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Este texto busca uma compreensão aprofundada das diferentes realidades que compõem os processos de produção e recepção das imagens fotográficas: suas dinâmicas, relações simbólicas e sujeitos envolvidos. A partir dessa ideia, o objetivo desta pesquisa é demonstrar, por meio de diferentes abordagens teóricas e suas articulações, diversas possibilidades interpretativas que as imagens fotográficas provocam ou sugerem. Para tanto, tem como foco os espaços de duas realidades fotográficas: o espaço do real e o espaço da imagem. A partir dessas duas demarcações, este texto desdobra-se em possíveis articulações, dinâmicas e experiências que as relações entre elas suscitam nos dois maiores sujeitos da fotografia - fotógrafo e leitor. Para tanto, pensamentos de autores que observam questões dos espaços do mundo e das imagens, como Boris Kossoy, Edgar Morin, Michel de Certeau, Michel Maffesoli, Tatiana Levy e Cremilda Medina, são apontados e relacionados com os espaços da fotografia. De cada teórico apresentado, propostas sobre os espaços são destacadas por meio de três olhares distintos e sobrepostos nas narrativas fotográficas da contemporaneidade: o da complexidade, o dos afetos e o da poética. Com um esboço inicial de cada teórico, suas ideias são aplicadas isoladamente a diferentes trabalhos fotográficos. A seguir, articulações entre as propostas teóricas dos diferentes autores são compostas para elaborar diversas possibilidades simbólicas dos espaços em diferentes trabalhos de fotografia produzidos pelo mundo. Acredita-se que nesse processo, questões ainda não tão claras sobre os espaços da fotografia, e da própria fotografia como elemento expressivo e simbólico, possam passar para um primeiro plano. / This research looks for a deeper comprehension of the different realities that make up image production and reception processes: the dynamics, symbolic relations and subjects involved. From this idea, the goal of this research is to demonstrate, by means of different theoretical approaches and their articulations, various interpretative possibilities that the images provoke or suggest. Consequently, it focuses on the spaces of the photographic realities: the reality space and the image space. From these two demarcations, this text unfolds into possible articulations, dynamics and experiences that the relationship between them suscitate on the two main subjects of photography -photographer and reader. To do so, the thinking of different authors that observe issues of spaces of the world and of images, such as Boris Kossoy, Edgar Morin, Michel de Certeau, Michel Meffesoli, Tatiana Levy and Cremilda Medina, are identified and related to the photographic spaces. From each author, a set of proposals on the spaces are highlighted by three distinctive and superimposed points-of-view in the photographic contemporary narratives: of complexity, of affections and of poetics. With an initial sketch of each theorist, his/her ideas are applied separately to different photographic works. Following, the articulations among different authors\' theoretical proposals are combined to develop various symbolic possibilities of the spaces in several photographic essays produced around the world. It is believed that in this process, issues not yet clear regarding the spaces of photography, and photography itself as an expressive and symbolic element, may came to the foreground.

Este texto busca uma compreensão aprofundada das diferentes realidades que compõem os processos de produção e recepção das imagens fotográficas: suas dinâmicas, relações simbólicas e sujeitos envolvidos. A partir dessa ideia, o objetivo desta pesquisa é demonstrar, por meio de diferentes abordagens teóricas e suas articulações, diversas possibilidades interpretativas que as imagens fotográficas provocam ou sugerem. Para tanto, tem como foco os espaços de duas realidades fotográficas: o espaço do real e o espaço da imagem. A partir dessas duas demarcações, este texto desdobra-se em possíveis articulações, dinâmicas e experiências que as relações entre elas suscitam nos dois maiores sujeitos da fotografia - fotógrafo e leitor. Para tanto, pensamentos de autores que observam questões dos espaços do mundo e das imagens, como Boris Kossoy, Edgar Morin, Michel de Certeau, Michel Maffesoli, Tatiana Levy e Cremilda Medina, são apontados e relacionados com os espaços da fotografia. De cada teórico apresentado, propostas sobre os espaços são destacadas por meio de três olhares distintos e sobrepostos nas narrativas fotográficas da contemporaneidade: o da complexidade, o dos afetos e o da poética. Com um esboço inicial de cada teórico, suas ideias são aplicadas isoladamente a diferentes trabalhos fotográficos. A seguir, articulações entre as propostas teóricas dos diferentes autores são compostas para elaborar diversas possibilidades simbólicas dos espaços em diferentes trabalhos de fotografia produzidos pelo mundo. Acredita-se que nesse processo, questões ainda não tão claras sobre os espaços da fotografia, e da própria fotografia como elemento expressivo e simbólico, possam passar para um primeiro plano. / This research looks for a deeper comprehension of the different realities that make up image production and reception processes: the dynamics, symbolic relations and subjects involved. From this idea, the goal of this research is to demonstrate, by means of different theoretical approaches and their articulations, various interpretative possibilities that the images provoke or suggest. Consequently, it focuses on the spaces of the photographic realities: the reality space and the image space. From these two demarcations, this text unfolds into possible articulations, dynamics and experiences that the relationship between them suscitate on the two main subjects of photography -photographer and reader. To do so, the thinking of different authors that observe issues of spaces of the world and of images, such as Boris Kossoy, Edgar Morin, Michel de Certeau, Michel Meffesoli, Tatiana Levy and Cremilda Medina, are identified and related to the photographic spaces. From each author, a set of proposals on the spaces are highlighted by three distinctive and superimposed points-of-view in the photographic contemporary narratives: of complexity, of affections and of poetics. With an initial sketch of each theorist, his/her ideas are applied separately to different photographic works. Following, the articulations among different authors\' theoretical proposals are combined to develop various symbolic possibilities of the spaces in several photographic essays produced around the world. It is believed that in this process, issues not yet clear regarding the spaces of photography, and photography itself as an expressive and symbolic element, may came to the foreground.

Loin de la dénonciation sociale ou d’un exercice strictement historique, le présent travail cherche à comprendre comment se construit l’image du personnage bourgeois à travers l’étude de portraits de la bourgeoisie mexicaine entre 1854 et 2008. Le concept de masque permet de rendre compte du portrait en tant que construction d’un modèle de représentation sociale. La première partie propose un aperçu général des origines et de l’évolution du portrait pictural, de son influence sur le portrait photographique, des conséquences des idées humanistes sur l’art, enfin de l’histoire de la bourgeoisie mexicaine et du portrait photographique bourgeois au Mexique. La deuxième partie s’intéresse au phénomène de la carte-de-visite en tant que source et modèle du portrait photographique de la bourgeoisie mexicaine, avant d’examiner la question de la figure : l’interprétation de la pose et du visage en tant qu’éléments constitutifs de la construction d’une identité sociale. La troisième partie étudie le fond, c'est-à-dire les différents espaces dans lesquels le personnage bourgeois se fait photographier, les objets qui l’entourent et son rapport à eux. Cette recherche s’appuie sur les contributions théoriques de philosophes, d’écrivains, d’historiens et de photographes tels qu’André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Parmi les photographes mexicains abordés dans cette étude, l’on citera les frères Valleto, Cruces et Campa, les Archives Casasola, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell et Ivonne Venegas. / Far from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas.

Submitted in accordance with the requirements for the for the degree of Master of Technology in Photography, Durban University of Technology, Durban, South Africa, 2015. / This dissertation is a self-study that involves inquiring into my mentoring practice to change and improve my situation and find a sense of belonging. The centre of the inquiry into 'self' lies in the search and claiming of an identity that consolidates the development of my artistic, mentoring and research practices during my 'first time' employment experience, as a junior lecturer in a Photography program, 2009-2011. I reflect on three years of lecturing experience in a tertiary education setting at the Durban University of Technology, in which doing a Masters was obligatory. I entered this position, with little experience in research and lecturing or photographic expertise. During this study, I made myself known as osmosisliza, the name of the ‘cyborg’ who journeys in cyberspace. I claim to be a ‘photographer horticulturalist’, a mentor concerned with cultivating collective online spaces, to create movement to connect in cyberspace for social learning purposes. I ask “Who is osmosisliza?”. My class motto is “what you think, know and believe helps us all to be more”, a personal belief for building knowledge through exchange and collaboration with others. I employed a variety of free Web 2.0 applications, like Gmail, Blogger, Buzz, Picasa Web Albums, Google Bookmarks and YouTube to create online spaces in which I could position my living educational theory. I called this place the Google Lens (GL). The Google Lens formed the mechanism to cultivate communities of practice for social learning, to develop confidence, motivation and engagement. The Google Lens was also the repository for qualitative and quantitative data. Mostly I analyse verbal and visual text, writings, photographs and video exchanges between learners and myself archived in the Google Lens to address my research question and sub-question. Through the lens of Google I did action research to improve my practice, and analyse my development as a newcomer to academia. I investigate how successful I was in using the Google Lens to achieve my mentoring goals. I also made photographs during the process of this inquiry to visually address abstract identity dilemmas, concerns and thoughts in my place of work, to engage my ‘I’ in my ‘eye’ as photographer. I exhibit these in cyberspace. I call these electronic postcards. Electronic postcards are blog posts in a weblog called osmosisLIZA. I made 98 blog posts and sent 98 electronic postcards in this dissertation. An electronic postcard consists of a photograph, an illustration, labels and a text heading. In this document the electronic postcards run alongside the writings for this self-study, functioning as text and message of the experiences of a developing academic as well as evidence of the developmental questions I was continuously asking to improve my practice.

The dissertation is following both theoretical and practical sides of Victor Burgin's early work. The structure of this thesis mainly reflects a hybrid attitude of the artist/theorist - the text digress from theoretical comments to related art works which are arranged chronologically. The principal focus lies in Burgin's concers for ideological, social and cultural impacts of photographic advertising practice in Great Britain during the 1970s which he assesed through theories derived from marxism, semiology and psychoanalysis. Keywords: Victor Burgin, photography theory, minimal art, conceptual art, cognitive science, semiotics, modernism, postmodernism, LEF (Left Front of the Arts), marxism, psychoanalysis, feminism