This study demonstrates the value of historical aerial photographs as a source for monitoring long-term landslide evolution, which can be unlocked by using appropriate photogrammetric methods. The understanding of landslide mechanisms requires extensive data records; a literature review identified quantitative data on surface movements as a key element for their analysis. It is generally acknowledged that, owing to the flexibility and high degree of automation of modern digital photogrammetric techniques, it is possible to derive detailed quantitative data from aerial photographs. In spite of the relative ease of such techniques, there is only scarce research available on data quality that can be achieved using commonly available material, hence the motivation of this study. In two landslide case-studies (the Mam Tor and East Pentwyn landslides) the different types of products were explored, that can be derived from historical aerial photographs. These products comprised geomorphological maps, automatically derived elevation models (DEMs) and displacement vectors. They proved to be useful and sufficiently accurate for monitoring landslide evolution. Comparison with independent survey data showed good consistency, hence validating the techniques used. A wide range of imagery was used in terms of quality, media and format. Analysis of the combined datasets resulted in improvements to the stochastic model and establishment of a relationship between image ground resolution and data accuracy. Undetected systematic effects provided a limiting constraint to the accuracy of the derived data, but the datasets proved insufficient to quantify each factor individually. An important advancement in digital photogrammetry is image matching, which allows automation of various stages of the working chain. However, it appeared that the radiometric quality of historical images may not always assure good results, both for extracting DEMs and vectors using automatic methods. It can be concluded that the photographic archive can provide invaluable data for landslide studies, when modern photogrammetric techniques are being used. As ever, independent and appropriate checks should always be included in any photogrammetric design.

Ph.D. university of the Witwatersrand, Faculty of Humanities (Art History), 2012 / Pictorial copies play an essential role in the creation of rock art knowledge, forming a bridge between the art and theories of interpretation. My thesis traces a ‘pictoriography’, that is, a historiography of the practice of recording rock paintings in pictures. I begin with the earliest examples dotting the shifting edges of the Cape Colony from the mideighteenth to mid-nineteenth centuries. Thereafter, the focus shifts to the Maloti-Drakensberg, where two case studies bring this disciplinary history into more recent times. The first is the rainmaking group from Sehonghong Shelter (Lesotho). One of the first rock paintings to be published, it became one of the most iconic in southern Africa. I relate its various copies to one another and to wider views of Sehonghong, revealing how it has been decontextualized and reproduced in diagrammatic form. I develop a ‘digital restoration’, whereby copies circulating independently in the world are returned in digital images to their place of origin. I develop this process further in a site-wide study of eBusingatha Shelter (AmaZizi Traditional Authority Area, KwaZulu-Natal Drakensberg). Once an impressive painted gallery, eBusingatha has been severely damaged by vandalism, removals and collapse, while documents tracking its demise accumulated elsewhere. I reunite scattered records, enabling copies to be contextualized and lost visual qualities of the originals to be restored. Throughout these pictorial genealogies, I explore the distance between the way the rock paintings are illustrated and the way they actually look. While recording strategies are diverse, one dominant convention has emerged in recent decades. Meticulous tracings converted into monochrome redrawings effect a translation of complex and ambiguous painted occurrences into clean forms ‘peeled’ from the rock and projected like shadows onto paper. The are more like text than picture. Colour for instance is considered an integral part of painting traditions worldwide, yet is expunged from the study of San rock paintings. A reintegration of such pictorial attributes into their study may encourage a return to the material world of the imagery and a contextualization of the semantics of its symbolic constituents.

Made available in DSpace on 2016-08-10T11:21:32Z (GMT). No. of bitstreams: 1 HENRIQUE PINTO COELHO.pdf: 4226159 bytes, checksum: 965cf5f92f4ba0760907e6cb07754aa3 (MD5) Previous issue date: 2013-06-27 / This dissertation reflects and comments on a set of black and white and hand colored photographs of women, produced by Luiz Pucci in Goiânia-GO, in the period of 1945 to 1955. These photographs are kept in the Goiás Museum of Image and Sound. The dissertation especially analyzes gender representations in these photographs to see if the women in these images reveal new habits and ways of being, reproducing and reinforcing dominant gender relations, their inequalities and their representations. The photographs of women are important sources for the study of these gender representations. / A presente dissertação tece considerações sobre um conjunto de fotografias de mulheres, em branco e preto e coloridas à mão, produzidas por Luiz Pucci em Goiânia-GO, no período de 1945 a 1955. Estas fotografias estão depositadas no Museu da Imagem e do Som de Goiás. Analisa, em especial, as representações de gênero nessas fotografias para constatar se nestas imagens as mulheres revelam novos hábitos e modos de ser, reproduzindo e fortalecendo as relações de gênero dominantes, suas desigualdades e suas representações. As fotografias de mulheres são fontes importantes para o estudo dessas representações de gênero.

This qualitative and explanatory study focuses on the concept of ‘media witnessing’, which concerns witnessing media texts performed in, by, and through the media. The aim is to determine how people from different backgrounds engage with news photographs of Syrian children which went viral in 2015 and 2016. Furthermore, this study uses the analytical framework of media witnessing created by Maria Kyriakidou (2015). The framework was made to analyse four different reactions to distant, mediated suffering: affective, ecstatic, politicised and detached. This framework is tested and adapted for this study to identify the engagement experience of individuals with new viral photographs. These photographs were taken by professional photojournalists. The data was collected via semi-structured, two-person interviews known as dyadic interviews. Participants were recruited by way of purposive and snowball sampling. In the end, four dyadic interviews were conducted which involved eight individuals in total. During each interview, two participants looked together at four viral news photographs and discussed their thoughts and feelings based on an interview guide. All dyadic interviews were audio-recorded and transcribed. The study material—four transcripts—was finally analysed using a thematic analysis method. Themes were based on modes of media witnessing. The analysis reveals a fifth mode of response—first-hand witnessing—which is linked to an individual’s own experience and past. Finally, this study claims that an adapted framework constitutes a suitable way to analyse people’s engagement but that there is a need for further study of media witnessing.

Lu Yang. / Thesis submitted in: November 2004. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 96-103). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgement --- p.iv / Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Motivation --- p.1 / Chapter 1.2 --- Our Contributions --- p.3 / Chapter 1.3 --- Thesis Outline --- p.5 / Chapter 2 --- Background Study --- p.7 / Chapter 2.1 --- MPEG-7 Introduction --- p.8 / Chapter 2.2 --- Image Analysis in CBIR Systems --- p.11 / Chapter 2.2.1 --- Color Information --- p.13 / Chapter 2.2.2 --- Color Layout --- p.19 / Chapter 2.2.3 --- Texture Information --- p.20 / Chapter 2.2.4 --- Shape Information --- p.24 / Chapter 2.2.5 --- CBIR Systems --- p.26 / Chapter 2.3 --- Image Processing in JPEG Frequency Domain --- p.30 / Chapter 2.4 --- Photo Album Clustering --- p.33 / Chapter 3 --- Feature Extraction and Similarity Analysis --- p.38 / Chapter 3.1 --- Feature Set in Frequency Domain --- p.38 / Chapter 3.1.1 --- JPEG Frequency Data --- p.39 / Chapter 3.1.2 --- Our Feature Set --- p.42 / Chapter 3.2 --- Digital Photo Similarity Analysis --- p.43 / Chapter 3.2.1 --- Energy Histogram --- p.43 / Chapter 3.2.2 --- Photo Distance --- p.45 / Chapter 4 --- 1-Dimensional Photo Album Management Techniques --- p.49 / Chapter 4.1 --- Photo Album Sorting --- p.50 / Chapter 4.2 --- Photo Album Clustering --- p.52 / Chapter 4.3 --- Photo Album Compression --- p.56 / Chapter 4.3.1 --- Variable IBP frames --- p.56 / Chapter 4.3.2 --- Adaptive Search Window --- p.57 / Chapter 4.3.3 --- Compression Flow --- p.59 / Chapter 4.4 --- Experiments and Performance Evaluations --- p.60 / Chapter 5 --- High Dimensional Photo Clustering --- p.67 / Chapter 5.1 --- Traditional Clustering Techniques --- p.67 / Chapter 5.1.1 --- Hierarchical Clustering --- p.68 / Chapter 5.1.2 --- Traditional K-means --- p.71 / Chapter 5.2 --- Multidimensional Scaling --- p.74 / Chapter 5.2.1 --- Introduction --- p.75 / Chapter 5.2.2 --- Classical Scaling --- p.77 / Chapter 5.3 --- Our Interactive MDS-based Clustering --- p.80 / Chapter 5.3.1 --- Principal Coordinates from MDS --- p.81 / Chapter 5.3.2 --- Clustering Scheme --- p.82 / Chapter 5.3.3 --- Layout Scheme --- p.84 / Chapter 5.4 --- Experiments and Results --- p.87 / Chapter 6 --- Conclusions --- p.94 / Bibliography --- p.96

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta tese trata da relação entre violência, sofrimento, fotografia e memória, a partir do noticiário de violência na cidade do Rio de Janeiro e da participação dos familiares de vítimas de casos noticiados em movimentos contra a violência. Para compreender esse universo, descrevo e analiso os discursos textuais, visuais e emocionais dos familiares de vítimas e, também, dos fotojornalistas. As notícias de violência, segundo Luc Boltanski, são uma forma de denúncia e de conversão dos casos individuais em causas coletivas. Essas são tomadas como um primeiro registro da violência que se transforma em um lugar de memória desses acontecimentos na cidade. A partir de notícias e histórias narradas pelos entrevistados foram construídos pequenos quadros de memória que contam o processo vivido pelos familiares após a violência. Esse processo iniciado por uma violência original se converte, ao longo do tempo, em lutas individuais e coletivas. O tempo torna-se um agente que trabalha nas relações, nas emoções e na memória. Ele transforma os sentidos da experiência violenta e constrói a identidade de familiar de vítima e as relações entre eles, moldando comunidades emocionais. Essas comunidades apóiam os familiares em seu restabelecimento emocional e social e na luta para conquistar o direito de justiça. Diante da morte violenta, essas lutas agenciam o surgimento de novas violências e a chegada de novos familiares de vítimas em meio às memórias individuais e coletivas. / This thesis deals with the relationship between violence, suffering, photojournalism and memory, from the news of violence in the city of Rio de Janeiro and the participation of victims relatives of reported cases in movements against violence. In order to understand this universe, I describe and analyze textual, visual, and emotional speeches of victims relatives and also of photojournalists. The news of violence, according to Luc Boltanski, are way of denunciation and conversion of the individual cases into "collective causes". These are taken as a first record of violence that turns into a "place of memory" of these events in the city. From news and stories, told by the interviewees, were built small "memory frames" that tell the process experienced by the family after the violence. This process starts by a "original violence" becomes, over time, in individual and collective fights. "Time is an agent" which "works" in relationships, emotions and memory. This changes the sense of the violent experience and builds the identity of the victims relative and the relationships between them, shaping "emotional communities". These communities support the family in their social and emotional recovery and in their fight for the right to justice. In the face of violent death, these fights negotiate the emergence of new violence and the arrival of new families of victims amid the individual and collective memories.

The purpose of this thesis is to underline the importance of developing useful and mutually beneficial relationships between local iwi and museums, and to consider the subsequent implications for museum practice. The thesis assembles a variety of contemporary sources in order to document and construct a chronological narrative of events: minutes and communications; interviews with staff and key participants in the process of acquiring the Partington Collection by the Whanganui Regional Museum; media reports; and a survey of recent literature. The Partington Collection of Whanganui Maori photographs is integral to this examination because of its importance to both Whanganui iwi and the Whanganui Regional Museum. The situation of colonial photography in museums has changed over the century from being viewed as a factual reflection of the cultural imperatives of indigenous peoples, to being viewed as a colonial construct consigning indigenous peoples to their past. Because this Collection is the most comprehensive photographic documentary of Whanganui Maori from the turn of last century it adds immense value to the Museum’s existing collections. However to Whanganui iwi the photographs of their ancestors are taonga tuku iho: far more than just photographic images they are demonstrably and undeniably imbued with the mana of their tupuna. The public auction in 2001 of the Partington Collection created a catalyst for action and an opportunity for Whanganui iwi and the Museum to work together to ensure the return of the photographs to Whanganui, an outcome that was finally achieved in 2002. The thesis concludes that the successful return of the Partington Collection to Whanganui could not have been possible without the long term evolving relationship between iwi and the Museum and in particular the more recent emergence of a bi-cameral governance structure. Furthermore the maintenance of relationships and communication is crucial to the evolution of museum practice. This would suggest a reversal of the traditional perspective that museum practice and procedure is pre-eminent. Instead, this case study demonstrates that relationships are at the heart of museum practice.

In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.

In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.

This study was a qualitative analysis of the covers of six lifestyle magazines, three addressed to women and three addressed to men. We have studied the cover photographs, the teasers and their relations.   The purpose of this study was to answer the questions: According to the magazines, what are male interests and what are typical female interests? Who is the ideal man and who is the ideal woman? Is there a certain way you need to look to be able to be on a magazine cover? And how often do the magazines encourage you to consume?   The study was based on thirty covers, five from each magazine. The Swedish magazines are VeckoRevyn, Amelia, Damernas Värld, King of Sweden, Café and the American version of GQ. We’ve used semiotics and rhetorical methods to analyze the material. We have studied the words in the teasers to find their connotations, we have studied the poses of the cover models and investigated their body language and counted how many times the magazines teases for something that will lead to you as reader having to buy something.   We found out that both male and female magazines use very stereotypical gender roles and they do not show any signs of changing, even though the society in general has broken free from many typical gender roles. They presented an ideal man that are very successful, handsome, well dressed, meat eating and interested in sports. He is neither black nor gay. The ideal woman is a slim, beautiful, successful, white, heterosexual woman who can joggle many things at once.