My work uses process as a course of action that marks the death of moments through a continuous stream of consciousness. I metaphorically link disparate pieces of information to the human condition in order to present multiple readings through juxtaposition. I assemble both abstract and figurative subject matter in a collage-like manner through methods of cropping and fragmentation to symbolize the disjuncture I feel is indicative of how we experience the world through short-lived thoughts, feelings, and actions.

Aus Anlass des 95. Deutschen Bib- liothekartages, der vom 21. bis 24. März 2006 in Dresden stattgefunden hat, ist in der Sächsischen Landesbibliothek - Staats- und Universitätsbibliothek Dresden vom 15. Februar bis 11. April eine begleitende Foto-Ausstellung in der Galerie am Lesesaal gezeigt worden .... Wie attraktiv das Buch seinerseits als Fotomotiv sein kann, belegt eine Kollektion aktueller Detailaufnahmen aus den Magazinen der SLUB, die als brilliante digitale Farbaufnahmen ergänzend im Bildarchiv der Fotothek zu sehen sind.

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

Race, ethnicity and culture have been a central theme in South African history, and while not disregarding the recent socio-political changes, many South Africans of different races continue to lead essentially different lives. Public schools are becoming more racially and culturally integrated and it is important that this leads to incisive change and not merely altering the racial demographics of the learner and educator bodies. Culture in South Africa is dynamic and the values and norms of members of a particular group are in a state of flux. Moreover, the shift from a traditional teacher-centred curriculum to an outcomes-based curriculum in South African education means that the teacher is encouraged to accept each learner in the culturally diverse classroom as an individual, who brings a unique life experience into the classroom and contributes to learning in the context. The learner's cultural background, family and community should be considered in both the selection of learning material and in classroom interaction. This study investigates the South African adolescent's perspective of culture by means of a literature review, a photographic essay and an empirical investigation using a combination of qualitative and quantitative approaches. The literature review expanded on the concepts of race, culture and ethnicity. Topics relating to the life in Johannesburg that adolescents perceived as significant were commented on in the photographic essay. Thereafter, adolescent learners from two ex-model C schools in Johannesburg were selected as participants in the empirical research. The quantitative research considered aspects such as learner prejudice, ethnic group preference and the value attached to cultural traditions using questionnaires and sociograms as data gathering methods. The qualitative phase used focus group discussions using as a stimulus a posed photograph of a racially diverse group of learners engaged in a group activity. Learners were selected, for the focus discussion groups, on the basis of the results of the sociogram used in the quantitative phase. Findings showed that learners regard diversity as a resource although evidence suggests that black learners are moving away from traditional cultural practices. Based on the findings of the literature study and the empirical inquiry recommendations for the improvement of practice are made. / Educational Studies / D. Ed. (Socio-Education)

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-08-17T13:42:57Z No. of bitstreams: 1 CLÁUDIO SABASTIÃO VASCONCELOS DA CUNHA CAVALCANTI - DISSERTAÇÃO PPGCC 2007..pdf: 19270985 bytes, checksum: b54c266f6cdb98e2cbbf305285b6ffdf (MD5) / Made available in DSpace on 2018-08-17T13:42:57Z (GMT). No. of bitstreams: 1 CLÁUDIO SABASTIÃO VASCONCELOS DA CUNHA CAVALCANTI - DISSERTAÇÃO PPGCC 2007..pdf: 19270985 bytes, checksum: b54c266f6cdb98e2cbbf305285b6ffdf (MD5) Previous issue date: 2007-07-30 / Além de ser uma das mais populares formas de arte, a fotografia também é uma forma de lazer e ferramenta de trabalho. Com a redução dos preços e a conseqüente popularização dos equipamentos e acessórios necessários à fotografia, especialmente o preço das câmeras digitais, é crescente o interesse por novos algoritmos e ferramentas que favoreçam a captura de imagens com maior qualidade. Diante do exposto, a presente dissertação objetivou a proposição e desenvolvimento de algoritmos capazes de detectar e corrigir falhas na composição fotográfica. As regras de composição fotográfica, em geral, são heurísticas utilizadas por fotógrafos que se difundiram a ponto de serem denominadas de “regras”. Mesmo não sendo consenso entre os fotógrafos, é possível que a implementação destas regras possa levar um fotógrafo amador, sem conhecimento prévio de fotografia, a produzir fotografias de alta qualidade e teor profissional. Neste trabalho são propostas duas alternativas para a correção da composição: um método para correção on-line, no qual a foto final só é obtida após satisfeitas algumas condições de qualidade, e outro para a correção off-line, o qual classifica (ou modifica) a imagem a posteriori. Para tanto, são utilizados algoritmos destinados à detecção e correção de problemas no posicionamento do tema. Os resultados foram avaliados em dois experimentos. No primeiro experimento, os usuários concordaram em até 65% com os resultados obtidos pelo sistema, através de uma análise subjetiva. No segundo experimento,foi mostrado como é possível, utilizando-se apenas uma câmera Pan-Tilt-Zoom (câmera dotada de três graus de liberdade sendo dois de rotação e um do campo de visão),localizar e fotografar pessoas em um determinado ambiente a partir das regras de composição desenvolvidas. / Besides being one of the most popular forms of art, photography is often used for a wide variety of purposes, including professional and entertainment ones. Nowadays, since cameras (specially digital ones) are less expensive and more popular, there is an increasing need for tools to help photographers (both amateurs and professionals) to obtain photographs of better quality. Within this context, algorithms for detection and correction of errors on the composition of a photograph are proposed in this work. Photographic composition rules are heuristics used by photographers, which became so wides pread that they are now also known as“rules”. Photographers, however, are not unanimous about the use of some of those rules. Despite of that it is possible that the use of photographic composition rules can improve the quality of amateur photographs, leveling them to a professional standard. In this dissertation, two approaches are proposed to automate composition rules: an on-line method, in which a picture is only taken when a number of conditions is satisfied; and an off-line method,which classifiers or corrects the image after it has been acquired. Hence, algorithms for detecting and correcting problems on subject positioning are used. Two experiments were used to evaluate the performance of the system. The first one shows that users agree with the correction performed on 65% of the photographs, through a subjective analysis. By using only a Pan-Tilt-Zoom camera and the composition rules implemented in this work, the second experiment shows howto locate and photograph human subjects ina given environment.

Imaginando proyecto, creado por la Universidad Complutense de Madrid proporciona unacomprensión de los términos de la asociación de las imágenes y el contenido del mensaje. Este trabajopresenta los conceptos del campo de la informática, se centra en la terminología archivística, dondelos conceptos de la colección de archivos, el contexto, el contenido, el título original, organicidad eestandarización son representados por imágenes producidas durante el curso del Programa de la fotografía de Colecciones Licenciado en Ciencias de la Información por la Universidad de Brasilia (UNB), con el apoyo de la enseñanza desarrollada en España. El ejercicio proporcionó una discusiónen profundidad de los conceptos asociados con el tratamiento de los documentos fotográficos dearchivo diferente y la asimilación de estos conceptos por los estudiantes que participan en el proyecto. / O projeto Imaginando, criado na Universidad Complutense de Madrid proporciona acompreensão de termos através da associação de conteúdo e mensagem imagética. O presentetrabalho apresenta conceitos da área da Ciência da Informação, com foco nas terminologias arquivísticas, onde os conceitos de arquivo, coleção, contexto, conteúdo, original, titularidade,organicidade e normatização são representados por imagens produzidas durante o curso de AcervosFotográficos do Programa de Pós‐Graduação em Ciência da Informação da Universidade de Brasília(UnB), com apoio da didática desenvolvida na Espanha. O exercício proporcionou a discussãoaprofundada dos conceitos associados ao tratamento de documentos fotográficos de arquivo e aassimilação diferenciada desses conceitos por parte dos alunos participantes do projeto. / Imagining Project, created at the Universidad Complutense de Madrid provides anunderstanding of terms by associating imagery content and message. This work presents conceptsfrom the field of information science, focusing on the archival terminology, where the concepts of file collection, context, content, original title, organicity and standardization are represented by imagesproduced during the course of Photograph Collections Program Graduate in Information Science fromthe University of Brasilia (UNB), with the support of developed teaching in Spain. The exerciseprovided an in‐depth discussion of the concepts associated with the treatment of photographicdocuments of different file and assimilation of these concepts by students participating in the project.

Orientador: Vera Hercilia (Vavy) Pacheco Borges / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-06T09:49:26Z (GMT). No. of bitstreams: 1 ElibioJunior_AntonioManoel_D.pdf: 1874984 bytes, checksum: 1df674716f12717327fa45f9075e129e (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa tem como objetivo analisar a trajetória política de José Antônio Flores da Cunha que governou o Estado do Rio Grande do Sul entre os anos de 1930 e 1937. As questões que orientaram esta investigação giraram em torno da análise da construção da liderança política de Flores da Cunha através da troca epistolar com inúmeros atores políticos e sociais. Nesse sentido, as perguntas às quais procuramos responder podem ser formuladas nos seguintes termos: Quais eram os liames políticos estabelecidos por Flores da Cunha e o Governo Federal? Como situar a gestão política de Flores da Cunha no âmbito dos Partidos Políticos do Rio Grande do Sul? Quais os embates travados pelo político nos momentos da Revolução de 1930, Revolução Constitucionalista de 1932, durante os trabalhos da Assembléia Nacional Constituinte em 1934 e a partir da decretação do Estado de Sítio em 1935? Para discutir esses aspectos, empregamos como fonte tanto os documentos epistolares depositados no Centro de Pesquisa de História Contemporânea do Brasil ¿ CPDOC ¿ FGV, no Fundo do Gabinete Civil da Presidência no Arquivo Nacional, no acervo da Biblioteca Nacional-, quanto os jornais A Federação, Jornal da Manhã, Correio do Povo, Diário Liberal depositados no acervo do Museu de Comunicação Social Hipólito da Costa. Além disso, também usamos como fontes as edições da revista do Instituto Histórico e Geográfico do Rio Grande do Sul publicadas entre os anos de 1921 e 1937. Os resultados aos quais chegamos possibilitam apreender que, embora não exercendo uma efetiva interferência na política nacional, Flores da Cunha mediou constantemente às demandas políticas e econômicas do Rio Grande do Sul e, a partir de 1935, iniciou um franco confronto com Getúlio Vargas. Concluímos, também, que a mediação de Flores da Cunha entre o poder federal e as elites econômicas e políticas do Rio Grande do Sul, não se fundou exclusivamente em uma mera disposição deste em acatar as designações do Governo Federal, mas, sim, constituiu uma prática política de negociações baseada numa diversidade de interesses circunstanciais / Abstract: This research aims to analize the political trajectory of José Antônio Flores da Cunha who has led the brazilian state of Rio Grande do Sul between the years of 1930 and 1937. The issues that guided this investigation revolved around the analyses of the construction of the political leadership of Flores da Cunha through the exchange of written record with many social and political actors. Due to this fact, the questions that are sought to be answered can be made on these terms: What were the political limits stablished by Flores da Cunha and the Federal Government? How to locate the political management of Flores da Cunha in the Political Parties scenario in Rio Grande do Sul? What were the conflicts fought by this politician during the 1930¿s Revolution, the Constitutional Revolution of 1932, during the works around the stablishment of the Federal Constitution in 1934 and from the time of the State of Siege in 1935? To discuss these aspects, the source of the research was as follows: the letters found at the Centro de Pesquisa de História Contemporânea do Brasil ¿ CPDOC ¿ FGV, at the Fundo do Gabinete Civil da Presidência no Arquivo Nacional, the collection found at the Brazilian National Library, the newspapers A Federação, Jornal da Manhã, Correio do Povo, Diário Liberal, stored at the Museu de Comunicação Social Hipólito da Costa in Porto Alegre. Some issues of the magazine of the Instituto Histórico e Geográfico do Rio Grande do Sul, published between the years of 1921 and 1937, were used as source as well. The results achieved made it possible to learn that, although not making an effective interference in the national politics, Flores da Cunha mediated constantly the economic and political demands of Rio Grande do Sul, and starting in 1935 he iniciated an open confrontation with Getúlio Vargas. It was also concluded that the mediation of Flores da Cunha between the federal power and the economic and political elites of Rio Grande do Sul wasn¿t simply based in his attempts to attack the designations of the Federal Government, but instead, it was a political practice of negociation settled on a variety of circunstancial interests / Doutorado / Politica, Memoria e Cidade / Doutor em História

En 2007, lors du Grenelle de l’environnement, la France décide de mettre en place la Trame Verte et Bleue (TVB). L’approche réticulaire retenue pour cette politique environnementale d’un genre nouveau doit faciliter la lutte contre « l’érosion de la biodiversité » (loi n°2009-967 août 2009). Le déploiement de la TVB sur le territoire français passe par l’identification des continuités écologiques dans les documents d’urbanismes. Leur intégration dans les documents d’urbanisme suscite de nombreuses interrogations et nous permet de renouveler les questionnements dialectiques associant cartographie et participation. Alors que ces deux termes peuvent a priori sembler inconciliables, nous proposons dans cette étude un cheminement qui permet de les articuler. Nous formulons une proposition méthodologique permettant de pluraliser les sources de connaissance au sein d’une démarche de conception participative. Cette dernière se caractérise par une démarche qualitative, exploratoire et inductive qui s’appuie sur le cadre méthodologique de la théorie ancrée. L’itinéraire méthodologique emprunté amène progressivement les participants aux ateliers à produire et à travailler à partir de photographies et de cartes, décontextualisées ou classiques. Ces changements de support traduisent une bascule de la vue tangentielle à la vue zénithale. Le travail en groupe ne constitue pas de fait un collectif. Alors pour faciliter le passage de l’individuel au collectif, nous avons permis aux participants d’élaborer et de tester leur argumentaire avant leur entrée dans l’arène publique. Le terrain d’étude mobilisé est la région Poitou-Charentes, où nous avons observé la mise en place du Schéma Régional de Cohérence Écologique (SRCE). Nos observations nous ont permis de proposer et de mettre en application une démarche participative innovante associant une pluralisation des sources de connaissance pour l’identification des continuités écologiques dans le bocage bressuirais. Les différents ateliers de conception participative nous ont permis, non pas la production d’une carte de synthèse, mais la production d’une série de cartes qui viennent enrichir les représentations spatiales des continuités écologiques. / In the wake of 2007’s “Environment conference of Grenelle”,French authorities decided to instate the Green and Blue Ecological Framework (Trame Verte et Bleue - TVB). This new type of environmental policy is design like a network and aims at reducing “biodiversity erosion” (law nr 2009-967, aug 2009). Deploying such frameworks on the national French territory requir to identify ecological continuities within urban planning documents. Integrating such new operational concepts inside urbanism documents triggers plenty of interrogations. Specifically, it calls into question the unlikely couple cartography and participation. While these terms may seem incompatible on a first sight, we argue that the two practices can be articulated, following a set methodology. By being rooted in a participative approach, our methodological proposal allows to pluralize knowledge sources. It is characterized by a scientific posture that is qualitative, exploratory and inductive. The methodological setting is based on the grounded theory. Through implementing our methodology, workshop participants were progressively led to produce and work on the basis of photograph and maps, both decontextualized and regular. Changing media implied a shift from a “tangential” point of view to a “zenithal” perspective. We understood a qualitative difference between “group work” on the one hand and “collective work” on the other hand. In order to facilitate the shift from individual- to collective–grade work, we allowed the participants to conceive and test their argumentative narrative prior to entering the public arena. Our field of study was the region “Poitou-Charentes”, where we observed the deployment of the Regional Ecological Coherence Framework (SRCE in French - Schéma Régional de Cohérence Écologique). Our observations led us to conceive an innovative and participative approach merging plurality of knowledge sources, to identify the ecological continuities in the Bressuire hedgerow. Hinging on participative conception, the various workshops organized resulted in producing a series of maps that expand the scope of spatial representations of ecological continuities, instead of producing a single synthetic map.

High quality image /video has become an integral part in our day-to-day life ranging from many areas of science, engineering and medical diagnosis. All these imaging applications call for high resolution, properly focused and crisp images. However, in real situations obtaining such a high quality image is expensive, and in some cases it is not practical. In imaging systems such as digital camera, blur and noise degrade the image quality. The recorded images look blurred, noisy and unable to resolve the finer details of the scene, which are clearly notable under zoomed conditions. The post processing techniques based on computational methods extract the hidden information and thereby improve the quality of the captured images. The study in this thesis focuses on deconvolution and eventually blind de-convolution problem of a single frame captured at low light imaging conditions arising from digital photography/surveillance imaging applications. Our intention is to restore a sharp image from its blurred and noisy observation, when the blur is completely known/unknown and such inverse problems are ill-posed/twice ill-posed. This thesis consists of two major parts. The first part addresses deconvolution/blind deconvolution problem using Bayesian approach with fuzzy logic based gradient potential as a prior functional. In comparison with analog cameras, artifacts are visible in digital cameras when the images are enlarged and there is a demand to enhance the resolution. The increased resolution can be in spatial, temporal or even in both the dimensions. Super resolution reconstruction methods reconstruct images/video containing spectral information beyond that is available in the captured low resolution images. The second part of the thesis addresses resolution enhancement of observed monochromatic/color images using multiple frames of the same scene. This reconstruction problem is formulated in Bayesian domain with an aspiration of reducing blur, noise, aliasing and increasing the spatial resolution. The image is modeled as Markov random field and a fuzzy logic filter based gradient potential is used to differentiate between edge and noisy pixels. Suitable priors are adaptively applied to obtain artifact free/reduced images. In this work, all our approaches are experimentally validated using standard test images. The Matlab based programming tools are used for carrying out the validation. The performance of the approaches are qualitatively compared with results of recently proposed methods. Our results turn out to be visually pleasing and quantitatively competitive.

À partir des autoportraits photographiques de Vivian Maier (1926-2009) et Francesca Woodman (1958-1981), la thèse de ce texte est que la figuration féminine nous transmet un art de disparaître. Si l’on établit que cet art serait présent de manière plus ou moins active dans l’ensemble de l’iconographie du féminin, on montre que c’est un contexte particulier qui en révèle l’existence : celui de l’émancipation des femmes depuis la fin du XVIIIe siècle, de l’invention de la photographie au XIXe siècle et du bouleversement écologique contemporain. En effet, on constate chez Vivian Maier et Francesca Woodman, et plus largement dans l’autoportrait photographique féminin, une écologie poétique déterminée et engendrée par la technique photographique et les mutations modernes dans la vie des femmes, où se rencontrent désormais le destin de la figuration féminine dans l’histoire de l’art et le destin possible de notre espèce. Cette thèse propose de tirer de ces autoportraits un nouveau modèle pour habiter le monde en ce moment de transition historique à l’égard du genre et de la nature. / Drawing from the photographic self-portraits of Vivian Maier (1926-2009) and Francesca Woodman (1958-1981), this thesis argues that feminine figuration conveys an art of disappearing. Establishing that this art is, to a certain extent, at work across the iconography of the feminine, we are showing that it was brought to light within a specific context: the emancipation of women since the end of the 18th century, the invention of photography in the 19th century and the contemporary ecological crisis. Indeed, a poetic ecology emerges through the works of Vivian Maier and Francesca Woodman in particular, and the feminine photographic self-portrait as a whole, determined by the photographic technique and modern changes in women’s lives, where the destiny of feminine figuration in art history converges with the possible destiny of our species. From these self-portraits, this thesis offers to draw a new way of inhabiting the world in this historic moment of transition with regard to gender and nature.