This dissertation is presented as the result of the master's research developed at the Professional Postgraduate Program in Cultural Heritage from the Federal University of Santa Maria (PPGPPC/UFSM). The theme oh this work is the diffusion of cultural heritage. As object of the study, we present the photographic collection of the Historical Collection of the Museum of the City of Rio Grande - RS. The development consists on the study and planning actions for the diffusion of heritage, from the recognition of photographs as Documentary Heritage. Therefore, we present the characterization of the research, its objectives and methods, as well as reflections on the theoretical reference used, encompassing cultural heritage photographs as documentary heritage and the ways and kinds of diffusion. Furthermore, we propose a discussion about the institutional activities that must be performed before implantation of diffusion actions. As the result and product, we present diffusion strategies that integrate the Diffusion Program of the photographic collection of the Museum of the City of Rio Grande, for which we use a sample of the collection, with the theme of Customs and Port of Rio Grande City. / Esta dissertação é apresentada como resultado da pesquisa de mestrado desenvolvida junto ao Programa de Pós-Graduação Profissional em Patrimônio Cultural da Universidade Federal de Santa Maria (PPGPPC/UFSM). A temática desse trabalho é a difusão do patrimônio cultural. Como objeto de estudo, apresentamos o acervo fotográfico da Coleção Histórica do Museu da Cidade do Rio Grande - RS. O desenvolvimento consiste no estudo e planejamento de ações voltadas para a difusão de bens patrimoniais a partir do reconhecimento das fotografias como Patrimônio Documental. Para tanto, apresentamos a caracterização da pesquisa, seus objetivos e métodos, assim como, reflexões acerca do referencial teórico utilizado, abarcando patrimônio cultural, fotografias como patrimônio documental e as formas e tipos de difusão. Além disso, propomos uma discussão sobre as atividades institucionais que devem ser realizadas antes da implantação de ações de difusão. Como resultado e produto são apresentadas às estratégias de difusão que integram o Programa de Difusão do acervo fotográfico do Museu da Cidade do Rio Grande, para o qual utilizamos uma amostra do acervo, com a temática do Porto e Alfândega da Cidade do Rio Grande.

Over the last 40 years, the Caribbean has lost half of its live coral cover, mostly in the form of Acropora cervicornis and A. palmata, due to disease, bleaching from rising water temperatures, and other stressors. To help restore these corals to reefs in Florida, the Coral Restoration Foundation (CRF) created nearshore nurseries and transplanted over 30,000 acroporid colonies across the Florida Keys. The objective of this thesis was to evaluate the growth, survivorship, and condition of nursery-raised A. cervicornis colonies that were part of two transplant projects: 1) photographic analyses of 17 past CRF transplant projects over the last seven years; and 2) a transplant experiment at Little Conch Reef to additionally assess the effects of depth, colony density, and the genetic composition of transplants. The photographic analyses included 2,428 individual colonies, 38 genotypes, and six reefs from 2007 to 2013. Results from the photographs were combined with one in situ monitoring effort that used SCUBA in 2014. In the Little Conch Reef experiment, 1,288 colonies from 14 genotypes were transplanted in October and November, 2013 at two depths (5m and 12m) in either cluster or thicket configurations. At each depth, clusters comprised 14 colonies, each placed within in 1m diameter radius, with ten monogenetic and six multigenetic structures. Thickets were 3.5m by 1.5m in size, with 10 colonies from each genotype forming its own subunit within the larger configuration. In June 2014, 963 additional colonies were added to the shallow site by stacking them on top of six existing clusters and one thicket to evaluate whether larger three-dimensional structures affected growth or survival. The Little Conch Reef experiment was monitored through January 2015. Results from the photographic analyses were: 1) maximum size of A. cervicornis transplants was approximately 40cm in diameter; 2) mortality increased after approximately two years; 3) despite high mortality, some colonies survived the duration of each project; and 4) frequent and long-term monitoring is required to assess factors that affect survival and condition. Results from the Little Conch Reef experiment suggest: 1) maximum skeletal diameter was unaffected by any of the treatments; 2) percent survival and percent live tissue were higher at the shallow site compared to the deep site, and similarly, the clusters outperformed the thickets, and multigenetic clusters outperformed their monogenetic counterparts; 3) location within the shallow site had an impact on survival and condition, with clusters doing better on the south side than on the north; and 4) stacking did not positively impact growth, survival, or condition. In general, the sizes and condition of natural populations of A. cervicornis throughout the Florida Keys are similar to results from both experiments and with other transplant projects conducted in the Caribbean. Remarkably, despite high mortality in nearly all of the projects, small numbers of colonies transplanted for most projects, a few colonies survived to 2014/2015. These colonies have the potential to act as a “seed population” that might produce sexually dispersed larvae better adapted at surviving mortality events and asexual fragments that may be better acclimated to the stressors related to their location. Evidence of persistence in this species and expansion northward in Florida suggest that it is too early to consider coral reefs a lost cause, and that coral restoration holds promise for enhancing recovery of A. cervicornis.

The high latitude thickets of Acropora cervicornis off Broward County flourish despite the presence of natural and anthropogenic impacts. These populations provided a unique study area in contrast to disease-stricken populations of the Florida Keys. This study used time-sequenced photographs to examine how A. cervicornis was affected by tissue loss attributed to white-band disease during 2007–2008. Variables monitored included healthy colony skeletal extension rates, diseased colony skeletal extension rates, and tissue loss. The transmissibility of the three white-band syndromes found in the Scooter and Oakland thickets was examined through tissue grafting experiments. Skeletal extension rates of healthy and diseased colonies were generally not significantly different. Mean skeletal extension for A. cervicornis colonies in Broward County was observed to be 9.6 cm/y (SD=3.95, Range: 1.02–19.9). Mean linear tissue loss from disease signs was 2.6 mm/d (SD=4.3, Range: 0.023–16.8). Although the majority of active disease lesions caused severe tissue loss upon contact with healthy branches, in 25% of the cases there was no tissue loss. Disease signs were also observed in 10% of the control grafting trials. A. cervicornis thickets in Broward County were growing at rates similar to those observed in this species elsewhere in Florida, but faster than other areas of the Western Atlantic. Tissue loss rate from disease lesions was lower than reported elsewhere. White-band disease and/or other tissue loss syndromes are always present in Broward County, but the low prevalence of affected colonies, inconsistent transmission of a presumptive agent that causes the disease signs, and optimum branch skeletal extension seems to limit effects on the thickets. Results of this research are significant as the current protected status of acroporid corals no longer allows manipulative research such as coral grafting for transmissibility of potential disease pathogens.

Cette thèse porte sur l’examen du mode d’opération du remploi photographique en art contemporain, et en spécial celui d’images photographiques post mortem. Avec l’appui de différentes théories qui portent sur la photographie et l’observation de plusieurs oeuvres de remploi photographique, ce travail étudie,d’une part, les problématiques d’ordre génétique et théorique spécifiques à cette pratique contemporaine. De l’autre, ce travail traverse des perspectives historiques et aussi anthropologiques à propos de l’homme face au corps mort pour, en tenant en compte des différents aspects des transformations du rapport de la société occidentale à la mort, observer les effets sur la production de la photographie contemporaine. Dans ce contexte, l’étude identifie les deux types majeurs d’images photographiques post mortem remployées – les deux associé à la violence – et analyse, en suite, les nouveaux rapports symboliques proposés par un nombre d’oeuvres. Cet étude cherche à observer à quoi répond ces oeuvres de remploi d’images photographique post mortem et, en même temps, à observer que l’oeuvre de remploi photographique, en tant que pratique artistique qui vise la révision et la critique des représentations, contribue néanmoins pour la construction d’une représentation de la mort selon les perspectives contemporaines auxquelles elles répondent. / This thesis focuses on the examination of the operation mode of the photographic re-employment incontemporary art, and in special of post mortem photographic images. With the support of various theories that focus on photography and the observation of several photographic re-employment artworks, this study examines, on the one hand, genetic and theoretical problematic that are specific to this contemporary practice. On the other, this work crosses historical and also anthropological perspectives on humans facing the dead body, taking into account different aspects of the transformations in Western society’s relationship to death, in order to observe the effects on contemporary photography production. In this context, this study identifies two major types of postmortem photographic images re-employed – both associated with violence –, and then analyses the newsymbolic relations proposed by a number of artworks. This study seeks to observe to what these artworks that re-employ post mortem photographic images respond to, and at the same time, seeks toobserve that the photographic re-employment, as an artistic practice that aims to review and criticize representations, contributes however, for the construction of a representation of death within the very contemporary perspectives, which they respond to.

No description available.

This Thesis deals with the organization of a non-profit cultural project -- a photographic exhibition. It is based on the theory of project management and arts marketing, which is compared with the experience of Jan Foltán, an experienced organizer of such exhibitions. The Thesis is divided into seven chapters; the first one presents the person himself, his work and experience which forms the practical part of the following chapters. In the second chapter, I present the principles of project management, which form the theoretical ground of the Thesis. Another chapter is devoted to marketing of a cultural project where the emphasis is on Public and Media Relations. Part of that chapter is also devoted to the organization of openings of exhibitions and charity auctions of art works. The research of factors that influence the attendance of artwork exhibitions is also included in this chapter. An important part of PR and funding is sponsoring, the importance of which is evident from the chapter on financing. The fifth chapter deals with the realization of exhibitions including theme selection, ensurance of locations, logistics, and schedule. The following section is devoted to the connection of cultural projects with charity and human motivation to help others through their work. The last chapter deals with branding of artists; thus creating their brand which is also another very important part for ensuring the attendance at the exhibitions.

En 1986, la MRC de Memphrémagog avait mandaté la firme SOTAR pour procéder à une première caractérisation des paysages d’intérêt (SOTAR, 1986) soit, au sens de la Loi sur l’aménagement et l’urbanisme, les territoires d’intérêt patrimonial, esthétique et culturel. Le mandat avait entre autres conduit à une documentation photographique de ces paysages. Ainsi, quelque 600 diapositives révélant les éléments constitutifs des paysages qui participaient à son caractère distinctif sont issues de cette étude. Informée de l’existence de ce fonds, la MRC, en partenariat avec l’Université de Montréal, s’est dite intéressée à mettre en place un observatoire photographique des paysages afin de définir l’apport de cet outil pour comprendre et de documenter l’évolution de ses paysages d’intérêt. Suivant la méthode générale des observatoires photographiques des paysages (Guittet, 2016), un retour sur près de 60 sites a été effectué et près de 48 rencontres ont été menées auprès d’acteurs du territoire en ayant pour objectif de comprendre les dynamiques sous-jacentes aux transformations observées. Le présent mémoire s’arrime à cette initiative en s’intéressant aux sites contenus à l’intérieur des lanières agricoles identifiées par l’étude de la SOTAR en 1986. À travers l’analyse de 16 sites et la rencontre de 20 participants, l’étude témoigne de l’effacement progressif des paysages des lanières. Le retrait de l’agriculture sur certaines portions du territoire aura contribué à la disparition de granges, à la fermeture de champs visuels et à l’arrivée d’une nouvelle population constituée de non-agriculteurs. Cette étude aura également permis de mieux définir l’importance de la compréhension du contexte social dans la transformation des paysages. / In 1986, Memphrémagog Regional County Municipality (MRCM) mandated SOTAR, an urban planning firm, to characterize landscapes of special interests (SOTAR, 1986) as defined in Quebec Act respecting land use planning and development. An extensive photographic library was collected during the 1986 mandate. This exceptional database of 600 slides allows a description of the landscape elements contributing to the distinctive character of the MRCM. Informed about the potential benefits of the photographic database, MRCM instituted, in partnership with the University of Montreal, a landscape photographic observatory to define how the observatory can be use to understand and document the evolution of landscapes of interest. The present master’s thesis analyses the evolution of the sites contained in the agricultural strips identified in the 1986 SOTAR study. The analysis was conducted using the general method for photographic observatories (Guittet 2016). Data for the analysis was obtained from 16 sites and interviews with 20 rural stakeholders. The analysis documents the progressive disappearance of agricultural strips. The decrease in farming activities in portions of the territory led to the disappearance of barns, a restriction in visual perspective and the arrival of non-farming population. The study highlights the importance of understanding the social context in the transformation of rural landscapes.

The Master Thesis deals with a business plan for photographic studio foundation in Trutnov. Simultaneously, the business plan analyzes a status of other photographic studios. Based on the research and analyses are chosen the suitable strategy and tools for the business plan composition which determines the chances and terms for execution of the project.

This thesis focuses on the design of the hexacopter construction for photographic purposes with maximum load of 4 kg. When constructing a hexacopter it is necessary to take into account a number of factors. For the actual construction the correct dimensioning of the supporting frame is important as well as the locomotor system. The main concept of this thesis includes three-axis gimbal for camera control. The verification of the structure strength was performed using FEM analysis. This work describes also the selection of individual components and their wiring. The end is dedicated to safety and different procedures for reducing operation risks.

Cette thèse examine l’image de mode éditoriale en contexte(s), au sein de la presse magazine américaine entre les années 1960 et les années 1980, à travers une étude de cas sur les publications mainstream Vogue, Harper’s Bazaar et un nouveau magazine, Interview. On postule que la production photographique de ces trois titres représente à la fois le cœur de leur activité et de ces objets matériels, en raison de leur positionnement, de leurs codes et de leurs objectifs. On étudiera comment, dans ce cœur et à travers ses « grandes » séries éditoriales, se dégage un certain rapport à l’image comme plateforme entre une production collaborative et des réceptions, ainsi qu’une fonction de négociation par rapport au contexte historique. A travers l’étude des conditions de production des images, puis à travers leur analyse, et enfin par l’examen de leurs circulations, on démontrera l’existence d’une norme mainstream manifestant un certain conservatisme. Puis nous nous interrogerons sur les négociations éventuelles avec cette norme, sans cesse contestée, changeante en surface mais tenace.Un examen attentif de l’ensemble des tensions et des compromis au fil des moments de flottement que sont les décennies 1960 à 1980 nous permettra d’aboutir, sur la période étudiée, au constat qu’il existe bien un système articulé autour d’un discours hégémonique très difficile à questionner tant il est puissant et, en fin de compte, fermé. Ainsi, de manière transversale à tout notre travail, il émergera que l’ensemble des images de mode éditoriales est varié, mais lissé par un discours des magazines construit sur le long terme. Pourtant, il offre aussi bien des modèles que des contre-modèles, des contre-discours et des contre-points qui tous se déploient dans un cadre strict et souple, fermement orienté et adaptable, même s’il comporte quelques possibilités de subversion, toujours exercées à la marge. On conclura, en définitive, à la puissance de ce système, normé quoique toujours à l’équilibre entre des tensions contradictoires, structuré autour d’un format très fort, se nourrissant et s’exprimant par l’image de mode qui reste son fleuron. / This doctoral thesis examines fashion editorials through a case study of three American magazines in context, from the 1960s to the 1980s: Vogue and Harper’s Bazaar, two mainstream publications, and a new magazine then, Interview. It is postulated that the photographic editorial production of those magazines is central to them – as material objects, and as the core of their activity as well, both aspects enabling and unfolding their positions, their codes and their purposes. By looking at major editorial series, I explore how these images stand out as "contact zones" between a highly collaborative production process and their receptions, and how their function is also one of negotiation with regards to its context.A close analysis of the conditions of production, the content and the circulations of these images demonstrates that magazines express undeniable conservatism through the perpetuation of a mainstream norm. However, as this norm constantly changes on the surface, I argue that conditions regularly emerge for it to be negotiated. An attentive study of the tensions and compromises unfolding in the « uncertain moments » that characterize the period running from the 1960s through the 1980s demonstrates the existence of a powerful system. Structured around a coherent and hermetic narrative, it proves indeed hard to challenge. Yet, as this thesis argues, the ensemble of editorial fashion images homogenized by these long-term processes is in fact varied and diverse. If these images construct models, they also offer counter-models, counter-narratives and counter-points. All these possibilities converge into a strict but agile framework, firmly oriented by its producers but adaptable, even though its subversive potential is only realized at the margins.This system—structured around a powerful format—is highly restrictive yet it still performs a constant balancing act between conflicting tensions and goals, fueled by and unfolded in the fashion images at its core.