This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.

The purpose of this study was to evaluate three sources of geographical information, False Color Composite, Band 5 and Band 7 images of Satellite LANDSAT-2, applied in the detection and delimitation of land cover areas in a case study in the Republic of Venezuela. Previous bibliographic references stated the existence of deciduous, semi-deciduous and evergreen woody vegetation communities in different stages of openess (forest, woodlands, shrublands and thickets) and grasslands, in addition to some kinds of tropical agricultural practices (grazing and cropping areas). The identification of these land cover types was accomplished by visual discrimination of colors in the FCC image and of tones in the Bands 5 and 7. FCC image gave the most complete identification of vegetation communities, agricultural practices and burned areas. Band 7 provided the most accurate delimination of burned areas, water bodies and evergreen forest. Band 5 permited the clearest identification of stages of openess in the vegetation.

This Master's research project begins from the question: is it possible that the phenomenon of the contemporary corporate-controlled urban environment- as epitomised by the enclosed shopping mall and highrise office block (protected by high-tech surveillance) paradoxically is giving rise to the development of an art practice which represents a new type of spirituality-one which is secular, complex and inclusive rather than religious and reductive? My thesis investigates this question through drawing upon writings by relevant theorists and critics; through a comparative examination of selected works by a number of notable, new mid-career and emerging international and Australian photo media artists and through my self-reflective art practice. In support of my thesis I particularly examine a number of photographic works which seek to reflect both the meditative and the anxious moments which characterise the way we experience everyday reality within our globalised consumer culture. These images are not traditionally religious in any sense but rather reflect the tension between materialism and a desire to escape this through negation of consumerism and corporate image marketing. The kind of images this contradictory response gives rise to I believe can be seen to reflect a 'temporary' or provisional sense of the sublime which transcends- or transforms- the banal and the ordinary in the presented reality. / Thesis (MVisualArts)--University of South Australia, 2004.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (M.S.)--Rochester Institute of Technology, 1989. / Includes bibliographical references (leaves 57-61).

Thesis (M.S.)--Rochester Institute of Technology, 1995. / Computer printout. Includes bibliographical references.

Thesis (M.S.)--Rochester Institute of Technology, 1996. / Typescript. Includes bibliographical references (leaves 56-59).

Thesis (M.A.)--University of Delaware, 2007. / Principal faculty advisor: Katherine C. Grier, Winterthur Program in Early American Culture. Includes bibliographical references.

Made available in DSpace on 2014-06-11T19:24:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-11-19Bitstream added on 2014-06-13T20:30:52Z : No. of bitstreams: 1 tannus_fm_me_bauru.pdf: 996668 bytes, checksum: b1dfe97f9ceb9bccc094e7f82e4f34ff (MD5) / Universidade Estadual Paulista (UNESP) / Em um momento em que as imagens publicitárias povoam nosso cotidiano, influenciando diretamente nossos desejos, através de recursos visuais convidativos, apresentamos como proposta a análise das imagens fotográficas do publicitário italiano Oliviero Toscani, produzidas para as campanhas da marca Benetton. Para isso, lançamos nossa investigação a partir do surgimento da fotografia e suas reverberações na modernidade, principalmente no espaço publicitário, pois acreditamos que tais episódios orientam o nosso entendimento sobre a inundação que as imagens publicitárias foram operando na contemporaneidade. A partir dessa perspectiva, apresentamos o desenvolvimento iconográfico de Oliviero Toscani desde a sua infância até o encontro com o fundador da empresa, Luciano Benetton. Partindo desse pressuposto, assumimos como objetivo lançar um olhar mais atento sobre um conjunto de imagens que subvertem concepções e moldes habituais, com o intuito de perceber de que maneira elas podem convocar os sujeitos na busca de outros códigos de leitura. Na presente pesquisa, escolhemos como corpus quatro imagens que marcaram a campanha publicitária da Benetton entre os anos de 1988 e 1992. Analisamos como as imagens propõem outro viés comunicativo, em que o consumidor é assaltado por uma nova forma de leitura. Identificamos como as mensagens transmitidas podem estabelecer rupturas e assumir novos formatos de comunicação que não promovam apenas o consumo que elas geram. Pretendemos contextualizar historicamente como tais imagens estão enredadas com questões políticas, sociais e culturais. Acreditamos com isso que tais imagens, a partir da ruptura que elas promovem, propõem novos códigos de comunicação, que, mais do que informação, podem despertar no sujeito reflexões a respeito da realidade que presenciamos diariamente / In a moment which we have publicitary images crowding our daily life and influencing directly in our wishes through visual and inviting resources, we project as propose the analysis of photographic images of the Italian publicitary Oliviero Toscani, made for the campaign of the trademark Benetton. For this, we started our investigation from the beginning of the photograph and yours reflections on modern time, meanly on the publicitary way, once we believe that those facts guide our understanding about abundance that publicitary images were taking over on contemporary times. From this perspective we show since the iconography development of Oliviero Toscani, since his childhood, until his met with Luciano Benetton, the funder of the mark. Going through this presupposed, we adopted as an objective throw an attentive look for one group of images which subvert conceptions and usual patterns, with the intention to realize which way they can convoke the people on the search of others reading codes. On the present search, we chose as corpus four images which marked the publicitary campaign from Benetton in outdoors between 1989 and 1999, are going to be our group of research objects. We analyzed how the images propose another communicative way that the consumer is attacked for a new form about reading. We indentified how the messages transmitted can settle ruptures and new shapes of communication which does not promote only consume that they produce. We aspire to historically context how those images are tangled with political, social and cultural questions. We believe with this, that those images, starting for the ruptures they promote, propose “new codes” of communication when mores than just information, they aroused people to quest about the reality we face daily

Made available in DSpace on 2014-10-09T12:50:33Z (GMT). No. of bitstreams: 0 / Made available in DSpace on 2014-10-09T13:58:54Z (GMT). No. of bitstreams: 1 00358.pdf: 1139096 bytes, checksum: c1b62a118be24d3d34fe640cb74bff0b (MD5) / Dissertacao (Mestrado) / IEA/D / Escola Politecnica, Universidade de Sao Paulo - POLI/USP