Obwohl das dokumentarische Bild als beglaubigte Aufzeichnung einer außermedialen Realität als Diskursgegenstand bereits seit Längerem dekonstruiert ist, scheint die Faszination am Dokumentarischen nahezu ungebrochen. Die stete Bezugnahme auf das Dokumentarische in unterschiedlichen Diskursen der Fotografie zeugt davon. Auch zahlreiche künstlerische Auseinandersetzungen rekurrieren seit den 80er-Jahren verstärkt auf dokumentarische Konzepte und Formate. Ausgehend von diesem Paradoxon, der Dekonstruktion des Dokumentarischen in Theoriekontexten und dem Wiedererstarken dokumentarischer Formate in der Fotografie und Kunst, sucht die vorliegende Arbeit nach den Ursachen einer offenkundig anhaltenden Faszination am Dokumentarischen. Dabei richtet sie den Blick speziell auf künstlerische Fotografien, die Gebrauchsweisen der Fotografie aufgreifen, welche per se mit dem Dokumentarischen affiziert werden, wie die Pressefotografie, die kriminalistische Fotografie und die Amateurfotografie. Sie zeigt, über welche Strategien das Dokumentarische dort produktiv umgesetzt wird. Lässt sich jeder Dokumentarismus erst einmal als Versuch lesen, in der Repräsentation das Reale zu verbildlichen, beziehen sich die vorgestellten künstlerischen Arbeiten von Jeff Wall, Thomas Demand, Sophie Calle und Richard Billingham zwar auf ein Begehren nach dem Realen, machen aber gleichzeitig den Verlust des Realen in ihren Erzählungen von der Wirklichkeit erfahrbar. In ihrer Ambivalenz vermitteln die künstlerischen Arbeiten ein Konzept des Dokumentarischen als mobiles System, das dieses nicht als Kategorie, Genre oder Stil festschreibt, sondern als Handlung begreift, die das permanente Ineinandergreifen von Konstruktion und Dekonstruktion des Dokumentarischen nachvollzieht. Insofern erweisen sich die Kunst und das Dokumentarische als nicht polar, denn über ihre Beziehung zum Realen kristallisiert sich dieses als das gemeinsame Dritte der beiden heraus. / Although the documentary image as authenticated record of a reality beyond the media has, as the object of discourse, long been deconstructed, the fascination with the documentary would appear to be ongoing. The constant references to the documentary in a variety of photography discourses bears witness to this. In addition, countless artistic treatments since the Eighties have referred back to documentary concepts and formats. In the light of this paradox as well as the deconstruction of the documentary in theoretical contexts and the renewed gaining of strength of documentary formats in photography and art, this study investigates the reasons for the evident persistent fascination with the documentary. In the process, artistic photographs in particular are examined which reference conventions in photography that are associated per se with the documentary, such as for example press photography, criminalistic photography, and amateur photography. The strategies by which the documentary is productively implemented are demonstrated here. If every form of documentarism can be read first of all as an attempt to express the real visually in the representation, then the artistic works by Jeff Wall, Thomas Demand, Sophie Calle and Richard Billingham that are presented here may indeed reference a desire for the real, but at the same time they make it possible in their telling of reality to experience the loss of the real. It is through their ambivalence that the artistic works convey a concept of the documentary as a mobile system that does not codify it as a category, genre or style, but rather perceives it as an act that comprehends the documentary''s constant intertwining of construction and deconstruction. As such, it is shown that art and the documentary are not polar, because through their relationship to reality this relationship is shown to crystalize out as the common third party for both.

A produção de mosaicos fotográficos é uma atividade de apoio bastante importante em diversas áreas tais como a geração de mapas, o monitoramento ambiental e o gerenciamento agrícola. A fotogrametria, e em especial a aerofotogrametria, é a ciência que trata, entre outros tópicos, da geração de mosaicos através de procedimentos trabalhosos, o que torna sua manutenção uma tarefa difícil e de alto custo. O Projeto ARARA (Aeronaves de Reconhecimento Assistidas por Rádio e Autônomas) representa uma alternativa de baixo custo para a aquisição de fotografias aéreas. Câmeras digitais de pequeno formato a bordo das aeronaves permitem a obtenção automática das fotografias necessárias para a geração de mosaicos. Este trabalho propõe uma metodologia para a geração e a atualização de mosaicos compostos por fotografias aéreas oblíquas digitais e de pequeno formato, adquiridas com o auxílio das aeronaves do Projeto ARARA. As fotografias podem ser submetidas a procedimentos que associam técnicas de ortoretificação e processamento digital de imagens para corrigir suas distorções geométricas e radiométricas. A metodologia apresentada neste trabalho procura evitar a necessidade de pontos de controle no solo e focaliza a geração automática ou semi-automática dos mosaicos. Procedimentos automáticos têm o potencial de permitir a utilização de uma grande quantidade de fotografias de pequeno formato em substituição às fotografias normalmente utilizadas pela aerofotogrametria convencional. / The generation of photographic mosaics is an important activity in many areas such as map production, environment monitoring and agricultural management. Photogrammetry, and specially aero-photogrammetry, are the sciences that deal, among other subjects, with mosaic generation using time consuming procedures, making the maintenance and updating of photographic mosaics a difficult and high-cost task. The ARARA Project (Autonomous and Radio Assisted Reconaissance Aircrafts), presents a low cost alternative to acquire aerial photographs. An onboard, small format digital camera can take automatically the photographs used for the mosaic generation. This work proposes a methodology for mosaic generation and updating using oblique, digital, small format aerial photographs taken by ARARA aircraft. Photographs can be corrected both geometrically and radiometrically by orthorectification and digital image processing procedures. The methodology presented in this work avoids the use of ground control points, focusing on the automatic and semi-automatic mosaic generation. An automatic procedure make possible the use of a large number of small format photographs to replace the photographs normally used in conventional aerophotogrammetry.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-08T11:27:40Z No. of bitstreams: 1 Emilia Jorge de Aratanha.pdf: 11412017 bytes, checksum: 8292f5422ea25e70756632041a48de56 (MD5) / Made available in DSpace on 2017-12-08T11:27:40Z (GMT). No. of bitstreams: 1 Emilia Jorge de Aratanha.pdf: 11412017 bytes, checksum: 8292f5422ea25e70756632041a48de56 (MD5) Previous issue date: 2017-11-28 / The presente work aims to discuss the views that the french photographer Marcel Gautherot (radicated in Brazil since 1939) has of the festivities of the Lavagem do Bonfim, in a series of fotos taken around 1955. Gautherot, who developed his carrier due to his passion for traveling, permits us to see a different portrayal of the Brazilian Candomblé due to his status as a foreigner. With his almost ethnographic point of view, Gautherot sheds light into another side of this African-brazilian religion: that of the usage of public space in a period in time that black people had severe restrictions on movement and use of public space. Other contemporary photographers set their lenses towards recording what was inside the private space of the Terreiro, while Gautherot sees the Candomblé practitioners in public, utilizing the city / Este trabalho visa discutir a festa da Lavagem do Bonfim, em Salvador, sob visão do fotógrafo Marcel Gautherot (francês radicado no Brasil desde 1939) num conjunto de fotos do rito tiradas em 1955. Gautherot, que desenvolveu sua carreira devido à sua paixão por viajar, nos permite ver uma nova forma de retratar o Candomblé por meio de seu olhar de estrangeiro. Com seu ponto de vista quase etnográfico, Gautherot privilegia outra faceta dessa religião de origem africana: o da tomada do espaço urbano, em um período em que os negros sofriam fortes restrições de movimentação e ocupação do mesmo. Outros fotógrafos do período privilegiavam retratar o ritual no interior dos terreiros, enquanto que Gautherot retrata os praticantes do Candomblé em cerimônias públicas, utilizando os espaços da cidade

Made available in DSpace on 2016-04-26T18:17:07Z (GMT). No. of bitstreams: 1 Mario Antonio Pinto De Queiroz.pdf: 43340256 bytes, checksum: aad5cd5c0c01608cce769d1885008676 (MD5) Previous issue date: 2008-04-23 / The objective of this study is to analyze how fashion editorials reflect the image of man at the turn of the 21st century, and discuss the relation between fashion and the hero in the masculine world. It aims at discussing whether man s fashion through the images developed for this magazine points at transformations in the behavior of men or maintains conservative traits that restrict novelties in men s outfits and behavior. The magazine chosen Arena Homme Plus is one of the few magazines worldwide that is exclusively geared towards men s fashion. This British publication features major designers from Europe and the United States and circulates worldwide showing the work of designers, photographers, producers thus influencing the fashion industry and consumers. This study starts by focusing on the early days of fashion photography in the 1920s when photographs begin to replace illustration. It points out that a journalistic production geared to the male public had been around since the 19th century and included from men s magazines with essays of female nudes to our object of study: men s fashion magazines. The study focuses on the photo essays, the fashion editorials, of these issues published in the late 1990s and beginning of the third millennium and on the content revealed through the eyes of major contemporary photographs and though the choices made by fashion professionals during the production stage. Fashion editorials account for most of the content of Arena Homme Plus and each issue may include up to six of them, with an average of forty photographs. The editorials were chosen according to their relevance to discuss the hero, investigating the different faces of man at the turn of the millennium. The theoretical framework includes the concepts of imprinting, imaginary and noosphere as developed by Edgard Morin. The analysis is based on the theoretical framework provided by semiotics as applied to the field of culture, specifically to fashion. The study concludes that the image of man has been shattered into myriad variations so that it is no longer possible to try to think of the masculine as a single segment, something that vanguard fashion magazines, such as Arena Homme Plus, have long recognized / O objetivo deste estudo é analisar como os editoriais de moda refletem a imagem do homem no final do século XX e início do XXI, discutindo como se dá a relação moda versus o herói no universo masculino. A intenção é discutir se a moda masculina através das imagens elaboradas para esta publicação aponta transformações no comportamento do masculino e se ainda preserva traços conservadores, restritivos às novidades nos trajes e no comportamento do homem. A revista escolhida Arena Homme Plus é uma das únicas publicações do mundo dedicada exclusivamente à moda masculina. Esta publicação inglesa, que abrange as grandes grifes da Europa e dos Estados Unidos, circula em todo o mundo apresentando trabalhos de estilistas, fotógrafos, produtores, influenciando a indústria da moda e seus consumidores. O presente estudo parte dos primórdios da fotografia de moda, quando, por volta dos anos 20, fotos começam a substituir croquis. A pesquisa aponta o jornalismo voltado ao masculino desde o século XIX, passando pelas revistas masculinas com ensaios de nus femininos até chegarmos ao nosso objetivo maior: as revistas de moda masculina dos últimos anos da década de 1990 e do início deste terceiro milênio. Nessas publicações o foco está nos ensaios fotográficos, como eles revelam os principais fotógrafos contemporâneos e como são produzidos pelos profi ssionais de moda. Os editoriais de moda representam o maior conteúdo da revista Arena Homme Plus e cada edição pode trazer até seis, o que representa em média quarenta fotos. Os editoriais escolhidos são os mais significativos para a discussão do herói, pesquisando as diversas faces do homem nesta virada de milênio. O instrumental teórico utiliza os conceitos de imprinting, imaginário e noosfera, de Edgar Morin. A base teórica da análise segue a linha da semiótica no campo de discussão sobre a cultura, mais especificamente sobre a moda. Conclui-se que a imagem do homem se estilhaçou numa palheta de grandes variações e que não há como tentar resumir o masculino como um único segmento, o que as revistas de moda de vanguarda, como a Arena Homme Plus, já não considera há tempos

The boreal forest in Fennoscandia has been subjected to major loss and fragmentation of natural forests due to intensive forestry. This has resulted in that forest edges are now abundant and important landscape features. Edges have documented effects on the structure, function and biodiversity in forests. Edge influence on biodiversity is complex and depends on interactions between many local and regional factors. This thesis focuses on sharp forest edges and their potential to influence biodiversity at the landscape-level. I have developed a method for quantification and characterization of sharp forest edges by interpretation of colour infrared (CIR) aerial photographs in combination with line intersect sampling (LIS) and sample plots. The method was used to estimate density of forest edge in 28 landscapes (each 1600 ha) in northern Sweden, differing in management intensity, landscape composition and geographical location. Forest edges were described in detail using edge, canopy and neighbourhood attributes. By combining these attributes it was possible to classify edges with respect to levels of exposure. A field experiment was conducted to examine the effect of edge contrast on growth of the old forest lichen Usnea longissima. The edge quantification method is accurate and efficient for estimating the length of sharp forest edges on an area basis (edge density, m ha-1) and for collecting detailed attributes of edges and their surroundings. In northern Sweden, the forest edge density is high (54 m ha-1) but varies extensively (12-102 m ha-1) between landscapes. Edge density is strongly correlated with the level of human disturbance and increases towards the southern part of the study area, at lower altitudes were management intensity is highest. Edge orientation, contrast and neighbourhood size shows an immense variation between edges and also varies between edge types. Regenerating edges are generally of higher contrast and face larger neighbourhoods than natural edges. Maintained edges had high contrast but small neighbourhoods. A larger proportion of edges in mature forests are highly exposed to microclimatic edge influence than edges in general. The field experiment revealed that growth of U. longissima was highest near edges where the vegetation on the adjacent area was sheltering, but not shading, the lichen. In the present thesis, I have provided a valuable tool for estimating density of forest edges with potential to yield information on important factors determining edge influence at landscape-level. The large variability in edge density, edge and neighbourhood attributes imply large differences in microclimate anf thus in the potential for ede influence. Management and conservation strategies must incorporate these factors to realistically address edge influence on biota at the landscape-level.

La surface de neige sur le Plateau Antarctique joue un rôle important dans l'étude du bilan de masse et d'énergie de surface. Ses caractéristiques dépendent des interactions entre les conditions atmosphériques et le haut du manteau neigeux, à travers notamment les précipitations, la redistribution de neige par le vent et le métamorphisme. L'ensemble des aspects de la surface, i.e. le type de cristaux, la rugosité, la densité, l'albédo …, sont regroupés sous la formule état de surface. L'objectif de cette thèse est l'étude de l'état de surface et de son évolution, en fonction des conditions atmosphériques, à l'aide d'observations in situ et satellite. L'analyse conjointe d'observations in situ, essentiellement à partir de photographies infrarouges de la surface (développement d'un algorithme examinant la texture des images), et satellite, principalement l'émission micro-onde du manteau neigeux (utilisation du rapport de polarisation sensible à la densité proche de la surface), a permis de montrer une dynamique rapide de la surface à Dôme C. En particulier, des périodes où le givre recouvre entièrement la surface sont observées et représentent environ 45% du temps. Cette dynamique est aussi caractérisée par des élévations rapides et importantes de la surface, pouvant être largement supérieures à l'accumulation annuelle moyenne de 8 cm (jusqu'à 20 cm en 2 heures). Le vent est déterminant dans l'évolution de la surface. Plus particulièrement, ces travaux ont montrés l'importance de la direction du vent pour la disparition du givre (perpendiculaire à la direction dominante, i.e. le sud-ouest). Enfin, la corrélation entre présence de givre et rapport de polarisation a permis d'étendre ces résultats sur les 10 années d'observation du satellite et ouvre la voie à la détection des précipitations par télédétection. La modélisation de l'émission micro-onde à 19 et 37 GHz a ensuite été menée à Dôme C à l'aide d'un modèle de transfert radiatif (DMRT-ML). Les propriétés du manteau neigeux (taille des grains, densité et température), utilisées en entrée du modèle, ont été mesurées durant la campagne d'été 2010 - 2011. Les résultats des simulations montrent que la densité de la neige proche de la surface est principalement responsable des variations du rapport de polarisation. Cette densité a ainsi été « inversée » à Dôme C sur 10 ans. Elle montre une tendance pluriannuelle à la baisse de 10 kg m-3 a-1, superposée à un cycle annuel et à des variations journalières / hebdomadaires. La mesure in situ de la densité et l'observation du givre coïncident avec les variations rapides de la densité estimée. L'évolution pluriannuelle conséquente mérite d'être prise en compte pour l'étude du bilan de masse de surface, les causes probables étant une hausse des précipitations ou une baisse de l'intensité du vent. Suivant une méthodologie similaire, l'évolution de la densité de surface a été déduite pour l'ensemble de l'Antarctique. Les variations spatiales mettent en évidence une tendance claire à la diminution de la densité sur une grande région entre Dôme C et Vostok et une région à l'est de Dôme C où elle augmente. À plus grande échelle, le rapport de polarisation moyen montre de grandes variations, signatures de la stratification en densité du manteau neigeux. L'étude de l'altimétrie satellite permettrat de corroborer ces résultats. / The snow surface on the Antarctic Plateau plays an important role to study the surface mass and energy balance. Its characteristics depend on interactions between the atmospheric conditions and the top of the snowpack such as snowfall, snow remobilization by the wind and metamorphism. All the surface characteristics like type of crystals, roughness, density, albedo … are rounded up the expression surface state. Objective of this thesis is to study the surface state and its evolution due to atmospheric conditions, from satellite and in situ observations. Analyzing together in situ and satellite observations, respectively from infrared pictures of the snow surface (developing an algorithm to study the image texture) and microwave emission of snow (using the polarization ratio that principally depends on the snow density near the surface), showed that the surface quickly evolves at Dome C. Specifically, periods where hoar covers totally the surface are observed and represents around 45% of time. Surface evolution is also characterized by rapid and high increase of the surface height which could be widely higher than the mean annual accumulation of 8 cm (to 20 cm in 2 hours). The wind is essential for the snow surface evolution. Especially, these works showed that wind direction changes during the disappearance of hoar crystals (perpendicular to the prevailing direction, i.e. the Southwest). Finally, correlation between presence of hoar on the surface and polarization ratio extended these results for the 10 years of satellite observation. It shows the potential to detect precipitation events from passive microwave observation. Modeling microwave emission at 19 and 37 GHz was performed at Dome C by a radiative transfer model (DMRT-ML). Snowpack properties (grain size, density and temperature) used as model inputs were measured during the 2010 – 2011 summer field campaign. Simulations results showed that the snow density near the surface is mainly responsible of the variations of polarization ratio. Surface density was thus estimated at Dome C for 10 years. The density evolution show a multi-annual trend of 10 kg m-3 a-1 decreasing, superimposed by an annual cycle and daily / weekly variations. In situ measurements of density and hoar observation are coincident with the rapid evolutions of estimated density. The substantial multi-annual decrease of density should be included in surface mass balance study because the causes are probably an increase of precipitation or a decrease of wind speed. Similar method was used to deduce the evolution of the near-surface snow surface for whole Antarctica. Spatial variations bring out a clear decrease trend of surface density over a large area between Dome C and Vostok and an area in the East of Dome C where density increases. For the whole Antarctic, the mean polarization ratio shows large variations which correspond to variations of the density stratification of the snowpack. Spatial altimetry would be useful to confirm these results.

Made available in DSpace on 2015-04-16T15:23:26Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 7007895 bytes, checksum: 8912d052cbdcb22b7298108d33253001 (MD5) Previous issue date: 2013-03-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Information Science, has gradually assumed greater visibility and accountability in the context of socio-cultural dynamics. In this sense, the ethnic and racial issues are incorporated into the debate in the field, towards the elimination of racial practices, discrimination and black people silencing. In this perspective thoughts on the ethical and racial information sources are pointed out, that is the origin places of the information that reflect historical and cultural elements in the assertion of an ethnical group compared to contemporary multiculturalism. In the diversity of sources, the emphasis is given in pictures, believing that they are able to express aspects of life and social interactions regarding to Afrocentric culture. Thus, this present study aims at exploring the iconographic sources of ethno-racial information as a way of preserving Afrocentric culture in the photographical essay titled Engenhos and Senzalas. Operationally, the work intends to identify, contextualize and characterize the iconographical sources of information racial-ethnic, as well as to analyze the social cultural function of the archive where they are kept in and how these photographs (typological elements characteristics of the given sources) can serve as elements of representation and preservation of Afrocentric culture. In terms of methodology, it is a qualitative descriptive and exploratory research, based on critical-analytical methods such as document analysis and discourse analysis. Data collection has identified seventeen photographs produced in 1982, which aimed to represent the relationships between land lords and slaves in the post slavery period. The results show that photographs trigger the maintenance of the Afrocentric memory marginalized unable to adduce the black as a citizen even free. Thus, it is the archive information professional responsible to assign other mechanisms and information sources to crystallize the social role of the black people. / A Ciência da Informação, gradativamente, vem assumindo maior visibilidade e responsabilidade no contexto das dinâmicas socioculturais. Nesse sentido, as questões étnico-raciais são incorporadas ao debate no campo, no intento de eliminação das práticas de racismo, discriminação e silenciamentos da população negra. Nessa perspectiva, trazemos à reflexão as fontes de informação étnico-raciais, ou seja, os lugares de procedência das informações que refletem elementos históricos e culturais na afirmação de um grupo étnico ante ao multiculturalismo contemporâneo. Na diversidade das fontes, nossa ênfase recai nas fotografias, acreditando que estas são capazes de exprimir aspectos da vida e interações sociais referentes à cultura afrocêntrica. Dessa forma, o estudo que ora se delineia tem por objetivo geral analisar as fontes iconográficas de informação étnico-racial como um modo de preservação da cultura afrocêntrica no ensaio fotográfico Engenhos e Senzalas. Operacionalmente, tem a pretensão de identificar, contextualizar e caracterizar as fontes iconográficas de informação étnico-racial, bem como analisar a função sociocultural do arquivo onde se encontram e como essas fotografias (elemento tipológico característico das fontes em questão) podem servir como elementos de representação e preservação da cultura afrocêntrica. Em termos metodológicos, trata-se de uma pesquisa qualitativa de tipo descritivo-exploratória, que faz uso de métodos crítico-analíticos como a análise documental e a análise discursiva na interpretação de seus objetos de estudo. A coleta de dados identificou dezessete fotografias produzidas no ano de 1982, que visam à representação das relações entre senhores de engenhos e escravos no período pós-abolicionista. Os resultados mostram que as fotografias deflagram a visibilidade marginalizada de uma memória afrocêntrica incapaz de aduzir ao negro seu caráter cidadão, mesmo alforriado. Diante disso, cabe ao profissional da informação responsável pelo arquivo, atribuir outros mecanismos e fontes de informação que cristalizem o papel social no negro.

A produção de mosaicos fotográficos é uma atividade de apoio bastante importante em diversas áreas tais como a geração de mapas, o monitoramento ambiental e o gerenciamento agrícola. A fotogrametria, e em especial a aerofotogrametria, é a ciência que trata, entre outros tópicos, da geração de mosaicos através de procedimentos trabalhosos, o que torna sua manutenção uma tarefa difícil e de alto custo. O Projeto ARARA (Aeronaves de Reconhecimento Assistidas por Rádio e Autônomas) representa uma alternativa de baixo custo para a aquisição de fotografias aéreas. Câmeras digitais de pequeno formato a bordo das aeronaves permitem a obtenção automática das fotografias necessárias para a geração de mosaicos. Este trabalho propõe uma metodologia para a geração e a atualização de mosaicos compostos por fotografias aéreas oblíquas digitais e de pequeno formato, adquiridas com o auxílio das aeronaves do Projeto ARARA. As fotografias podem ser submetidas a procedimentos que associam técnicas de ortoretificação e processamento digital de imagens para corrigir suas distorções geométricas e radiométricas. A metodologia apresentada neste trabalho procura evitar a necessidade de pontos de controle no solo e focaliza a geração automática ou semi-automática dos mosaicos. Procedimentos automáticos têm o potencial de permitir a utilização de uma grande quantidade de fotografias de pequeno formato em substituição às fotografias normalmente utilizadas pela aerofotogrametria convencional. / The generation of photographic mosaics is an important activity in many areas such as map production, environment monitoring and agricultural management. Photogrammetry, and specially aero-photogrammetry, are the sciences that deal, among other subjects, with mosaic generation using time consuming procedures, making the maintenance and updating of photographic mosaics a difficult and high-cost task. The ARARA Project (Autonomous and Radio Assisted Reconaissance Aircrafts), presents a low cost alternative to acquire aerial photographs. An onboard, small format digital camera can take automatically the photographs used for the mosaic generation. This work proposes a methodology for mosaic generation and updating using oblique, digital, small format aerial photographs taken by ARARA aircraft. Photographs can be corrected both geometrically and radiometrically by orthorectification and digital image processing procedures. The methodology presented in this work avoids the use of ground control points, focusing on the automatic and semi-automatic mosaic generation. An automatic procedure make possible the use of a large number of small format photographs to replace the photographs normally used in conventional aerophotogrammetry.

Eggplant Emoji is a documentary film that reveals a range of feminist perspectives on dick pics, sexting and online sexual harassment. Through intimate and hilarious interviews with women between the ages of 22 and 35, the film harnesses a collective voice that speaks back to the large and small ways patriarchy wields power in modern spaces, especially through sending unsolicited dick pics. By intertwining the testimonies of a dynamic group of female storytellers sitting amongst their close friends, the film provides candid and diverse commentary on this unique moment we are in, where the lines between private and public, online and offline are increasingly blurred. Until there are greater consequences, whether legal, social or otherwise, for men disrespecting women's choices and personal space, the domain of sexting is in a self-policing state and women are left to expend emotional labor to let men know why what they sent is unwanted or violating. Ultimately, the subjects' testimonials coalesce to provide suggestions for respectful, consensual sexting practices and fill in the gaps where sex education often neglects the importance of consent and communication altogether.

Botaniska bilder har varit en viktig del inom medicin och vetenskap sedan antiken och de har fortfarande en etablerad plats i vårt samhälle i form av floror, faunor och annat utbildningsmaterial. Den stora förändringen som skett är övergången från teckningar till fotografier och i denna uppsats tittar jag närmare på hur samtida botaniska bilder är uppbyggda och jämför teckningar och illustrationer ur perspektivet visuell kommunikation. Jag använder en kvalitativ innehållsanalys kodad med nyckelord hämtade från bland annat kognitionsteori och representationsteori. Resultatet tyder på att valet av medieform är mindre avgörande ur ett visuellt kommunikativt perspektiv och att medieformerna delar samma styrkor och svagheter. / Botanical images have been an important part of medicine and science since ancient times and they still have an established place in our society in the form of flora, fauna and other educational materials. The big change that has taken place is the transition from drawings to photographs and in this essay I take a closer look at how contemporary botanical images are structured and compare drawings and illustrations from the perspective of visual communication. I use a qualitative content analysis coded with keywords taken from, among other things, cognitive theory and representation theory. The results indicate that the choice of media form is less decisive from a visual communicative perspective and that the media forms share the same strengths and weaknesses.