Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-15Bitstream added on 2014-06-13T19:26:06Z : No. of bitstreams: 1 bernardo_jf_me_ia.pdf: 3000865 bytes, checksum: cc405d86a49347b33bc4455a9cdb0a4f (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Universidade Estadual Paulista (UNESP) / A presente pesquisa tem por objetivo a análise da colagem como procedimento artístico. Para isto, foi traçado um histórico da colagem que englobou o Cubismo, o Dadaísmo, o Surrealismo e a Arte Pop. Em cada um destes momentos históricos, percebemos o significado do emprego da colagem como linguagem artística. Em um segundo momento, analisamos o processo da colagem nas imagens técnicas, sobretudo naquelas decorrentes da fotografia, como, por exemplo, nas fotomontagens, no cinema e na colagem digital. E, finalmente, realizamos entrevistas com artistas brasileiros e visitamos museus e galerias com o intuito de verificar como a colagem tem feito parte da arte contemporânea / This study aims at analyzing the collage as artistic process. For this, we traced a history of collage that passed trough Cubism, Dadaism, Surrealism and Pop Art. In each of these historical moments we could perceive the meaning of the use of collage as an artistic language. After that, we analyzed the collage’s process in imaging techniques, resulted from photography such as in the photomontages, movie and digital collage. And finally, we conducted interviews with Brazilian artists and visited to museums and galleries to see how the collage has been part of contemporary art

Esta dissertação propõe-se a avaliar a importância de Valério Vieira para a história da fotografia brasileira por meio de seus retratos e suas experimentações fotográficas. Valério, profissional inovador, utilizava recursos diferenciados em todas as expressões artísticas a que se dedicava: música, pintura e fotografia. O resultado da pesquisa abrange a trajetória do fotógrafo, com os fatos mais relevantes de sua vida, pessoal e profissional, os quais foram de grande influência tanto em sua produção como em seu pensamento. Aqui serão apresentados o seu ofício de retratista de estúdio, os panoramas de grande formato, as técnicas de manipulação de negativos e de imagens fotográficas utilizadas nas Fotografias Compósitas, bem como seus usos e aplicações, seguida de uma análise das obras de Valério baseada nas técnicas expostas. O nível técnico dos fotógrafos brasileiros em relação aos profissionais dos centros hegemônicos é um tema pouco explorado entre os pesquisadores da área e esse trabalho busca preencher essa lacuna, ao menos em parte. / The essay intends an evaluation of Valério Vieiras importance to the History of Brazilian photography through his portraits and photographic experimentation. Valério can be seen as a unique professional, who made use of several resources on creating new work on all art forms he used to express himself with, such as: music, painting and photography. The researchs outcome includes his photographic career, with all the significant events, both from his personal and professional life, which were of great influence either on his artistic production as well as his way of thinking. The purpose of this text is to show Valerios expertise as a studio portraitist, the large format panoramas, his technique on handling negative films and photographic images that can be found on Composite Photographic, as well as its uses and applications, followed by an analysis of Valerios personal work based on the pre-mentioned techniques. The equity between the Brazilian photographers technical level and his colleagues abroad, on the hegemonic centers, is a rare subject among researches and this dissertation aims to fill this gap, or at least part of it.

This work describes design and implementation of a tool for creating photomontages. The tool is based on methods of semi-automatic image segmentation. Work outlines problems of segmentation of image data and benefits of interaction with the user. It analyzes different approaches to interactive image segmentation, explains their principles and shows their positive and negative aspects. It also presents advantages and disadvantages of currently used photo-editing applications. Proposes application for creating photomontages which consists of two steps: Extraction of an object from picture and insertion of it into another picture. The first step uses the method of semi-automatic segmentation GrabCut based on the graph theory. The work also includes comparison between application and other applications in which it is possible to create a photomontage, and application tests done by users.

Introduced diploma thesis John Heartfield's stay in Czechoslovakia 1933-1938 deals with artistic creation and stay of the origin German artist John Heartfield in Prague from 1933 till 1938 which had become his haven after Hitler's after Hitler's takeover of power. This thesis analyses Heartfield's work in Czechoslovakia, from creating photomonages and political caricatures, which he was publishing in workers newspapers, Arbeiter-Illustrierte Zeitung and Volks-Illustrierte, move of berliner publisher The Malik to Prague, participation in the Oskar Kokoschka Bund, to book covers for Czech publishers or his participations in Prague exhibitions like International exhibition caricatures and humour or International exhibition of photography. Provided historical-cultural analysis also examines other Heartfield's activities linked with his Prague stay. These are his relationship to Czechoslovakia formed by artistic, social and working contacts with Czech leftist orientated intellectuals and artists and reflections his works in Czech environment. Heartfields fruitful stay in Czechoslovakia was ended in a hurry thanks to occupation of Czechoslovakia in 1938 and by his moving into exile in London.

Wangechi Mutu is an internationally recognized Kenyan-born artist who lives and works in Brooklyn. She creates collaged female figures composed of human, animal, object, and machine parts. Mutu’s constructions of the female body provide a transcultural critique on the female persona in Western culture. This paper contextualizes Mutu’s work and artistic strategies within feminist, postmodern, and postcolonial narratives on collage, while exploring whether collage strategies are particularly useful for feminist artists. In their fusion of machine and organism, Mutu’s characters are visual metaphors for feminist cyborgs, particularly those outlined by Donna Haraway. In this paper, I examine parallels between collage as an aesthetic strategy and the figure of the cyborg to suggest meaningful ways of approaching differences between women and how they experience life in contemporary Western culture.

E. Appert (1831-1890) est un photographe essentiellement connu pour ses portraits d’insurgés dans les prisons versaillaises après la Commune de Paris et pour ses photomontages des Crimes de la Commune. Cependant, sa carrière débuta à Paris bien avant 1871 et se poursuivit sur une trentaine d’années. Ce photographe se révéla être un véritable « reporter » attentif à illustrer l’actualité. Tissant des liens utiles avec la Justice et la Préfecture de Police, ses portraits et ses photomontages se firent l’écho des événements politiques. Alors réputé pour être un photographe partisan de Thiers ou proche des bonapartistes, Appert photographiait en fait l’élite politique, religieuse et militaire sans parti pris. Il mit rapidement en pratique un portrait dépouillé de décor, où l’homme politique, à l’instar du détenu, posait assis sur une chaise devant un fond uni. Ses photomontages réalisés avec beaucoup de soin étaient principalement des portraits de groupe reflétant l’actualité politique et judiciaire. Le photographe développa des liens étroits avec la presse illustrée et publia dès le début des années 1860 des portraits dans le Monde Illustré et dans l’Illustration. Cette collaboration suivie lui donna l’occasion de faire connaître sa production au grand public. Issu d’un milieu modeste, la photographie permit à Appert de s’élever dans la société. Son opportunisme commercial fut un moyen de survivre aux aléas politiques de la fin du Second Empire, du siège de Paris, de la guerre civile et de l’instabilité de la Troisième République. / E. Appert (1831-1890) is a photographer known for his prisoners’ portraits after the Commune of Paris and for his photomontages of Crimes de la Commune. Meanwhile, he has begun his career before 1871 and for nearly thirty years. This photographer was in fact like a “reporter” looking after events of the moment. Weaving useful links with the Justice and the Paris police headquarters, his portraits and montages reflected political occurrences. Considered as a supporter of Thiers and closed to imperial family, Appert photographed above all the pick of Politic, Army and of the Church without choosing any side. He made a type of portrait, pure without any ornament: the model, politic or prisoner, seated on a simple chair in front of a plain background. His photomontages made carefully were mostly group portraits for political and judiciary actuality. The photographer developed narrowed links with illustrated press and has published portraits as early as the beginning of 1860 portraits in Le Monde Illustré and L’Illustration. This followed collaboration was an opportunity to be known by the public. From a modest social sphere, photography was a way for Appert to rise himself into the society. His commercial opportunism allowed the photographer to survive to economic and political difficulties throw the end of the Second Empire, siege of Paris, civil war and Third Republic.

Orientador: Milton Terumitsu Sogabe / Banca: Silvia Miranda Meira / Banca: Agnaldo Valente Germano da Silva / Resumo: A presente pesquisa tem por objetivo a análise da colagem como procedimento artístico. Para isto, foi traçado um histórico da colagem que englobou o Cubismo, o Dadaísmo, o Surrealismo e a Arte Pop. Em cada um destes momentos históricos, percebemos o significado do emprego da colagem como linguagem artística. Em um segundo momento, analisamos o processo da colagem nas imagens técnicas, sobretudo naquelas decorrentes da fotografia, como, por exemplo, nas fotomontagens, no cinema e na colagem digital. E, finalmente, realizamos entrevistas com artistas brasileiros e visitamos museus e galerias com o intuito de verificar como a colagem tem feito parte da arte contemporânea / Abstract: This study aims at analyzing the collage as artistic process. For this, we traced a history of collage that passed trough Cubism, Dadaism, Surrealism and Pop Art. In each of these historical moments we could perceive the meaning of the use of collage as an artistic language. After that, we analyzed the collage's process in imaging techniques, resulted from photography such as in the photomontages, movie and digital collage. And finally, we conducted interviews with Brazilian artists and visited to museums and galleries to see how the collage has been part of contemporary art / Mestre

Las relaciones existentes entre el cinematógrafo y las artes plásticas durante las primeras décadas del siglo XX son una de las señas de identidad de un período artístico protagonizado por los movimientos vanguardistas. En efecto, fotografía y cine se unen a pintura y escultura en el maremagno de creatividad y experimentación que vivió el arte al calor de las vanguardias históricas. Pese a ser numerosas y evidentes las influencias que el cine recibió de las artes plásticas en esas primeras décadas del siglo, lo que se quiere abordar en esta investigación no es esta vinculación sino, precisamente, su inversa. De lo que se trata, pues, es de investigar, evidenciar y explicar las influencias del medio cinematográfico en las artes plásticas, a nivel formal, expresivo o iconográfico, influencias que, como es lógico, resultan especialmente significativas en la pintura. / The existing relations between the cinematograph and the plastic arts during the first decades of the 20th century are one of the identity signs of an artistic period led by the avant-garde movements. In fact, photography and cinema join painting and sculpture in the maremagnum of creativity and experimentation that art lived with the historical avant-garde. In spite of the fact that the influences that cinema received from plastic arts in these first decades of the century are numerous and evident, what must be faced in this investigation is not this link but, precisely, his opposite. What we are dealing with, thus, is investigating, demonstrating and explaining the influences of the cinematographic means in the plastic arts, at a formal, expressive or iconographic level, influences that, naturally, turn out to be specially significant on painting.

Illustration of Czech popular music sheet covers in the first half of the 20th century Abstract This diploma thesis focuses on the visual form of popular music sheet covers published in selected publishers in the first half of the 20th century, especially on small formats of the twenties to forties. Many Czech as well as several foreign artists influenced by various artistic tendencies took part in the artistic processing of the covers. The creation of a large part of them is closely connected with illustration, poster creation and advertising activities. Some artists have been creating covers systematically and we can find their work in several publishers, but for some this activity was only a short episode in their work. The resulting prints of music sheet covers obtained in the institutions that collect them are documented and evaluated here - especially the Music Department of the National Library and the Czech Museum of Music belonging to the National Museum in Prague. In some cases, this section also records the original illustrations stored in the Museum of Applied Arts in Prague, which were very helpful in identifying the artistic practices. It is clear from this diploma thesis that the illustrations of these sheet music, which have not been given space in the literature so far, are an important...

Availability of digital cameras in various forms and user-friendly image editing softwares has enabled people to create and manipulate digital images easily. While image editing can be used for enhancing the quality of the images, it can also be used to tamper the images for malicious purposes. In this context, it is important to question the originality of digital images. Digital image forensics deals with the development of algorithms and systems to detect tampering in digital images. This thesis presents some simple algorithms which can be used to detect tampering in digital images. Out of the various kinds of image forgeries possible, the discussion is restricted to photo compositing (Photo montaging) and copy-paste forgeries. While creating photomontage, it is very likely that one of the images needs to be resampled and hence there will be an inconsistency in some of its underlying characteristics. So, detection of resampling in an image will give a clue to decide whether the image is tampered or not. Two pixel domain techniques to detect resampling have been presented. The rest of them exploits the property of periodic zeros that occur in the second divergences due to interpolation during resembling. It requires a special condition on the resembling factor to be met. The second technique is based on the periodic zero-crossings that occur in the second divergences, which does not require any special condition on the resembling factor. It has been noted that this is an important property of revamping and hence the decay of this technique against mild counter attacks such as JPEG compression and additive noise has been studied. This property has been repeatedly used throughout this thesis. It is a well known fact that interpolation is essentially low-pass filtering. In case of photomontage image which consists of resample and non resample portions, there will be an in consistency in the high-frequency content of the image. This can be demonstrated by a simple high-pass filtering of the image. This fact has also been exploited to detect photomontaging. One approach involves performing block wise DCT and reconstructing the image using only a few high-frequency coercions. Another elegant approach is to decompose the image using wavelets and reconstruct the image using only the diagonal detail coefficients. In both the cases mere visual inspection will reveal the forgery. The second part of the thesis is related to tamper detection in colour filter array (CFA) interpolated images. Digital cameras employ Bayer filters to efficiently capture the RGB components of an image. The output of Bayer filter are sub-sampled versions of R, G and B components and they are completed by using demosaicing algorithms. It has been shown that demos icing of the color components is equivalent to resembling the image by a factor of two. Hence, CFA interpolated images contain periodic zero-crossings in its second differences. Experimental demonstration of the presence of periodic zero-crossings in images captured using four digital cameras of deferent brands has been done. When such an image is tampered, these periodic zero-crossings are destroyed and hence the tampering can be detected. The utility of zero-crossings in detecting various kinds of forgeries on CFA interpolated images has been discussed. The next part of the thesis is a technique to detect copy-paste forgery in images. Generally, while an object or a portion if an image has to be erased from an image, the easiest way to do it is to copy a portion of background from the same image and paste it over the object. In such a case, there are two pixel wise identical regions in the same image, which when detected can serve as a clue of tampering. The use of Scale-Invariant-Feature-Transform (SIFT) in detecting this kind of forgery has been studied. Also certain modifications that can to be done to the image in order to get the SIFT working effectively has been proposed. Throughout the thesis, the importance of human intervention in making the final decision about the authenticity of an image has been highlighted and it has been concluded that the techniques presented in the thesis can effectively help the decision making process.