (Mestrado) / IPEN/D / Instituto de Pesquisas Energeticas e Nucleares - IPEN/CNEN-SP

O presente estudo buscou problematizar as possibilidades de produção de novas formas de educar e de trabalhar em saúde a partir do dispositivo da educação permanente em saúde. A confecção do objeto de investigação originou-se da perspectiva de que o trabalho e a educação em saúde são dispositivos de afirmação-resistência do modo de sujeição capitalista que enuncia quem é um “bom trabalhador” e que determina e legitima os sujeitos que possuem saberes sobre o trabalho. A questão que orientou o estudo foi: como a educação permanente se torna dispositivo estratégico para o trabalho no/do Sistema Único de Saúde? Este estudo foi realizado junto ao Ambulatório Básico, um serviço da rede pública de saúde do Município de Porto Alegre. Os participantes da pesquisa foram as trabalhadoras do ambulatório, as técnicas de enfermagem e a enfermeira. A proposta metodológica deste estudo é orientada pela Pesquisa Intervenção, ancorada na Análise Institucional. Compondo essa metodologia utilizamos a Intervenção Fotográfica que incluiu oficinas de fotografias e de confecção de uma câmera artesanal, Pinlux, e em seguida, a produção de fotografias pelas trabalhadoras. O momento das oficinas reconfiguram a dinâmica das reuniões centradas na chefia e com uma pauta administrativa para o movimento de produção e trocas de saberes. O processo do grupo evidência o (não) lugar do Ambulatório Básico e as fragilidades desse serviço; a tecnologia do trabalho em saúde na tensão com os saberes produzidos pelas técnicas de enfermagem no fazer do seu trabalho; e a gestão dos espaços, das tecnologias do trabalho em saúde e dos saberes produzidos no cotidiano. A partir desse estudo, vislumbramos a educação permanente em saúde tensionada pela formação permanente em saúde que evoca os saberes do trabalhados acerca da atividade e gestão dos micro espaços do trabalho. / This study sought to problematize the production possibilities of new ways of educating and working in health through the health‟s permanent education device. The confection of the investigation‟s object originated from the perspective that health work and education are affirmation-resistance devices of the capitalist subjugation mode, which tells who is a “good worker” and determines and legitimates they who own knowledge over work. The study‟s guiding question was: how permanent education becomes a strategic device for the work on/of the Sistema Único de Saúde, problematized from the Basic Ambulatory Unit staff‟s experience? This study was done with the Basic Ambulatory Unit, more specifically, area eight, a public health service from the city of Porto Alegre. The research‟s participant people were this Unit‟s workers, the Infirmary Technicians and the Nurse. Interventional research, based in Institutional Analysis, orients this study‟s methodological proposal. Compounding this methodology, we utilized the Photographic Intervention, which included photography and a camera confection workshops, Pinlux, and afterwards, the production of photographs by the workers. The workshop‟s moment reconfigures the dynamic of the meetings centered on the leaders and with administrative subject for the idea of production and knowledge exchanges. The group‟s process shines a light on the (non) role of the Basic Ambulatory Unit and the fragilities of this service; the labor‟s technology in health against the knowledge generated by the Infirmary Technicians through their work; and the management of the spaces, the labor‟s technology in health and the knowledge produced every day. Through this study, we glimpse the permanent education in health tensioned by the permanent formation in health that evokes the work‟s knowledge around the activity and management of the work‟s micro-spaces.

This thesis explores the interplay between practices of activism and planning through a focus on place. By developing an understanding of place as a multi-situated and multi-scalar concept, I show how a theoretical approach based on a revision of the concept of place can bridge and contribute to both the fields of anthropology of planning and of social movements. Providing a series of insights into the Milanese urban periferia (outskirts) this research argues that activism and planning are continuously engaged in redefining the field of political action. Based on ethnographic fieldwork, archival and historical research, my work shows the empirical interplay between planning and politics as a central arena for the shaping of broader historical and geographical tensions. A number of controversies and episodes of protest are examined to illustrate the experiences of activists and citizens involved across different periods of contemporary Milanese history. I approached these events as elements of place-making; processes where different subjectivities, practices and ideas come together as transformative, ever-changing instances. The neighbourhood of Quarto Oggiaro in the extreme outskirts of the city has provided a setting for fieldwork research to address the idea of the anthropological places as the result of a mutual constitution between myself as the researcher and the people I encountered in the field who were engaged in defining their environment. This approach resulted central to producing collaborative processes and for unfolding a relational interpretation of places. By engaging with these experiences this thesis demonstrates the need for examining the categories and practices of political and planning imagination and the multiple practices of world-making to make a significant contribution to understanding the human and social contexts of modern urban realities.

O presente estudo analisa as práticas em assessoria jurídica universitária, problematizando a experiência d@s trabalhadoræs do grupo G8-Generalizando (G8-G) do Serviço de Assessoria Jurídica Universitária da Universidade Federal do Rio Grande do Sul (SAJU-UFRGS) que trabalha com direitos de gênero. O estudo investiga como a prática de assessoria jurídica universitária se coloca enquanto uma ética que potencializa a produção de uma estética de amizade entre @s trabalhadoræs do G8-G. A estratégia metodológica utilizada é a intervenção fotográfica, inserida no âmbito da psicologia social e da pesquisa-intervenção, tendo por base o acompanhamento do grupo e utilizando-se de ferramentas oriundas da Análise Institucional. A intervenção fotográfica possibilita a análise das dizibilidades e visibilidades presentes no G8-G utilizando-se das ferramentas de análise de implicação, diário de pesquisa, restituição e oficinas de fotografia. A intervenção fotográfica baseia-se no conceito de ato fotográfico onde não só as imagens são importantes, mas todo o processo envolvido no produzir, olhar, contemplar, pensar e lidar com as fotografias. As discussões provocadas pela intervenção, analisadas à luz das noções de sujeito, ética e estética em Michel Foucault e que embasam o conceito de estética da amizade, indicam o G8-G enquanto um coletivo em fluxo composto por movimentos produtores de subjetividade, sendo estes movimentos a assessoria, o gênero e as disciplinas. As experiências do G8-G se configuram como práticas de si onde um trabalho de si sobre si mesmo se coloca enquanto um trabalho ético que aponta na direção de uma estética da amizade que convoca outras maneiras de operar em assessoria jurídica universitária, através da horizontalização, descentralização, parceria, lidando com a complexidade e instabilidade na direção de uma singularização do trabalho e de uma composição da vida como uma obra de arte. / This study examines the practices in university legal counsel, questioning the experience of Generalizing Group-G8 (G8-G) workers of the Office of Legal Counsel of Rio Grande do Sul Federal University (UFRGS-SAJU) working with gender rights. The study investigates how the practice of university legal counsel arises as an ethic that enhances the production of an aesthetic of friendship between G8-G workers. The methodological approach is photographic intervention, embedded within social psychology and research intervention, based on monitoring the group and using tools derived from the institutional analysis. The photographic intervention allows the analysis of what is utterable and visibilities present in G8-G using the tools of analysis of implication, research diary, restoration and photography workshops. The photographic intervention is based on the concept of the photographic act where not only the images are important, but the entire process involved in producing, looking, contemplating, thinking and dealing with the photographs. Discussions provoked by the intervention, analyzed in the light of the notions of self, ethics and aesthetics in Foucault and which embody the concept of aesthetics of friendship, indicate G8-G as a collective in flow composed of movements that produce subjectivity, being these movements advice, gender and disciplines. G8-G experiences are configured as a practice where a work by itself on itself stands as a work ethic that points towards an aesthetic of friendship that summons other ways to operate in university legal counsel, by flattening, decentralization, partnership, dealing with the complexity and instability towards a singularity of the paper and a composition of life as a work of art.

O presente estudo buscou problematizar as possibilidades de produção de novas formas de educar e de trabalhar em saúde a partir do dispositivo da educação permanente em saúde. A confecção do objeto de investigação originou-se da perspectiva de que o trabalho e a educação em saúde são dispositivos de afirmação-resistência do modo de sujeição capitalista que enuncia quem é um “bom trabalhador” e que determina e legitima os sujeitos que possuem saberes sobre o trabalho. A questão que orientou o estudo foi: como a educação permanente se torna dispositivo estratégico para o trabalho no/do Sistema Único de Saúde? Este estudo foi realizado junto ao Ambulatório Básico, um serviço da rede pública de saúde do Município de Porto Alegre. Os participantes da pesquisa foram as trabalhadoras do ambulatório, as técnicas de enfermagem e a enfermeira. A proposta metodológica deste estudo é orientada pela Pesquisa Intervenção, ancorada na Análise Institucional. Compondo essa metodologia utilizamos a Intervenção Fotográfica que incluiu oficinas de fotografias e de confecção de uma câmera artesanal, Pinlux, e em seguida, a produção de fotografias pelas trabalhadoras. O momento das oficinas reconfiguram a dinâmica das reuniões centradas na chefia e com uma pauta administrativa para o movimento de produção e trocas de saberes. O processo do grupo evidência o (não) lugar do Ambulatório Básico e as fragilidades desse serviço; a tecnologia do trabalho em saúde na tensão com os saberes produzidos pelas técnicas de enfermagem no fazer do seu trabalho; e a gestão dos espaços, das tecnologias do trabalho em saúde e dos saberes produzidos no cotidiano. A partir desse estudo, vislumbramos a educação permanente em saúde tensionada pela formação permanente em saúde que evoca os saberes do trabalhados acerca da atividade e gestão dos micro espaços do trabalho. / This study sought to problematize the production possibilities of new ways of educating and working in health through the health‟s permanent education device. The confection of the investigation‟s object originated from the perspective that health work and education are affirmation-resistance devices of the capitalist subjugation mode, which tells who is a “good worker” and determines and legitimates they who own knowledge over work. The study‟s guiding question was: how permanent education becomes a strategic device for the work on/of the Sistema Único de Saúde, problematized from the Basic Ambulatory Unit staff‟s experience? This study was done with the Basic Ambulatory Unit, more specifically, area eight, a public health service from the city of Porto Alegre. The research‟s participant people were this Unit‟s workers, the Infirmary Technicians and the Nurse. Interventional research, based in Institutional Analysis, orients this study‟s methodological proposal. Compounding this methodology, we utilized the Photographic Intervention, which included photography and a camera confection workshops, Pinlux, and afterwards, the production of photographs by the workers. The workshop‟s moment reconfigures the dynamic of the meetings centered on the leaders and with administrative subject for the idea of production and knowledge exchanges. The group‟s process shines a light on the (non) role of the Basic Ambulatory Unit and the fragilities of this service; the labor‟s technology in health against the knowledge generated by the Infirmary Technicians through their work; and the management of the spaces, the labor‟s technology in health and the knowledge produced every day. Through this study, we glimpse the permanent education in health tensioned by the permanent formation in health that evokes the work‟s knowledge around the activity and management of the work‟s micro-spaces.

Essa dissertação relata, a partir de um estudo etnográfico, a experiência de duas oficinas de fotografia pinhole de que participei igualmente como pesquisadora e professora da técnica, realizadas nos bairros Partenon e Lomba do Pinheiro na cidade de Porto Alegre. A partir das experiências vividas com os alunos dessas atividades, analisam-se aspectos sobre itinerários urbanos e a troca de olhares e imagens na paisagem urbana. A técnica pinhole consiste na utilização de câmeras sem lentes que, pelo princípio da câmara escura, permite a obtenção de imagens de maneira bastante simplificada. As câmeras são construídas a partir de latas de tintas forradas de preto, onde a passagem da luz é controlada por um pequeno furo de agulha. As oficinas, ministradas pelo grupo de fotógrafos Lata Mágica, serviram como ponto de partida para a análise desse ato fotográfico diferenciado abordado a partir das “artes de fazer” dos alunos ao construírem suas imagens de forma mais artesanal do que na fotografia convencional. Assim, a fotografia pinhole é considerada enquanto uma ruptura em relação à fotografia que utiliza câmeras com lentes e é significada pelos alunos das oficinas de acordo com a construção de seus olhares. Consideram-se suas relações com a imagem que construíram e com o artefato fotografia enquanto um objeto de apropriações sociais, evocando o trabalho da memória e suas trajetórias conformadas por visões de mundo e estilos de vida diferenciados. O olhar apresentado nas imagens possibilita a reflexão sobre os alunos enquanto habitantes do espaço urbano da cidade de Porto Alegre e suas relações com os locais, nos termos de espaços vividos, e pessoas que fotografaram. / Based on an ethnographic study, this paper tells the experience of two pinhole photography workshops taken place in the locations of Partenon and Lomba do Pinheiro, in the city of Porto Alegre. Having taken part of such workshops, both as a researcher and as a teacher of this technique, I have analysed some aspects of urban itineraries and the trade of sights and images of the urban landscape considering the experiments lived by the students of such activities. Pinhole technique consists on the use of lenses-free cameras, which allow the obtainance of images through the camera obscura principle in a rather simplified manner. These cameras are manufactured out of black covered paint tins, where the light goes through controlled by a small hole made with a pin. The workshops, given by a team of photographers called Lata Mágica (Magic Tin), were taken as start line for the analysis of this differential photographic act, based on the arts of making of the students while building the images more hand-craftily than in conventional photography. Thus, pinhole photography is considered to be a burst related to photography obtained through cameras provided of lenses and it is meant by the workshop students while building their sights. The relations to the built image and the photography artefact are considered as an object of social appropriation, evoquing memory work and its trajectory conformed to different world views and lifestyles. The sight presented in the images allows the reflection on the students as inhabitants of the urban zone of Porto Alegre and their relations to the locations, in terms of lived spaces, and the photographed people.

Sometimes the same sky: construção de uma cartografia trata do processo de realização de três séries fotográficas produzidas desde 2008. Partindo do processo de criação, questões sobre errâncias urbanas, espaço e lugar, ficção e realidade na elaboração da imagem fotográfica são abordadas nesse estudo. O texto carrega a vontade de montar uma cartografia própria que inicia com impressões sobre encontros no espaço público até chegar a exploração de objetos no espaço doméstico. A pesquisa teve início com a série de fotografias Salas de[não] estar, onde concentrei a reflexão nas errâncias urbanas e nas aproximações e distinções entre espaço e lugar, na série Zé, abordei o termo “deriva parada”, os tempos da vida e da fotografia e a tipologia como possibilidade de construção de imagem, e, por fim, na série Sometimes the same sky, o foco foi olhar para dentro do espaço privado e para as camadas sobrepostas das imagens produzidas. / Sometimes the same sky: construction of a cartography discusses the process of making three photographic series since 2008. Starting from the process of creation, issues of urban wanderings, space and place, fiction and reality and the development of the photographic image are addressed in this study. The text carries a desire to build my own cartography that starts with impressions about meetings on public space until the exploration of objects in the domestic space. The research started with the photographs serie Salas de [não] estar where I focused the reflection in urban wanderings and in the similarities and distinctions between space and place, in the serie Zé, I discussed the term “drifting stop”, times of life and photography and typology as a possibility of construction the image, and lastly, in the serie Sometimes the same sky, the focus was looking into the private place and the overlapping layers of the produced images.

Lorsque la création d'une image se fait grâce à l'utilisation, la manipulation d'un appareil, il arrive un moment où celui-ci devient central et le sujet de tous les questionnements. La pratique de la photographie m'a amenée à ce type d'interrogation. Comment photographier devient soudain une question aussi récurrente qu'essentielle. Une réflexion critique sur ce que l’on croit être une simple technique et que l'on emploie pour faire une image photographique, libérée alors de toutes fascinations, devient possible. Mais comment procéder à l'analyse de l'appareillage photographique? C'est en considérant l'appareil comme un ensemble global, un paradigme, participant pleinement à la création et la conditionnant en même temps, qu’il paraît possible de mener une réflexion sur cette place particulière qu'occupe l'appareillage photographique dans la réalisation d'image ou (/ et) d'installation de celle-ci. Cette interrogation peut dès lors être étudiée à travers une mise à plat de l'appareil photographique dans une définition plus élargie de ce dernier que la simple considération de l’appareil de prise de vue afin de savoir ce qu’il est par nature mais aussi dans ses usages, et alors de découvrir sa poïétique propre ainsi qu’un rapport singulier au réel. Cette méthodologie s'apparente à une déconstruction, puis une monstration, voire une mise en excès pour eux-mêmes des éléments premiers et fondamentaux de l'appareil producteur d'image photographique (grain, brûlure, planéité, obscurité...) ; ce qui le constitue et en fait sa particularité. D'une autre manière, le conditionnement qu'opère l'appareillage photographique dans la réalisation d'images peut se penser par une mise en évidence du procès : une mise en valeur, une exhibition du processus du faire, de la démarche, de la méthode qui permet à l'image d'être. Cette démarche et cette recherche recontextualisent le faire, l'expérimentation, la poïétique à l'oeuvre dans chaque réalisation plastique d'image photographique. / When creating a picture is done by using and operating a camera there comes a time when this device becomes essential and a subject for all kinds of questioning. Photography brings this type of questioning to my mind. How to take a picture all of a sudden happens to be an essential as well as recurring question. Then a critical appreciation free from fascination may be undertaken on what we consider as a mere technique that is used to take a picture. But how to proceed to the analysis of the photographic medium ? Considering the medium as a global set a paradigm taking full part in the creation and conditioning it at the same time allows the carrying out of an appreciation on this particular part taken by the photographic medium in the realization (or installation) of a picture. From that moment this appreciation can be studied by examining all the elements of the camera in a wider definition of the latter than a mere consideration of the camera itself in order to know not only what it is but also how to use it and thus to find out its own “poïétique” as well as its unique connection to reality. This method relates to a deconstruction then a bringing forward of the primary and fundamental elements of a photographic medium (grain, burn, flatness, darkness…) ; what it is made of and makes it unique . In a different way, the conditioning that the photographic equipment operates in the realization of pictures can be considered as a disclosure of the process : an emphasis on the process, the approach, the method that allows the picture. This approach and this research make it possible to recontextualize the process the « poïétique » at work in each artistic creation of photographic pictures.