Master of Arts / Department of Sociology, Anthropology, and Social Work / Lisa Melander / The media has a substantial role in providing knowledge about criminality to the public. Previous research has demonstrated that many media representations of crime and criminality perpetuate racial stereotypes and myths. The current study examines photographs in newspapers to investigate if a person of color has a higher chance of being presented by their mugshot over White individuals in crime stories. In addition the analysis examines how female offenders are presented in newspaper crime stories compared to men. To date, there has been no published research on the influence gender and race has on mugshot portrayals in newspaper media. The current study addresses this gap through an ethnographic content analysis of newspaper crime stories from widely circulated newspapers published between August 1, 2014 and October 31, 2014. The analyses are also informed by social constructionism and labeling theory.

Diplôme de fin d'études--Photographie--Noisy le Grand--Ecole nationale supérieure Louis Lumière, 2002. / Bibliogr. p. p. 109-118.

Human activities can now be captured in real-time using sensor technology. The growth in sensor applications and smart mobile phones that come equipped with built-in sensors has led to the integration of sensors with social networks. These days, people are heavily dependent on online social networks (OSNs); they migrate their real-life activities online through various types of multimedia such as photos, videos, text, etc., which turns OSNs into a soft-sensory resource about users' events. The users use these forms of multimedia to tell their friends about their daily lives. This social network data can be crawled to build personal context-aware stories about individuals. However, the number of social users and the quantity of multimedia that is produced on social media are both growing exponentially, which leads to the challenge of information overload on OSNs. The information needed for stories, such as events and their locations, is not fully available on user's own profile. It is true that part of the information can be retrieved from the user's timeline, but a large number of events and related multimedia information is only available on friends' profiles. In this thesis, we focus on identifying a subset of close friends in order to enrich the content of the story. The amount of time people spend together has been proven to play a key role in determining close ties between people. We propose a DST (Days Spent Together) algorithm to find a user's closest friends based on the days they spent together interacting face-to-face. With the closest friends information, we are able to find additional information to complement what was found on the user's own profile, as well as to personalize the stories to ensure that they are only about the users and their closest friends. Due to the possibility of multimedia (photos in this thesis) overload for events, we propose to use the duration of events measured by DST, to determine the number of representative photos for each event. Our experiments show that the proposed approach could recognize the close friends of users and rank them from the strongest to the weakest. The results also show that with the proposed method we get days-spent-together values that are close to the corresponding true values provided by users.

This thesis examines my studio practice and research during my studies at Virginia Commonwealth University in the Photo & Film MFA program, which has culminated into my thesis exhibition. Through traditional portraiture and landscape photography that utilize contemporary photographic practices such as digital processing and material studies, my work in Plantiod Planet creates a fiction which examines plant intelligence and the gendering of landscape.

O trabalho descreve e contextualiza as matérias que descrevem a construção de Brasília realizadas durante o período da edificação da cidade e publicadas pelas revistas ilustradas Brasília, Manchete e O Cruzeiro e pelos cinejornais; esse últimos eram meios de comunicação de massa, direta ou indiretamente controlados pela Novacap, particularmente por Juscelino Kubitschek, Oscar Niemeyer e Israel Pinheiro. Apresenta também os relatos sobre a arquitetura e a cidade em construção dirigidos aos arquitetos e que foi viabilizado pelas publicações periódicas, sobretudo pela revista Módulo e pela seção de Arquitetura e Urbanismo da revista Brasília. O objetivo é indagar a qualidade e o caráter da participação daqueles meios de informação na elaboração de uma imagem pública da construção da Capital. Sua metodologia apóia-se naquela aplicada à análise das obras de arte visuais e leva em conta a observação de que as próprias obras de arte são também representações controladas, instrumentos para a construção de mitos e/ou para fixar o imaginário coletivo em monumentos. Ao mesmo tempo utiliza-se das indicações de método que orientam o uso da fotografia dos meios de comunicação de massa na reconstrução histórica. O papel da comunicação visual foi determinante na construção de uma imagem coletiva da cidade, do seu plano, das suas arquiteturas. As fotografias nas revistas colaboraram para propalar uma certa narrativa acerca da colonização do interior do País como construção de assentamentos em territórios vazios; mas também acerca da arquitetura como abstração artística e sobre os construtores da Capital como agentes e mediadores da integração nacional. Frisa ainda que as próprias estratégias de narração da linguagem visual, junto aos depoimentos orais e as informações que as próprias fotografias revelam, são os rastros que permitem a recuperação de outras memórias. / This work describes and brings into context the story of the construction of Brasilia produced, during the edification of the city, by the news-real and by the popular magazines Brasília, Manchete, and O Cruzerio, mass media that were subjected, directly or indirectly, to the influence of Novacap, and in particular to that of Juscelino Kubitscheck, Israel Pinheiro e Oscar Niemeyer. The work also presents the survey of the architecture and of the construction of the city carried out by the periodical Modulo, edited by Oscar Niemeyer and by the Arquitetura e Urbanismos section of the magazine Brasília. The aim of this work is to investigate the qualities and the features of the participation of the mass media referred above in the elaboration of the public conception of the construction of the Nuova Capitale. The methodology is based on that applied to the analysis of visual artworks, and on the observation that the works of art are themselves controlled representations, apt to create myths and/or to stamp the collective imagination into monuments. The methodology also exploits the techniques concerning the employment of the mass medias photography in the historical reconstruction. This work highlights the decisive role of visual communication in the construction of the popular image of the city, its project and its architecture. In particular, the use of photography in the magazines contributed to the divulgation of an important tale on the colonization of the inside of the country, which is interpreted as a process of creation of new settlements in a desert territory. In this tale, architecture is interpreted as an artistic abstraction; people working on the construction of the new capital are viewed as agents and dealers of the integration of the different racial identities of the country. However, it is important to underline that precisely the narrative strategies of the visual language, together with oral witnesses and with the information preserved by the photography, are the traces that permit to recover other memories.

The primary aim of this project is getting a complete understanding of photography’s development process and looking into future, user-centered innovations. Digital evolution changed the rules of product design. Products became a part of a complex system, consisting of a variety of different touch-points which also constantly extend. Photography and cameras are changing. Mobile phones, wireless connections and sharing platforms have a big impact on photography. Everything is getting connected to each other, both people and devices. How will digital photography adapt to this new world? How will people change their perception of images? Is it possible to design a camera considering all other systems around it? While designing a highly technological device, how can user-perspective be included in the design process?

O trabalho descreve e contextualiza as matérias que descrevem a construção de Brasília realizadas durante o período da edificação da cidade e publicadas pelas revistas ilustradas Brasília, Manchete e O Cruzeiro e pelos cinejornais; esse últimos eram meios de comunicação de massa, direta ou indiretamente controlados pela Novacap, particularmente por Juscelino Kubitschek, Oscar Niemeyer e Israel Pinheiro. Apresenta também os relatos sobre a arquitetura e a cidade em construção dirigidos aos arquitetos e que foi viabilizado pelas publicações periódicas, sobretudo pela revista Módulo e pela seção de Arquitetura e Urbanismo da revista Brasília. O objetivo é indagar a qualidade e o caráter da participação daqueles meios de informação na elaboração de uma imagem pública da construção da Capital. Sua metodologia apóia-se naquela aplicada à análise das obras de arte visuais e leva em conta a observação de que as próprias obras de arte são também representações controladas, instrumentos para a construção de mitos e/ou para fixar o imaginário coletivo em monumentos. Ao mesmo tempo utiliza-se das indicações de método que orientam o uso da fotografia dos meios de comunicação de massa na reconstrução histórica. O papel da comunicação visual foi determinante na construção de uma imagem coletiva da cidade, do seu plano, das suas arquiteturas. As fotografias nas revistas colaboraram para propalar uma certa narrativa acerca da colonização do interior do País como construção de assentamentos em territórios vazios; mas também acerca da arquitetura como abstração artística e sobre os construtores da Capital como agentes e mediadores da integração nacional. Frisa ainda que as próprias estratégias de narração da linguagem visual, junto aos depoimentos orais e as informações que as próprias fotografias revelam, são os rastros que permitem a recuperação de outras memórias. / This work describes and brings into context the story of the construction of Brasilia produced, during the edification of the city, by the news-real and by the popular magazines Brasília, Manchete, and O Cruzerio, mass media that were subjected, directly or indirectly, to the influence of Novacap, and in particular to that of Juscelino Kubitscheck, Israel Pinheiro e Oscar Niemeyer. The work also presents the survey of the architecture and of the construction of the city carried out by the periodical Modulo, edited by Oscar Niemeyer and by the Arquitetura e Urbanismos section of the magazine Brasília. The aim of this work is to investigate the qualities and the features of the participation of the mass media referred above in the elaboration of the public conception of the construction of the Nuova Capitale. The methodology is based on that applied to the analysis of visual artworks, and on the observation that the works of art are themselves controlled representations, apt to create myths and/or to stamp the collective imagination into monuments. The methodology also exploits the techniques concerning the employment of the mass medias photography in the historical reconstruction. This work highlights the decisive role of visual communication in the construction of the popular image of the city, its project and its architecture. In particular, the use of photography in the magazines contributed to the divulgation of an important tale on the colonization of the inside of the country, which is interpreted as a process of creation of new settlements in a desert territory. In this tale, architecture is interpreted as an artistic abstraction; people working on the construction of the new capital are viewed as agents and dealers of the integration of the different racial identities of the country. However, it is important to underline that precisely the narrative strategies of the visual language, together with oral witnesses and with the information preserved by the photography, are the traces that permit to recover other memories.

Orientador: Iara Lis Franco Schiavinatto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-24T03:28:30Z (GMT). No. of bitstreams: 1 Zerwes_ErikaCazzonatto_D.pdf: 135961071 bytes, checksum: 0e115495780a66794d440c993d293a3f (MD5) Previous issue date: 2013 / Resumo: Este trabalho enfoca as fotografias de guerra dos fotógrafos David Seymour, George Rodger, Henri Cartier-Bresson e Robert Capa no período anterior à fundação da agência Magnum. Naquele momento eles estavam envolvidos em uma cultura política determinada, os círculos de esquerda e anti-fascistas europeus, e esta filiação política fez parte do desenvolvimento de uma linguagem visual nova. Assim, suas fotografias de guerra construíram bases para uma linguagem fotográfica que intentava comunicar o que acreditavam serem realidades políticas e sociais, impactadas ao mesmo tempo que impactando uma cultura visual e uma cultura política; estabelecendo ao mesmo tempo um modelo para a profissão de repórter fotográfico. Deste modo, o Capítulo 1 se volta para os primeiros meses da Guerra Civil Espanhola, em que um ímpeto revolucionário pautou as reportagens de Chim, Capa e Cartier-Bresson para a imprensa de esquerda francesa. No Capítulo 2 busca-se discutir como o fazer fotográfico e a estética desenvolvidos por eles são ao mesmo tempo tributários e rompedores de uma certa tradição, impactando a cultura visual em especial por meio das imagens ícones. O terceiro Capítulo procura marcar as diferentes formas de narrativa, seus desenvolvimentos e limites, e como o ganho de controle sobre esta narrativa, assim como a glamourização destes fotógrafos, auxiliaram a concepção e concretização da agência / Abstract: This work focuses on David Seymour's, George Rodger's, Henri Cartier-Bresson's and Robert Capa's war photographs prior to the foundation of Magnum agency. At that moment they were involved in a determined political culture, European left and antifascists circles, and this political allegiance became part of the development of a new visual language. Their war photographs built the foundation for a new photographic language which intended to communicate what they believed to be social and political realities, impacted by and at the same time impacting a visual and a political culture, as well as establishing a model for the photographic reporter profession. Chapter 1 refers to the first months of the Spanish Civil War, when the revolutionary momentum marked Chim's, Capa's and Cartier-Bresson's histories for the French left magazines. Chapter 2 intends to discuss how the photographic practice and the aesthetics developed by them are in some ways part of a tradition and in some ways new, impacting the visual culture especially through the icon images. Chapter 3 intends to stress the different narrative forms, its developments and limits, and how the narrative control gain as well as the photographers' glamorization helped the agency's conception and establishment / Doutorado / Politica, Memoria e Cidade / Doutora em História

We present solution of steps necessary for binarization and text lines detection contained in printed documents digitized by the camera. We introduce a normalization of non-uniform illumination method for text photographs. We propose input bitmap binarization algorithm based on two-dimensional probability pixel model which also considers its surrounding. We continue with description of robust text lines orientation detector based on optimization of risk function using first order derivatives of image function. In the end we present text lines detection and segmentation algorithm. Final shape of segmented lines is optimized with usage of graph algorithm. Powered by TCPDF (www.tcpdf.org)

Nous présentons un système de vision utilisant la mesure du mouvement pour extraire des informations tridimensionnelles. Ce système permet de fournir des indices 3-d a partir d'une séquence d'images. Il s'articule en trois modules qui peuvent fonctionner indépendamment: une technique d'extraction de segments de droite a partir d'une image de contours. La caractéristique principale de cette technique est d'utiliser un balayage simple de l'image. Elle est donc particulièrement destinée a être câblée et fonctionner en synchronisation avec le balayage vidéo; un suivi d'indices performant. Notre système est fonde sur l'utilisation d'un modèle des indices observes et d'un filtre de Kalman; une reconstruction de segments 3-d. Cette reconstruction, utilisant l'étiquetage de segments dans une séquence fourni par le suivi d'indices, est fonde sur l'utilisation des équations de la stereovision