O objetivo da presente pesquisa foi investigar a função informativa da legenda fotográfica no caso do Massacre do Realengo, analisando as relações entre a linguagem verbal e a visual no jornalismo contemporâneo. Foram estudados os contextos em que a fotografia jornalística transita como discurso pelos meios de comunicação, cujos alcances estão se expandindo pelas novas tecnologias. O corpus da pesquisa contou com 39 capas das edições impressas de jornais brasileiros do dia 8/4/2011, para o estudo de caso da tragédia conhecida como Massacre do Realengo. Foram utilizadas principalmente as metodologias de análise iconográfica de Kossoy e Gervereau, comparadas à análise das unidades de informação (quem, onde, quando, o que e como) contidas nas legendas fotográficas inspiradas nas metodologias de Morin e Santos. Foi aplicado também questionário sobre legenda fotográfica, respondido pelos jornalistas das redações dos jornais estudados (redatores-chefes, editores executivos, diretores de redação ou editores de fotografia). Constatou-se que mais de 50% dos jornais publicaram as fotografias do caso com suas respectivas legendas. Ao separar cada unidade de informação, verificou-se como a função informativa em cada caso promovia o diálogo entre o sentido imagético da fotografia e o sentido lógico do texto. A outra metade das fotografias publicadas formou predominantemente narrativas que facilitaram sua entrada na instância da imagem ao vivo, conceito elaborado por Bucci. Foi, enfim, possível concluir que a legenda fotográfica como unidade visual de fácil percepção do leitor cumpriu sua função informativa de dar suporte de sentido à imagem iconográfica em diálogo com outros módulos de texto do jornal, em geral, sob as seguintes tendências: 1) algumas legendas, redigidas com base nas unidades de informação, deram suporte de sentido à imagem; 2) algumas legendas continham apenas descrição do que se via na imagem e, portanto, não deram nenhum suporte de sentido à imagem; 3) e, outras, foram escritas com informações que não se relacionaram com as imagens e deram suporte de sentido à reportagem em geral e à mensagem sensacionalista que a maioria dos jornais pretendeu transmitir. / The goal of this research was to investigate the informative function of photographic captions focused on the case of the Massacre of Realengo, analyzing the relation between verbal and visual language in contemporary journalism. The essay analyses the contexts in which journalistic photography transits as a discourse through the media, which reaches have been expanded due to the new information technologies. The corpus of this research included 39 first pages of Brazilian newspapers printed editions, dated April 8th 2011, for the study of a tragedy known as the Massacre of Realengo. Kossoy and Gervereau\'s iconographic analysis methods were the most used, and they were compared to the analysis of information units (who, where, when, what and how), contained in the captions inspired by Morin and Santos´ methods. A questionnaire about photographic caption had also been applied to newsrooms\' journalists of the analysed newspapers (editor in chief, executive editors, newsroom directors or photo editors). It was found that over 50% of the newspapers published photographs of the event with their respective captions. By separating each information unit, it was verified how the informative function in each case promoted the dialogue between the imagery sense of the photograph and the logical sense of the text. The other half of the published photographs formed mostly narratives that facilitated their entry into the instance of the live image, a concept developed by Bucci. It was finally concluded that the photographic caption, as a visual unit of easy perception for the readers, fulfilled its reporting function to support the sense of iconographic image in dialogue with other modules of the newspaper text, in general, under the following trends: 1) some captions, written based on the information units, provided support for the meaning of the image; 2) some captions contained only description of what was being seen in the image, therefore, they did not give any support for the meaning of the image; 3) and others were written with information which did not relate to the images, giving sense support to the overall report and to the sensationalist message which most newspapers intended to transmit.

Sometimes the same sky: construção de uma cartografia trata do processo de realização de três séries fotográficas produzidas desde 2008. Partindo do processo de criação, questões sobre errâncias urbanas, espaço e lugar, ficção e realidade na elaboração da imagem fotográfica são abordadas nesse estudo. O texto carrega a vontade de montar uma cartografia própria que inicia com impressões sobre encontros no espaço público até chegar a exploração de objetos no espaço doméstico. A pesquisa teve início com a série de fotografias Salas de[não] estar, onde concentrei a reflexão nas errâncias urbanas e nas aproximações e distinções entre espaço e lugar, na série Zé, abordei o termo “deriva parada”, os tempos da vida e da fotografia e a tipologia como possibilidade de construção de imagem, e, por fim, na série Sometimes the same sky, o foco foi olhar para dentro do espaço privado e para as camadas sobrepostas das imagens produzidas. / Sometimes the same sky: construction of a cartography discusses the process of making three photographic series since 2008. Starting from the process of creation, issues of urban wanderings, space and place, fiction and reality and the development of the photographic image are addressed in this study. The text carries a desire to build my own cartography that starts with impressions about meetings on public space until the exploration of objects in the domestic space. The research started with the photographs serie Salas de [não] estar where I focused the reflection in urban wanderings and in the similarities and distinctions between space and place, in the serie Zé, I discussed the term “drifting stop”, times of life and photography and typology as a possibility of construction the image, and lastly, in the serie Sometimes the same sky, the focus was looking into the private place and the overlapping layers of the produced images.

Esta dissertação trata da trajetória e obra fotográfica de Theodor Preising no Brasil. O fotógrafo percorreu área considerável do território nacional tomando vistas para a produção de cartões-postais e registrando viagens de sócios do Touring Clube do Brasil. Trabalhou ainda para a revista S.Paulo, e integrou os quadros funcionais do Departamento de Imprensa e Propaganda de São Paulo, contribuindo com a elaboração de uma imagem do país nas publicações oficiais direcionadas para leitura no Brasil e no exterior. Entre essas publicações estavam: o jornal Brasil Novo, a revista Travel in Brazil, as reportagens da Agência Nacional e dois folhetos turísticos. Trata-se de um estudo que busca demonstrar a versatilidade de Preising e a extensão de sua obra. A análise do trabalho de Preising, entre 1923 e 1948, permite observamos a transformação de sua linguagem, que se sobrepõe e exemplifica a metamorfose da sociedade. / This dissertation discusses Theodor Preisings trajectory and photographic work at Brasil. The photographer has covered considerable area of national territory taking views to postcards and registering trips of Touring Clube do Brasil affiliations. He has still worked to S.Paulo magazine, and joined the staffs of Departamento de Imprensa e Propaganda de São Paulo, contributing to the development of the countrys image in the official publications in Brazil and overseas. Between these publications was: the Brasil Novo newspaper, the Travel in Brazil magazine, reports of the Agência Nacional and two touristic papers. This work proposes to demonstrate Preisings versatility and the extent of his work. By analyzing Preisings work, since 1923 to 1948, we can understand the transformation of his technique, witch exemplifies the metamorphosis of the society.

The purpose of this session is to provide interested researchers with information regarding the development of photographic research methods in the social sciences, their potential as a novel qualitative tool in organizational research, and the decisions that are required when planning or conducting research leveraging these methods. The intent of this session is to promote the integration of photographic research methods and organizational research by emphasizing the unique contributions that photographic research methods can provide as a data source and as a tool to facilitate interactions between researcher and participant, and communication from researcher to audience.

Le California Camera Club, un collectif de photographes amateurs et professionnels actif à San Francisco notamment entre 1890 et 1915, est une organisation constamment marginalisée dans l’histoire de la photographie et de l’Ouest américain. En adoptant une double approche d’histoire culturelle et matérielle, cette thèse éclaire une gamme d’activités et de productions de ce club largement inconnu, qui ont contribué à forger l’identité d’une communauté éloignée de l’Ouest. Par son approche inclusive, réunissant plus de 400 membres en 1900, le club doit être considéré comme une organisation localement ancrée, qui se sert de la photographie pour produire un récit esthétiquement attirant et historiquement cohérent de la ville et de l’État. Malgré son chevauchement chronologique avec le pictorialisme et son ambition de faire reconnaître le médium parmi les beaux-arts, le corpus du club ne peut être inséré dans un canon d’histoire de l’art de la photographie. En se basant sur diverses stratégies de diffusion et d’exposition, les membres adoptent plutôt une approche collective qui transforme l’aspiration à la reconnaissance en un désir de légitimation régionale. À travers une analyse de pratiques photographiques, d’usages et d’itinéraires des objets, cette thèse retrace la construction d’une représentation idiosyncratique de la culture et de l’histoire californiennes par un club qui participe à la conquête d’une place légitime pour l’État sur la scène nationale. En mettant l’accent sur la dimension collective de la photographie, cette analyse montre comment sa pratique dans un territoire isolé mène à la construction imaginaire d’une communauté dotée d’une compréhension commune de ses valeurs esthétiques et de son histoire. L’enjeu de cette thèse est ainsi de réviser un schéma linéaire et étroit de l’histoire de la photographie en élargissant les perspectives géographiques, socioculturelles et archivistiques / The California Camera Club, a collective of amateur and professional photographers, most active in San Francisco between 1890 and 1915, represents a constantly marginalized organization in the history of photography and of the American West. By adopting a two-fold cultural-historical and material approach, this thesis sheds light on a largely unknown variety of Club activities and productions that served as meaningful elements to forge the identity of a remote Western community. Through its inclusive outlook, unifying more than 400 members in 1900, the Club must be considered a locally embedded organization that mobilized photography to produce an aesthetically pleasing and historically coherent narrative of the city and the state. Despite its chronological position in the period of Pictorialism and the striving for institutional recognition, the Club corpus cannot be inserted into an art-historical canon of photography. Rather, by drawing on diverse strategies of dissemination and exhibition, the members adopted a collective approach to the medium that turned the striving for institutional recognition into a desire for regional legitimation. Through an examination of photographic practices, uses, and object trajectories, this thesis traces the construction of an idiosyncratic representation of Californian culture and history by the Club, which actively assisted the state’s search for a legitimate national place. By focusing on the collective dimension of photography, the analysis demonstrates how the practice in an isolated territory led to the imagination of a community with shared aesthetic and historical understandings. The object of this thesis is to revise both linear and narrow tropes in the history of photography by broadening its geographic, sociocultural, archival perspectives

Temporal Landscapes is a research project concerned with culture-nature relations in the context of contemporary industrial land use in New Zealand; explored visually through the photographic representation and presentation of gold mining sites – former, current and prospective – in the Hauraki region. In the current period of industrial capitalism, featuring the mass exploitation of natural resources, nature is commonly thought of as subservient to humankind. This stance, with its origin in scientific ideology of the 17th Century, is interesting to consider in relation to contemporary notions of landscape, and the ‘ideal’ in nature. In New Zealand, a balance is being sought between interests of sustainability and conservation, and of industry and economy. This is not to say that industry opposes environmental safeguards; in contrast, sustainable management including the rehabilitation of land post-industrialisation is integral to modern mining practice in New Zealand. With this emphasis on controlled industrial progress, two key factors emerge. Firstly, this level of control implicates itself as a utopian vision, and secondly, industrialisation is advocated as a temporary situation, with industrial land as transitory, on the path to rehabilitation. The research question of Temporal Landscapes asks; in considering contemporary industrial land use in New Zealand within a utopian framework – focussing specifically on gold mining in the Hauraki Region – has our ideal in nature become that of a controlled, even post-industrial, landscape? The photographic representation of these sites offers a means to explore and express their visual temporality. With the expectation of industrial sites as fleeting and rehabilitated sites as static utopias, it would seem that this industrial process is a kind of contemporary ideal. Presented as a flickering projection piece, 23 Views. (Prospective gold mining site, Golden Valley, Hauraki, 2008 / Martha gold mine and Favona gold mine, Waihi, Hauraki, 2008), and a set of selectively lit prints, Untitled I. (Garden, pit rim walkway, Martha gold mine, Waihi, Hauraki, 2008), Untitled II. (View of pit, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), and Untitled III. (View of water treatment pond, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), they act as landscapes of partial comprehension.

I Remember…, a series of drawings, is based on personal social experiences starting from the age of thirteen. This series begins with a memory of the first time I had to speak to a room full of people and the unexpected events of that followed. My own relationship with one of the primary subjects, the chair refers to memories of being raised in a home where certain furnishings were “off-limits.” Even more important is the presence of a cryptic narrative, fractured and dreamlike, similar to the style of writing created by Alain Robbe-Grillet. It has been a lifetime goal to create drawings that are interactive with the viewer. The baroque embellished chairs and piano provide a point of departure encouraging contemplative involvement by the viewer conceptually through imagery and physically through scale. Also, showing multiple viewpoints of the object simultaneously creates an atmosphere that is dreamlike and ghostly.

This dissertation is mainly concerned with the photography of Christer Strömholm. In studying his work semiotics is used as a method in analysing the rhetoric of his photographs and their relations to the photographic world, the artworld and the lifeworld. Especially the phenomenologically based visual and cultural semiotics of Göran Sonesson is adopted. The work of Strömholm is first understood in the context of surrealism; especially in the ”dark” surrealism of Georges Bataille´s. In relation to the I - here and nowposition of the lifeworld the surrealism of Bataille can be seen as a downwardgoing rhetoric on the Great Chain of Being, the hierarchy of the lifeworld, from stone, via object, plant and man, to society or God. Bataille´s highlighting of the material and animal nature of man is an opposition to the upwardgoing spiritualising rhetoric of André Breton´s. The main rhetorical device in Strömholm’s photography is a downwardgoing isolation of the object from the lifeworld, according to Jan-Gunnar Sjölin surrealism’s first maneuvre. However, Bataille´s rhetoric and Strömholm´s photography may also be seen as a modern variant of the ancient grotesque degradation that according to Michail Bakhtin once took place in popular carnivals and marketplaces. The degradation of Bakhtin, George Lakoff and Mark Turner’s notion of conceptual metaphor suggests a rhetoric of the lifeworld itself, which may allow us to understand pictorial rhetoric without the help of the theories of the artworld, such as surrealism’s theories. Strömholm´s work is studied in relation to Roman Jakobsons functions in the process of communication. The dominant function in the photographs is the metasemiotic, since pictures and other signs are depicted and commented on. Also the photographs of transsexuals depict and comment signs, men that are signs of women. His photographs of transsexuals has been interpreted as a social realistic documentary, but is better understood as a surrealist union of two terms as unlike as possible, femininity and masculinity. Another important function in his photographs is the interpersonal function suggesting a conjunction of emotive and conative functions. Along with isolation concealment of the object is used, which makes the object difficult to identify. We are not allowed to complete the act of perception, we see only the point of view. In Strömholm’s photography, the point of view of the invisible ”picture-self” with its unique perspective replaces the customary photographic referential image supposed to show “reality.” The notion of ”picture-self” suggests a differentiation between photographer and ”picture-self”, a ready-prepared position for a subject, that the photographer or viewer can place him/herself in. In being placed in this position an existential particualrization occurs, which is termed ”la condition humaine”. Walter Benjamin´s idea of ”the outmoded” and ”the ruins of the bourgeoisie”, Susan Sontag´s idea of the role of ugliness in modern photography, is seen in relation to Strömholms photography and the downwardgoing surrealist rhetoric. In Benjamin´s ”age of reproduction” there is in the photographic work of Strömholm, a tension between ”centripetality” and ”centrifugality”; of remaining in or departing from the artworld. His work is also discussed in relation to postvisualization as an opposition to the well known photographic notion of previsualization.   In order to explain different rhetorical maneuvres semiotically in relation to the spatial lifeworld, the notion of familiarization is used as an opposition to Victor Shklovskys well known notion of estrangement. In the model of “the Great Cross”, with its origo as the familiarity of the I-here-nowposition of the core of the lifeworld, a vertical axis is the Great Chain of Being, ending on both ends with what is considered strange. Also ending with what is strange is a horizontal axis with rhetorical relations on the same level. A similar cross is used to explain rhetorical temporal movements between past and present and present and future with the present I - here and nowsituation of the origo. A conclusion is that visual and cultural semiotics is an enlightening tool for practical analyses even of an œuvre that is as enigmatic as that of Strömholm´s.

There were two starting points for this Creative Project. First, the idea of integrating photography in the design process, not only as a means of later documentation, but as a creative tool. This is a relatively new and unexplored field, thus few resources about the topic could be found. However, I was sure that this unique approach to design was worth exploration and decided to pursue it.The other idea came from research on revitalization of downtown areas which was triggered by my initial confusion and reorientation in a different culture where so ma-iv of the characteristics of urbanity were missing that I was so used to. The changes that have occurred in America's historic centers today are usually considered unavoidable and have resulted in a lifeless downtown area that seems to be the normal status. I believe that this is not just the decay of an important district of the town but, more importantly, the total loss of communication on a human level where the spatial demands of the automobile have become more important than human interaction.With those two ideas in mind I was searching for a site that would fit both. I have been living in Muncie. Indiana, long enough to understand the daily routine of the town, and the search for ideas that would lead to a change here was constantly on my grind. After some research on the entire downtown area I found an appropriate site and developed a proposal that integrates both my ideas and creates a vision of what could be. / Department of Architecture

The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.