L’une des finalités de ce travail est de proposer une approche renouvelée à la fois de la question fondamentale en philosophie de l’image (comment les images représentent-elles ?) et du compte rendu à donner à l’utilisation des images dans des actes communicatifs, en défendant une conception « pragmatique » de la représentation iconique dans les cas où des images manufacturées sont impliquées. Une autre de ses finalités est de contribuer à la caractérisation d’un débat en philosophie de l’image parallèle jusqu’à un certain point au débat opposant minimalistes et contextualistes en philosophie du langage, tel qu’il a été caractérisé par François Récanati (Recanati 2004, 2007, 2010). Ce travail n’est pas une tentative isolée, mais se propose de contribuer à la continuation d’une ligne de recherche en philosophie analytique de l’image qui a été tracée, il y a quarante ans, par David Novitz et Søren Kjørup (Kjørup 1974, 1978, Novitz 1975, 1977), puis prolongée par Marcia Eaton et Carolyn Korsmeyer (Eaton 1980, Korsmeyer 1985), et qui trouve aujourd’hui des prolongements contemporains dans le courant gricéen en philosophique de l’image (Abell 2005, 2009, 2013, Blumson 2009, 2014). Selon la conception de la dépiction d’inspiration gricéenne, partagée par beaucoup de ces auteurs, la représentation iconique est analysable comme une forme de signification non naturelle i.e. une forme de communication conditionnée par la reconnaissance des intentions du communicateur. Par rapport à ces tentatives antérieures, la doctrine ici défendue marque cependant une différence importante, puisqu’elle considère que la représentation photographique est analysable comme une forme de signification naturelle. Nous soutenons ainsi un dualisme iconologique qui fonde la différence entre images photographiques et images non-photographiques sur la différence entre signification naturelle et signification non naturelle. Pour ce qui est du versant « naturel » de cette division, ce travail profite pleinement du renouveau récent des théories de l’information naturelle (Millikan 2000, 2004, 2007, 2013, Shea 2007, Stegemann 2015, Scarantino 2015) – en tirant parti de celles qui admettent le réquisit de véridicité et restent ainsi en continuité avec la notion gricéenne de signification naturelle. En dépit de notre position sur les photographies, notre approche de la relation iconique reste dominée par le pôle pragmatique de l’interface iconique/pragmatique, puisque nous défendons la thèse selon laquelle nous abordons ordinairement les images comme des véhicules d’actes communicatifs. L’idée qu’une présomption communicative règle ainsi notre commerce ordinaire avec les images (photographiques comme manufacturées) nous permet en effet de réaffirmer la prévalence de la notion pragmatique de ce qui est représenté, même dans les cas (les photographies) où une autre notion est disponible. Dans des circonstances ordinaires, tout ce qu’une photographie représente par elle-même nous intéresse souvent moins que ce que son photographe veut représenter. Parmi les contributions de ce travail à une théorie de la communication iconique, il y a la défense de l’idée que des processus pragmatiques libres sont au coeur de la communication iconique. Nous soutenons que les problèmes de sélectivité spécifiques posés par la communication iconique – le problème de sélectionner les propositions communiquées par l’utilisation d’une image dans un acte communicatif ou les détails pertinents pour l’interprétation – sont résolus par un processus pragmatique libre (de haut en bas) – l’appauvrissement pragmatique – et non par la sélectivité iconique. En raison de la nature de son monisme iconologique, qui aligne le statut des images manufacturées sur celui des photographies, et de sa propension à éliminer les intentions communicatives du tableau de la relation iconique, la théorie iconique informationnelle de Dominic Lopes (Lopes 1996), est un point de focalisation dialectique fort de ce travail / This work is both an essay in the philosophy of pictures which defends a renewed approach to an old question (How do pictures represent?) and a study of the use of pictures in communicative acts, by defending a pragmatic view of pictorial representation in the case of handmade pictures. Another aim of this work is to help shape a contextualist debate in the philosophy of pictures comparable to the minimalism/contextualism debate in philosophy of language as it has been defined by François Recanati (Recanati 2004, 2007, 2010). This work is not alone on the pragmatic side of the philosophy of pictures. It is a continuation of earlier preliminary works in the analytic tradition on pictures (Kjørup 1974, 1978, Novitz 1975, 1977, Eaton 1980, Korsmeyer 1985) and it is related with the current Gricean trend in philosophy of pictures (Abell 2005, 2009, 2013, Blumson 2009, 2014). On the pragmatic view shared by many of these philosophers what is pictorially represented depends upon the artist’s publicly recognizable intentions i.e. is a form of non-natural meaning. However, this work does not defend that all pictorial representation is a communicative act. Indeed, the third aim of this work is to defend an original pictorial dualism according to which the difference between handmade pictures (drawings, paintings and etchings) and photographs is based on the difference between non-natural meaning and natural meaning. Photographic representation is a variety of natural meaning. In order to describe a framework within which some photographs are natural singular signs, this work takes advantage of the recent revival of natural information theories (Millikan 2000, 2004, 2007, 2013, Shea 2007, Stegemann 2015, Scarantino 2015), and especially of the ones which meet the veridicality requirement on natural information and (in this respect) stay in line with the original Gricean notion of natural meaning. Despite our view on photographs, the pragmatic notion of what the “pictorial utterer” represents is held as the key notion and a strong emphasis is put on the pragmatic side of the pictorial/pragmatics interface. The idea here is that a communicative presumption is in place whenever a picture (handmade or photographic) is publicly displayed, similar to the communicative presumption defined by Bach and Harnish 1979 in the case of linguistic communication. This presumption is the mutual belief shared by pictorial utterers and viewers, that someone is trying to communicate something to somebody whenever a picture is publicly displayed. In ordinary circumstances, viewers are not interested in all the things naturally represented by a photograph, but only in what the photographer intends to represent. Central to our study of the use of pictures in communicative acts is the idea that free pragmatic processes operate in the very constitution of what is pictorially communicated. We argue in particular that the selective problem – or the problem of narrowing down the propositions communicated by the use of picture in a communicative act or the relevant details for the pragmatic interpretation – is solved by a free (top down) pragmatic process – pragmatic impoverishment – and not by pictorial selectivity. The informational theory of pictorial representation of Dominic Lopes (Lopes 1996), is a dialectical focus of this work, due do its specific monism which equates handmade pictures with photographic pictures, its theory of pictorial selectivity and its tendency to squeeze out communicative intentions of the communicative picture

Abstract: This study explores how the photographs of Alan Kurdi were used by Swedish newspapers, how they may have been perceived by the readers of those newspapers, and whether there are any ethical considerations when using the photography of Alan Kurdi. It answers three research questions; “How were the photographs of Alan Kurdi used by Swedish newspapers?”, “What potential meanings of the photographs of Alan Kurdi were interpreted by the readers of the articles?” and “What are the ethical implications of using the photographs of Alan Kurdi in the newspapers?” In order to investigate this the top 5 Swedish newspapers were studied and all the articles containing the photographs were studied. Through Sensitising Concepts and Inductive Analysis several topics and categories were discovered. The most common topic used by the newspapers was the topic of Alan Kurdi himself. In order to analyse these results Stuart Hall’s Encoding/Decoding Model of Communication is applied. The model identifies three types of receivers. Those who use preferred reading, negotiated reading and oppositional reading. By applying this model the way the photographs of Alan Kurdi was perceived by the readers of the newspapers can be analysed through the three different perspectives. Through the analysis it was argued that the most common way to perceive the photographs was humanising. The photographs worked both as an icon for the refugee crisis and to describe Alan Kurdi or the situation he was fleeing from. These topics can be argued to have a humanising effect on the refugee crisis as a whole. This was evident when charitable donations increased and there was a change in policy for refugees in Sweden that was less strict than before. However, after only a few months the public opinion grew harsher towards refugees and immigrants. This leads to the question - was it worth it? The photographs were used without consent and they could be argued to be exploitative of Alan Kurdi as well as his family. They can also be argued to be unethical. This papers concludes that the photographs were used by Swedish newspapers extensively, it seems in the most part with the intention of humanising the refugee crisis, and when looking at the rise in charitable donations and change in policy it seems to have worked. For a while. In truth, the photographs made no lasting difference, and it can be argued that the use of the photographs was unethical and the results that came from their publication did not justify the exploitation of Alan Kurdi.

Made available in DSpace on 2014-06-11T19:33:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-11-09Bitstream added on 2014-06-13T20:24:44Z : No. of bitstreams: 1 cazetta_v_dr_rcla.pdf: 4233242 bytes, checksum: 19eae4350e5b191d7202dc42d87e37f4 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa originou-se de reflexões sobre práticas educativas com fotografias aéreas. Minha preocupação residiu inicialmente em compreender como os professores do segundo ciclo (3a e 4a séries do Ensino Fundamental) de escolas municipais utilizariam as páginas com fotografias aéreas verticais do Atlas Municipal e Escolar (geográfico, histórico e ambiental) de Rio Claro/SP (Rosângela Doin de Almeida et. al. (2001) em suas práticas educativas. É nessa tensão entre a separação curricular habitual e as aproximações solicitadas pelo estudo do lugar que as fotografias aéreas verticais são inseridas pelos professores em suas atividades de ensino. Em princípio, a abordagem para a disciplina de Geografia realizada pelos professores pautou-se na clássica separação entre as disciplinas escolares (Geografia, História e Ciências). À medida que as professoras iam trazendo nas aulas as fotos aéreas com o objetivo de estudar o lugar, ocorreu a imbricação destas disciplinas em alguns dos temas propostos. Foi inspirada em Wencesláo Machado de Oliveira Júnior (2003 e 2004) que lancei mão da idéia de passagens - cruzamentos -, para analisar as práticas educativas com fotografias aéreas verticais de três professoras das séries iniciais. / This text has originated from considerations about educative practices with air photographs. I was initially concerned about comprehending how teacher from elementary education ( 3rd and 4th grades) of municipal schools used the pages with vertical air photographs from the Municipal and Scholar Atlas (geographic, historic and environmental) from Rio Claro/SP (Rosângela Doin de Almeida et.al.2001) in their educative practices. It is in this tension between habitual curriculum separation and the approximation requested by the study of the place where the vertical air photographs are inserted by the teachers through their teaching activities. In the beginning, the approach for the discipline of Geography achieved by teachers was based in the classic separation between school subjects (Geography, History and Sciences). As teachers brought the air photographs into classes aiming to study the place, there was an imbrication of these disciplines in some of the proposed themes. Being inspired in Wencesláo Machado de Oliveira Júnior (2003 e 2004) I used ideas of passages- crossing, in order to analyze the educative practices with vertical air photographs of three teachers from initial grades.

In an age of ever-expanding digital communication platforms and the presence of news online becoming paramount, the amount of information being shared and the truth of that information is becoming more and more difficult to track. The power of these social platforms is one that all should recognize and reflect upon in terms of their use of them, and reliance on them for the information they need. This thesis seeks to explore this power and the ways in which to remedy the falsities spread on the platforms faster than ever before, through photographic journalism.

Master of Science / Department of Horticulture and Natural Resources / Ryan L. Sharp / Visual-based methods are vital tools within outdoor recreation management. This method allows researchers to develop an empirical evaluation of social norms of outdoor recreationists. To better understand visitor’s perceptions, and provide usable information to site managers, researchers must better understand their methodology. This study assessed whether photograph order, within a visually-based method, in a field setting, creates differential results relative to a lab setting by comparing our results to previous literature. To accomplish this, a study was conducted at Buffalo National River (BUFF), Arkansas, USA. Visual-based methods were used in a field setting to determine whether there are order effects in perceptions of crowding between sequential and non-sequential photograph presentation order. Results indicated that study setting may influence whether order effects are present. This research will contribute to the growing body of work in the study of research methods for protected area and visitor use management.

Made available in DSpace on 2016-06-07T17:12:31Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-12-09. Added 1 bitstream(s) on 2016-06-07T17:17:17Z : No. of bitstreams: 1 000865116.pdf: 1090079 bytes, checksum: 222ef9d4e6e1cffd73a6ccb6c9766fac (MD5) / O processamento de imagens é uma área em crescimento. Diversos temas científicos são abordados e em alguns casos de caráter interdisciplinar. Entre eles pode-se citar: obtenção de imagens, compreensão de imagens, análise em multi-resolução e em multi-frequência, análise estatística, codificação e a transmissão de imagens. O conhecimento e a utilização dos recursos naturais, humanos e econômicos de uma região ou de um país, é de fundamental importância para o seu desenvolvimento. O planejamento do uso do solo tem se tornado cada vez mais importante diante desse contexto. Na agronomia mais precisamente no estudo de fotografias aéreas pode-se relacionar vários setores que poderão ser beneficiados por esse estudo, como por exemplo: levantamento e delimitação de bacias hidrográficas, geoprocessamento, fotogrametria, fotopedologia, fotointerpretação, mapeamento de solos, geoestatística e ocupação e uso do solo. Esse trabalho envolveu a linguagem de programação orientada a objetos JAVA e banco de dados relacional MYSQL ambos com licença gratuita e codigo livre, tornando possível o desenvolvimento de um sistema consistente, ganhando velocidade e confiabilidade na escrita dos códigos. Este trabalho teve como objetivo o desenvolvimento de um programa de computador para: processamento de imagens de fotografias aéreas, obtendose por meio de imagens bidimensionias imagens estéreoscopicas tridimensionais / The image processing is a growing area. Several scientific issues are addressed and in some cases interdisciplinary. These include: imaging, image understanding, analysis of multi-resolution and multi-frequency, statistical analysis, coding and transmission of images among others. The knowledge and use of natural resources, human and economic of a region or a country, it is of fundamental importance for its development. The planning of land use has become increasingly important in light of that context. In agronomy more precisely in the study of aerial photographs can relate various sectors that can benefit in this study, such as: survey and delineation of watersheds, GIS, photogrammetry, photo pedology, photo interpretation, soil mapping, geostatistics and occupation and use of ground. This work involved oriented programming language JAVA objects and relational database MySQL with both open source license, or free, making it possible to develop a consistent system, gaining speed and reliability in writing codes. This study aims to develop a computer program for: aerial photographs of image processing to get through two-dimensional images three-dimensional images

Objetivando a compreensão das relações entre a ética e a estética na fotografia, mais propriamente com relação à representação do corpo, procura-se compreender o processo de significação da imagem. Devido à característica indicial da imagem gerada por um processo mecânico e por isso singular nas representações visuais, a fotografia se destaca com relação a sua representação da realidade codificada visualmente. Aplicando metodologias de diferentes autores na avaliação e análise do discurso ético e da construção estética, foram combinadas duas possibilidades de percepção da imagem, produzindo uma metodologia própria e direcionada para a discussão dos conflitos causados pela representação do imoral como belo.A partir da compreensão dos mecanismos da comunicação visual pelas teorias de Peirce, Bazin, Barthes, Sontag e Dubois; das relações entre a arte e a ética de Keiran e Gaut; de estudos sobre as estéticas fenomenológica e analítica e da pesquisa de metodologias e da aplicação em avaliações de imagens fotográficas produzidas a partir do início do século XX, foi possível obter dados relevantes para a análise da construção formal e do posicionamento moral da obra resultante. Esse enfoque teve como resultado a proposta de uma metodologia de avaliação ético-estética que permita ao espectador compreender, analisar e avaliar a obra de arte fotográfica. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-01-27T12:48:25Z No. of bitstreams: 1 Dissertacao Gustavo Luiz Pozza.pdf: 1745021 bytes, checksum: 9244fec4a46c38233779d4859d1cab4e (MD5) / Made available in DSpace on 2016-01-27T12:48:25Z (GMT). No. of bitstreams: 1 Dissertacao Gustavo Luiz Pozza.pdf: 1745021 bytes, checksum: 9244fec4a46c38233779d4859d1cab4e (MD5) / Having as objective the understanding of the relationship between ethics and aesthetics in photography, more specifically regarding the representation of the body, this research seeks to understand the process of signification of the image. Due to its indexical characteristic as an image generated by a mechanical process, and so singular in the visual representations, the photographic image stands out with respect to its representation of visually coded reality. Applying methodologies of different authors in the evaluation and analysis of ethical discourse and aesthetic construction, were combined two ways of perception of the image, producing its own methodology, directed to the discussion of the conflicts caused by the representation of immoral as beautiful. Through the understanding of the mechanisms of visual communication by the theories of Peirce, Bazin, Barthes, Sontag e Dubois; the relations between art and ethics from Keiran and Gaut; of studies on the phenomenological and analytical aesthetic and research of methodologies and its application to evaluation of photographic images produced since the early twentieth century, it was possible to obtain relevant data for the analysis of formal construction and moral positioning of the resulting work. This approach has resulted in the proposal of a methodology of ethical and aesthetic evaluation that allows the spectator to understand, analyze and evaluate the photographic work of art.

Orientador: Rosângela Doin de Almeida / Banca: Tomoko Iyda Paganelli / Banca: Bernadete Aparecida Caprioglio de Castro Oliveira / Banca: Wenceslao Machado de Oliveira Junior / Banca: João Pedro Pezzato / Resumo: Esta pesquisa originou-se de reflexões sobre práticas educativas com fotografias aéreas. Minha preocupação residiu inicialmente em compreender como os professores do segundo ciclo (3a e 4a séries do Ensino Fundamental) de escolas municipais utilizariam as páginas com fotografias aéreas verticais do Atlas Municipal e Escolar (geográfico, histórico e ambiental) de Rio Claro/SP (Rosângela Doin de Almeida et. al. (2001) em suas práticas educativas. É nessa tensão entre a separação curricular habitual e as aproximações solicitadas pelo estudo do lugar que as fotografias aéreas verticais são inseridas pelos professores em suas atividades de ensino. Em princípio, a abordagem para a disciplina de Geografia realizada pelos professores pautou-se na clássica separação entre as disciplinas escolares (Geografia, História e Ciências). À medida que as professoras iam trazendo nas aulas as fotos aéreas com o objetivo de estudar o lugar, ocorreu a imbricação destas disciplinas em alguns dos temas propostos. Foi inspirada em Wencesláo Machado de Oliveira Júnior (2003 e 2004) que lancei mão da idéia de passagens - cruzamentos -, para analisar as práticas educativas com fotografias aéreas verticais de três professoras das séries iniciais. / Abstract: This text has originated from considerations about educative practices with air photographs. I was initially concerned about comprehending how teacher from elementary education ( 3rd and 4th grades) of municipal schools used the pages with vertical air photographs from the Municipal and Scholar Atlas (geographic, historic and environmental) from Rio Claro/SP (Rosângela Doin de Almeida et.al.2001) in their educative practices. It is in this tension between habitual curriculum separation and the approximation requested by the study of the place where the vertical air photographs are inserted by the teachers through their teaching activities. In the beginning, the approach for the discipline of Geography achieved by teachers was based in the classic separation between school subjects (Geography, History and Sciences). As teachers brought the air photographs into classes aiming to study the place, there was an imbrication of these disciplines in some of the proposed themes. Being inspired in Wencesláo Machado de Oliveira Júnior (2003 e 2004) I used ideas of passages- crossing, in order to analyze the educative practices with vertical air photographs of three teachers from initial grades. / Doutor

Objetivando a compreensão das relações entre a ética e a estética na fotografia, mais propriamente com relação à representação do corpo, procura-se compreender o processo de significação da imagem. Devido à característica indicial da imagem gerada por um processo mecânico e por isso singular nas representações visuais, a fotografia se destaca com relação a sua representação da realidade codificada visualmente. Aplicando metodologias de diferentes autores na avaliação e análise do discurso ético e da construção estética, foram combinadas duas possibilidades de percepção da imagem, produzindo uma metodologia própria e direcionada para a discussão dos conflitos causados pela representação do imoral como belo.A partir da compreensão dos mecanismos da comunicação visual pelas teorias de Peirce, Bazin, Barthes, Sontag e Dubois; das relações entre a arte e a ética de Keiran e Gaut; de estudos sobre as estéticas fenomenológica e analítica e da pesquisa de metodologias e da aplicação em avaliações de imagens fotográficas produzidas a partir do início do século XX, foi possível obter dados relevantes para a análise da construção formal e do posicionamento moral da obra resultante. Esse enfoque teve como resultado a proposta de uma metodologia de avaliação ético-estética que permita ao espectador compreender, analisar e avaliar a obra de arte fotográfica. / Having as objective the understanding of the relationship between ethics and aesthetics in photography, more specifically regarding the representation of the body, this research seeks to understand the process of signification of the image. Due to its indexical characteristic as an image generated by a mechanical process, and so singular in the visual representations, the photographic image stands out with respect to its representation of visually coded reality. Applying methodologies of different authors in the evaluation and analysis of ethical discourse and aesthetic construction, were combined two ways of perception of the image, producing its own methodology, directed to the discussion of the conflicts caused by the representation of immoral as beautiful. Through the understanding of the mechanisms of visual communication by the theories of Peirce, Bazin, Barthes, Sontag e Dubois; the relations between art and ethics from Keiran and Gaut; of studies on the phenomenological and analytical aesthetic and research of methodologies and its application to evaluation of photographic images produced since the early twentieth century, it was possible to obtain relevant data for the analysis of formal construction and moral positioning of the resulting work. This approach has resulted in the proposal of a methodology of ethical and aesthetic evaluation that allows the spectator to understand, analyze and evaluate the photographic work of art.

abstract: Several states within the United States have recently passed the Victim Life Photo Act, which allows prosecutors to present photographs of alleged murder victims when they were alive during the guilt phase of a trial. Critics argue that these photographs do not offer any relevant information about the crime or the defendant’s potential guilt and might bias jurors to vote guilty based on their sympathy for the victim—perhaps disproportionally so for high-status victims. Two mock trial experiments tested whether online participants who viewed alleged murder victim photographs would convict more because they increase anger, disgust, fear, sadness, and/or sympathy. Mock jurors who saw photographs of White (but not racial minority) victims while they were alive reported more sympathy for the victim relative to those who saw the same evidence without a photograph of the living victim—but the sympathy did not increase convictions (Study 1). Study 2 extended this study by testing whether the living victim photographs are more impactful in conjunction with seeing gruesome photographs of the victim after her death, creating a particularly disturbing contrast effect versus seeing the living photograph alone. Study 2 found that (a) living victim photographs on their own again had no effect on participants’ verdicts, (b) gruesome photographs on their own increased convictions through increased disgust, and (c) participants who saw both living and gruesome murder victim photographs (versus gruesome alone) were more conviction prone due to increased anger and sympathy. These studies inform current debates regarding the controversial Victim Life Photo Act: Admitting living victim photographs during the guilt phase—if presented along with gruesome photographs—can make jurors more sympathetic and angry, which can increase convictions. / Dissertation/Thesis / Masters Thesis Psychology 2020