Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Laurence A. Clement, Jr. / Advancements in technology, architecture, landscape, planning and design, and education are being pursued in the 21st century. Unfortunately, the campuses of higher education institutions, which promote such advancements, do not reflect the vision of innovation and creativity. Rather, the exterior environments on college campuses portray a 19th century gardenesque landscape aesthetic, which emphasizes a “park-like” appearance and discounts ecological functions. The Kansas State University campus evidences a gardenesque aesthetic that arguably is not performing socially or ecologically to its fullest potential. This Master’s Project and Report uses an open space on K-State’s campus, Coffman Commons, to challenge its aesthetic performance. Campus landscape aesthetic performance can be improved by designing a community amenity that celebrates ecological processes, especially regarding stormwater, and involves the campus community in the design process. A conceptual framework, rooted in the Vitruvian Triad, directs the project’s methodology. Methods of photojournalism and design are conducted. Photojournalism is used to collect aesthetic responses of Coffman Commons from K-State students, faculty, and staff. Their photographic and textual responses inform the design process. The photography method allows each participant to confer importance to aspects of the landscape that moved them. Through photographic coding and content analysis, commonalities are discovered in the landscape with which each person identifies. The participants’ written descriptions further inform an understanding of expectations and hopes for Coffman Commons. Influenced by the photographic research and guided by set goals and objectives, the design method allows the innovation of a contextually specific and personable design solution for Coffman Commons. The design exhibits two community amenities which invite social activity to Coffman Commons. The amenities incorporate visible water systems (rain gardens and dry swales) - increasing the ecological performance of the Commons, and provide research opportunities for piezoelectric technology. The design also features inscriptions which honor Dr. Coffman and K-State Distinguished Faculty. This Master’s Project and Report transforms a gardensque campus landscape into a high-performance landscape that responsibly manages stormwater and enriches user experience.

O propósito principal desta dissertação é realizar uma primeira análise da vida e da obra do fotógrafo santista José Dias Herrera, considerando a sua relevância como profissional no contexto da história da fotografia no Brasil, assim como o valor documental da sua obra para a história de Santos. Nosso estudo procura abarcar o período que vai de 1937, quando Herrera iniciou sua carreira como fotógrafo, até os dias de hoje. Do seu enorme acervo, foram selecionadas imagens que documentam as transformações da paisagem e dos hábitos urbanos de Santos, a presença de personalidades de projeção nacional e internacional, bem como, os grandes dramas políticos que afetaram o País, ao longo do tempo. É nossa esperança que este trabalho venha contribuir para a memória da cidade de Santos através da fotografia. / This paper aims at carrying out a first analysis of the life and work of a santista photographer called José Dias Herrera, taking into account his importance as a professional in Brazil historical context, as well as the contribution of his work to the history of Santos. This research tried to cover the period from 1937, when Herrera initiated his career as a photographer, until today. From his collection it was selected the images that show the transformation in the scenery and in the urban habits of Santos, personalities nationally or internationally famous as well as huge political dramas that has affected the country through the years. We hope that this paper will contribute to the memory of Santos through photograph.

Orientador: Luciano Guimarães / Banca: Ricardo Alexino Ferreira / Banca: Wagner Souza e Silva / Resumo: A pesquisa busca comprovar a influência do fotógrafo francês Henri Cartier-Bresson (1908-2004), considerado como o mestre do fotojornalismo, sobre alguns fotojornalistas brasileiros atuais, mais especificamente sobre Flávio Damm (1928), Marcelo Buainain (1962) e Tuca Vieira (1974). O fotógrafo francês Henri Cartier-Bresson vêm influenciando fotojornalistas do mundo todo há décadas, devido à sensibilidade e importância de suas fotos. A proposta do instante decisivo, defendida por ele, é uma busca constante, uma espreita, uma atenção, mas que se adéqua a cada época. Além dessa característica marcante em sua obra, outras facilmente destacadas são: o fato de sempre fotografar em preto-e-branco e de apurar com cuidado a composição e o arranjo dos elmentos plásticos que repercutem no personagem central, como se tudo estivesse sob o controle do olhar fotógrafo em uma busca pelas formas e organização da cena através de seu olhar geômetra. Observando assim as características dos fotógrafos citados e comprovando às observadas nas fotos de Cartier-Bresson, torna-se possível comprovar sua influência ainda atual sobre fotógrafos brasileiros. Inicialmente, é apresentada uma exposição das discussões acerca da "realidade" impressa na fotografia e essa busca no fotojornalismo. Ainda ligada a essa questão, introduz-se a teoria utilizada, pensando na fotografia através da Semiótica da Cultura, com focoa nos pesquisadores Vilém Flusser e Norval Baitello Jr., refletindo sobre as pesquisas acerca da imagem téorica, da manipulação da imagem, da crise da visibilidade e da fotografia em preto-e-branco, ligando essas propostas à metodologia utilizada para a análise das imagens. Para comprovar o objetivo da pesquisa, no caso a influência de Bresson sobre os fotojornalistas brasileiros selecionados, é utilizada... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The research seeks to demonstrate the influence of the French photographer Henri Cartier-Bresson (1908-2004)m regarded as the master of photojournalism, on some current Brazilian photojournalists, more specifically about Flávio Damm (1928), Marcelo Buainain (1962) and Tuca Vieira (1974). The French photographer Henri Cartier-Bresson have influenced photojournalists around the world for decades, due to the sensitivity and importance of your photos. The proposal of the decisive moment, advocated by him, is a constant search, a watch, an attention, but that suits every age. Besides this characteristics in his work, others are easily highlighted: the fact to prefer shoot in black and white and carefully determine the composition and arrangement of the plastic elements and impact the central character, as if everything was under control of the photographic look in a search for forms and organization of the scene through his geometer eyes. Initially, it is show an exhibition of discussions about the "reality" printed on photography and photojournalism in this quest. Also connected to this issue, we introduce the theory used, thinking the picture through the Culture of Semiotics, focusing on researchers as Vilém Flusser and Norval Baitello Jr. reflecting on the research about the technique image, the manipulation of the crisis of visibility and photography in black and white, calling such proposals to the methodology used for image analysis. To prove the purpose of the research, in that case, the influence of Bresson on the select Brazilian photojournalists, it is used the Image Theory, from the class taught at UNESP in August 2011 by Professor Dr. Jose Javier Marzal Felici, where a scheme is presented for a through and detailed analysis on photos. The analysis will take place in the contextual level (technical parameters), morphological... (Complete abstract click electronic access below) / Mestre

This study offers a history of the concept of realism in portrait photography through the examination of a set of categories that have colored photographic practices since the origins of the medium in 1839: the posed and the candid. The first section of this study deals with the practices of posing in early photography, with chapters on the daguerreotype, the carte de visite, and the amateur snapshot photograph. Considering technological advances in conjunction with prevailing cultural mores and aesthetic practices, this section traces the changing cultural meaning of the portrait photograph, the obsolescence of the pose, and the emergence of an "unposed" aesthetic in photography. The second section of this study examines three key photographers and their strategies of photographic representation, all of which involved candid photography: it looks at Erich Salomon's pioneering photojournalism, Humphrey Spender's politicized sociological photography, and Walker Evans' complex maneuvering of the documentary form. Here, the emphasis is on the ways in which the trope of the candid informed these three distinct spheres of photography in the early 20th century, and the ways in which the photographic aesthetic of candor cohered with--or contested--political and cultural developments of the interwar period in Germany, Britain, and the United States.

Nossa trajetória no fotojornalismo, marcada por treze anos de trabalho como repórter-fotográfico e editor de fotografia na Empresa Folha da Manhã S.A. nos permitiu conhecer minuciosamente, na prática, o processo de construção de uma imagem fotojornalística. Apesar da produção internacional relativamente abundante e de trabalhos brasileiros de renomados profissionais da área, a produção teórica sobre os aspectos da fotografia no contemporâneo é ainda incipiente no Brasil, principalmente no que diz respeito às inovações tecnológicas e seu impacto no fotojornalismo. Entre as questões mais instigantes da pesquisa e da teoria da imagem estão as tensões entre realidade e ficção e ética e ideologia. Segundo os parâmetros aceitos nas redações, uma boa fotografia é aquela que consegue aliar a precisão da informação com uma contundente beleza plástica. No fotojornalismo, mais que em qualquer outra modalidade de uso da fotografia, o registro fotográfico tem a necessidade de ser entendido, em sua gênese, como um documento, como um atestado comprobatório não apenas de que o fato aconteceu, mas que o mesmo ocorreu tal qual podemos observar na fotografia publicada no veículo. Como pensar então em informação precisa ou em verdade se sabemos de antemão que quando o fotógrafo documenta um acontecimento no espaço-tempo ele está invariavelmente, no ato fotográfico, descolando aquele recorte do real de seu contexto, interpretando o fato de acordo com sua cultura e sua ideologia? No fotojornalismo, essas tensões se revelam sobretudo na busca do equilíbrio possível entre informação e plasticidade, entre a sua natureza noticiosa que o obriga a se manter fortemente conectado a um referente e sua necessidade de conquistar a atenção do olhar do leitor contemporâneo, numa árdua batalha travada nas páginas de jornais e revistas com as imagens idealizadas e tecnicamente perfeitas da publicidade. Neste sentido, esta dissertação, que surge a partir da experiência de quem conheceu os mecanismos que regem o surgimento e a efetuação de uma pauta fotográfica na grande imprensa, pretende contribuir para ampliar o espaço desta reflexão na produção brasileira. Além disso, visamos analisar, ao cruzar a nossa experiência com a bibliografia contemporânea acerca da representação dos fatos na mídia impressa, as possíveis transformações ocorridas no conceito de documento fotográfico no período que vai da implantação da cor na impressão dos jornais diários brasileiros até o momento atual, passando pelo ingresso das câmeras digitais nas redações dos jornais. E, por fim, objetivamos também mostrar, por meio de imagens de violência recolhidas na mídia impressa, como esse processo pode corroborar para que os fotojornalistas e suas empresas façam, inconscientemente ou não, o uso da fotografia como uma ferramenta de criação, propagação e perpetuação de estigmas e preconceitos na sociedade. Sistematizar teórica e criticamente nossa experiência profissional obtida ao longo do trabalho como jornalista, repórter-fotográfico e editor de fotografia e, dessa forma, contribuir para a discussão acerca da profissão por nós escolhida, é um dos principais motivos que nos levaram a propor como objeto desta pesquisa uma análise do fotojornalismo a partir da sua produção desde diferentes perspectivas. / Our trajectory in photojournalism, marked by thirteen years of work as a reporter and photographic editor of the company Empresa Folha da Manhã S.A. allowed us to know, in practice, the process of creation an photojournalistic image. Despite the international production relatively abundant and the work of renowned Brazilian professionals in the area, the production on the theoretical aspects of photography in contemporary is still incipient in Brazil, especially with regard to technological innovations and their impact on photojournalism. Among the most instigatings issues of research and theory of the image are the tensions between reality and fiction and ethics and ideology. According to the editors accepted parameters, a good photograph is one that can combine the accuracy of the information with a convincingly plastic beauty. In photojournalism, more than any other mode of use of the photograph, the photographic record needs to be understood in its genesis, as a document such as a real certificate not only that the fact happened, but that it happened just the we see in the photograph published in the vehicle. Since then, how can we think on accurate information or true if we know in advance that when the photographer documents an event in space-time it is invariably, in the photographic act, unstick that cut of reality of its context, interpreting the fact based on his culture and his ideology? In photojournalism, these tensions are revealed especially in the search of the possible balance between information and plasticity, and its nature that requires that the news remains strongly connected to a referential and their need to win the attention of the readers contemporary look, in a tough battle fought on the pages of newspapers and magazines with the idealized and technically perfect images of advertising. Therefore, this dissertation, which arises from the experience of those who knew the mechanisms that govern the appearance and the execution of a photographic pauta, seeks to expand the space for discussion in the Brazilian production. Also, aim to analyze, by crossing our experience with the contemporary literature about the representation of the facts in press, the possible changes in the concept of photographic as a document, from the period of deployment of colors in printing the brazilianss newspaper untill today, and the advent of digital cameras in editors of newspapers. Finally, we also intend to show, throughout images of violence gathered in press, how this process can corroborate to the photojournalists and their enterprises to do, unconsciously or not, the use of photography as a tool for the creation, propagation and perpetuation of stigmas and prejudices in society. To systematize theoretical and critically our experience obtained during our career as a journalist, editor-reporter of photography and thus contribute to the discussion about the profession we have chosen, is one of the main reasons that led us to propose as the subject of this research an analysis of photojournalism from its production from different perspectives.

Made available in DSpace on 2014-06-11T19:22:12Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-02-27Bitstream added on 2014-06-13T19:27:08Z : No. of bitstreams: 1 oliveira_rg_me_mar.pdf: 8255747 bytes, checksum: 95dc2c04f7e2b9b3058b7eb175c59bc0 (MD5) / Este estudo acerca da leitura do fotojornalismo na escola básica visa atender à demanda por análises da utilização de material iconográfico nas escolas. A pouca atenção dedicada à linguagem imagética nos Parâmetros Curriculares Nacionais (PCN), a falta de estudos sobre as aplicações didáticas do fotojornalismo e a ausência desse tema nos cursos de formação de professores de Língua Portuguesa foram os motivadores desta pesquisa. Esta pesquisa-ação também analisa as atividades de leitura e produção de fotografias jornalísticas nos seus suportes originais (impresso e/ou eletrônico), realizadas com alunos de ensino fundamental e médio de uma escola pública de Assis-SP durante os anos de 2005 e 2006, com base nos estudos lingüísticos de Roland Barthes e Mikhail Bakhtin. Também foi criado um jornal escolar eletrônico, ou blog, denominado Jornal Stillo, a fim de que os alunos aplicassem os conceitos de notícia abordados durante o pesquisa. Os resultados da pesquisa apontam para a necessidade do aprofundamento do trabalho com o gênero fotojornalístico a partir do suporte original, seja ele impresso ou eletrônico, visto que os alunos demonstram frágil conhecimento das estruturas próprias a esse gênero textual. / This study about the reading of the photojournalism in the basic school intends to supply the demand of analysis of the use of iconographic material at school. The lack of attention towards the imagetical language in the Parâmetros Curriculares Nacionais (PCN), the low number of studies about the didactical utilizations of the photojournalism and the absence of this theme in the Portuguese language teachers’ college also motivated this research. This action research also analyses the activities of reading and production of journalistic photographs in the original medias (printed and/or electronic) that were made with students of a public school at Assis-SP between 2005 and 2006, according to the linguistic studies of Roland Barthes and Mikhail Bakhtin. A electronic newspaper (a.k.a. blog) called Jornal Stillo was also created, for the students to practice the concepts of news presented during the research. The results of this research point to the necessity of the approach of the photojournalistic textual genre in its original support (paper or electronic), because of the students’ incipient knowledge of the newspaper textual structures.

Orientador: Juvenal Zanchetta Júnior / Banca: Dagoberto Buim Arena / Banca: Sonia Aparecida Lopes Benites / Resumo: Este estudo acerca da leitura do fotojornalismo na escola básica visa atender à demanda por análises da utilização de material iconográfico nas escolas. A pouca atenção dedicada à linguagem imagética nos Parâmetros Curriculares Nacionais (PCN), a falta de estudos sobre as aplicações didáticas do fotojornalismo e a ausência desse tema nos cursos de formação de professores de Língua Portuguesa foram os motivadores desta pesquisa. Esta pesquisa-ação também analisa as atividades de leitura e produção de fotografias jornalísticas nos seus suportes originais (impresso e/ou eletrônico), realizadas com alunos de ensino fundamental e médio de uma escola pública de Assis-SP durante os anos de 2005 e 2006, com base nos estudos lingüísticos de Roland Barthes e Mikhail Bakhtin. Também foi criado um jornal escolar eletrônico, ou blog, denominado Jornal Stillo, a fim de que os alunos aplicassem os conceitos de notícia abordados durante o pesquisa. Os resultados da pesquisa apontam para a necessidade do aprofundamento do trabalho com o gênero fotojornalístico a partir do suporte original, seja ele impresso ou eletrônico, visto que os alunos demonstram frágil conhecimento das estruturas próprias a esse gênero textual. / Abstract: This study about the reading of the photojournalism in the basic school intends to supply the demand of analysis of the use of iconographic material at school. The lack of attention towards the imagetical language in the Parâmetros Curriculares Nacionais (PCN), the low number of studies about the didactical utilizations of the photojournalism and the absence of this theme in the Portuguese language teachers' college also motivated this research. This action research also analyses the activities of reading and production of journalistic photographs in the original medias (printed and/or electronic) that were made with students of a public school at Assis-SP between 2005 and 2006, according to the linguistic studies of Roland Barthes and Mikhail Bakhtin. A electronic newspaper (a.k.a. blog) called Jornal Stillo was also created, for the students to practice the concepts of news presented during the research. The results of this research point to the necessity of the approach of the photojournalistic textual genre in its original support (paper or electronic), because of the students' incipient knowledge of the newspaper textual structures. / Mestre

El presente trabajo de investigación está enfocado a analizar las distintas fotografías impresas que usaron los periódicos peruanos El Comercio y La República para acompañar sus noticias políticas durante el periodo de la segunda vuelta electoral entre Keiko Fujimori y Pedro Pablo Kuczynski en el 2016. En ese sentido, se busca probar la idea de que la imagen junto a su leyenda puede ser un elemento independiende e importante, que desde su preciso análisis ayuda a determinar la inclinación política del medio. / The present research work is focused on analyzing the different printed photographs used by Peruvian newspapers El Comercio and La República to accompany their political news during the period of the second round of elections between Keiko Fujimori and Pedro Pablo Kuczynski in 2016. In that sense , it seeks to prove the idea that the image together with its legend can be an independent and important element, that from its precise analysis helps determine the political inclination of the newspapers. / Tesis

The purpose of this study was to utilize the dual frameworks of Body-Centered Constructivism and Lived Religion to analyze the work of contemporary photojournalists and documentary photographers. Interviews were conducted with a targeted selection of professional and non-professional photojournalists whose experiences and work were relevant to the Body-Centered Constructivist framework. Informants were asked to comment on how physical factors including but not limited to new photographic technologies affected the use of their bodies while on assignment, their interpretation of stories, and their relationships with their subjects. Next, visual analyses of works of photojournalism were conducted using a Lived Religion framework. These works were selected based on their relevance to the research questions presented, namely how photojournalists approach the mundane in coverage of religious stories. An additional creative component operated as a case study for applying each framework to a work of visual journalism. Various media were employed based on relationships fostered between the media, the photographer’s body, and the subjects. Reflections and conclusions based on this project are included.

The Mardi Gras Indian culture of New Orleans, Louisiana is a unique tradition that blends African spirituality, Caribbean spirituality, African music and dance, with Native American style dress. The Mardi Gras Indians engage in ritual battle and ancestor worship as a part of their tradition of using cultural expression as a means for social protest. While many tourists to the Crescent City may have the opportunity to witness the Indians in full dress, even few native New Orleanians ever learn the depth of the phenomenon. / text