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Buchot, Romain. "Etude du traitement visuel précoce des objets par la méthode de l'amorçage infraliminaire." Phd thesis, Université Rennes 2, 2014. http://tel.archives-ouvertes.fr/tel-00984472.
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Trois hypothèses principales existent quant aux indices locaux du contour étant les plus informatifs pour le processus de structuration de la forme, et permettant l'identification visuelle des objets : les angles et les indices de tridimensionnalité (Biederman, 1987 ; Boucart et al, 1995), les éléments mi-segments (Kennedy & Domander, 1985, Singh & Fulvio, 2005), et l'interaction entre le type de fragmentation et le degré de spécificité de la forme globale (Panis & Wagemans, 2009). L'objectif de ce travail consiste donc à confronter ces trois hypothèses, en tentant de déterminer par ailleurs le niveau (conscient ou non conscient) auquel s'opèrent la détection et le traitement de ces indices. Les paradigmes d'amorçage supra et infraliminaire sont employés. Des dessins d'objets fragmentés selon deux modes (angles et indices de tridimensionnalité versus éléments mi-segments) sont insérés en tant qu'amorce, précédant une image cible du même objet, elle-même fragmentée et présentant des zones de contours strictement identiques ou complémentaires à l'amorce. Aucune des quatre expériences proposées ne met en évidence un effet " qualitatif " du type de fragmentation. En revanche, certaines conditions temporelles permettent un effet d'amorçage de type lié à la quantité de contour présenté. Nos résultats confirment l'ambiguïté émergeant de la littérature relative aux zones de contours les plus informatives, et semblent conforter la nécessité d'un haut degré d'automaticité des processus impliqués dans la perspective de mettre en évidence des effets d'amorçage perceptif
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Zanesco, Samuel Antonio 1970. "Fragmentos cênicos, sensações indomáveis." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/250986.
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Orientador: Antonio Carlos Rodrigues AmorimDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Essa dissertação, corpo-texto-imagem, é uma escrita potencializada pela força das imagens, que foge da interpretação para ser sentida. Visita cenas capturadas da peça teatral O Livro de Jó, encenada pela primeira vez no hospital Umberto Primo na capital paulista no início de 1995. Essas imagens, carregadas de significados e possibilidades, reverberam o contínuo movimento cênico a que se destinam e o desejo latente de se tornarem teatro pela força e pelo fluxo de sua intensidade. São imagens carregadas de dramaticidade e violência que também se aproximam da obra não menos perturbadora e pulsante do pintor irlandês Francis Bacon. Entre imagens do teatro e imagens do pintor, há uma corredeira de sensações que nos carrega, entre outros, aos franceses Artaud e Deleuze.
Abstract: This dissertation, body-text-image, is a writing which is potentiated by the strength of the images, that runs away from its performing for being felt. It visits scenes caught by the play "The Book of Job ", staged for the first time at Umberto Primo Hospital São Paulo city in the early of 1995.These images, full of meanings and possibilities, reverberate around the continuous scenic movement for which they are intended, and the strong desire of becoming theater by the force and by the flow of its intensity. They are images loaded with drama and violence that also approaching the work, not least disruptive and pulsing to the Irish painter Francis Bacon. Between the images of the theater and images of the painter, there is a strong linking of sensations that lead us, among others, to the French Artaud and Deleuze.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Silva, Gustavo Scolfaro Caetano da 1977. "Fragmentos de corpo e sombra." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251047.
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Orientador: Antonio Carlos Rodrigues de AmorimDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Tecido na relação entre as imagens de Kazuo Ohno, o pensamento e as palavras escritas, este texto é o desejo de um corpo novo, de uma anatomia insurgente e fugaz. Fragmentos de carne que, juntos, não compõem um organismo, mas um corpo intensivo permeado de sombras, que agenciam linhas de fuga para a composição de um pensamento de resistência sobre o corpo. Este corpo não contém uma única unidade consciente de s i mesmo; é animado por agenciamentos desejosos, que habitam e contaminam partes deste corpo: mãos, costelas, espinha, juntos e independentes, em um corpo que se desfalece e se recria na sensação, em busca de resistências, em busca de um corpo inventivo.
Abstract: Created in the relationship between the images of Kazuo Ohno, thought and written words, this text i s the desire for a new body of an insurgent and fleeting anatomy. Together, flesh fragments do not compose an organism, but an intensive body, permeated by shadows, that evokes lines of escape to compose a resistance thought about the body. This body does not contain one unity of self-conscious; desirous assemblages animate him and also inhabit and contaminate parts of body: hands, ribs, spine, together and independent in a body that faileth and self-recreate in relationship with sensation, to find resistance, to find another inventive body.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Faria, Giuliana Ragusa de. "Imagens de Afrodite: variações sobre a deusa na mélica grega arcaica." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-21012009-162241/.
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Centrado em dezessete fragmentos da mélica grega arcaica (final do século VII a meados do VI a.C.), este trabalho consiste no estudo da representação de Afrodite nos poetas Álcman, Alceu, Estesícoro, Íbico e Anacreonte. Desse modo, esta tese de doutoramento dá continuidade à dissertação de mestrado já publicada em livro, na qual realizei o mesmo estudo em catorze fragmentos mélicos de Safo (c. 630 - 580 a.C.). Com o recorte agora realizado, o retrato da deusa torna-se ainda mais multifacetado neste que é um dos gêneros poéticos mais importantes da literatura grega antiga, a mélica. Na busca de apreender os movimentos executados nos desenhos de Afrodite pelos cinco poetas mélicos do corpus desta tese, privilegiei a análise interpretativa dos fragmentos sem perder de vista elementos provenientes de outros gêneros poéticos, da iconografia e de registros extraliterários. Procurei, assim, superar, na medida do possível, a precariedade material mais ou menos acentuada das canções fragmentárias e dar conta de uma personagem que não pertence exclusivamente à poesia, mas também a outros gêneros artísticos, à história e à religião gregas.Concentrated on seventeen fragments of the archaic Greek melic poetry (end of 7th to the middle of 6th centuries B.C.), this work consists in the study of Aphrodites representation in the songs of Alcman, Alcaeus, Stesichorus, Ibycus and Anacreon. Thus, the present graduation thesis gives sequence to the Masters dissertation that has already been published as a book, and in which fourteen melic fragments of Sappho (c. 630 - 580 B.C.) are studied according to the same approach. Now, in this work, the goddesss portrait is even more enhanced in its multiple aspects, despite being fragmented, and inserted in one of the most important genres of ancient Greek literature set within a specific historic period. In the effort to apprehend the movements executed in the drawings of Aphrodite by the five poets in the corpus of this thesis, I have favored the interpretative analysis of the fragments without overlooking the elements originated from other poetic genres, iconographic tradition and extra-literary records. By doing so, I have attempted to overcome, as much as possible, the precariousness of the material, somewhat more or less evident in the fragmented songs, and to understand in-depth a divine character that is not confined to poetry, but pertains to other artistic genres, as well as to Greek history and religion.
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Rodríguez, Rodríguez Medina Azahara. "Análisis de Sistemas Magnéticos Aplicados a Uniones de Fragmentos." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90522.
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From ancient times, humans have had the need to repair tools with the aim of keeping using them. In the same way, the need for repairing ark work has been present along the History, to return the integrity of the pieces. The repairing procedures have evolved from the antiquity to present time. Following these premises, this doctoral thesis proposes the study and optimization of a joining method of fragments using magnetic systems. In this sense, it is proposed a joining method easy to implement that combines Material Physics and Conservation and Restoration of Sculpture and Ornaments. This method is presented as an alternative to the use of structural adhesives. It is reversible, little invasive and respectful with the original artwork, allowing new intervention criteria, viable in the field of Cultural Heritage. The main obtained result has been the development of a new theoretical model that allows determining the optimal distribution of the magnetic forces in the surface of the joining junction, making possible to stabilize it. In the experimental part of this thesis, the different materials, procedures and instrumental employed, are exposed. The model and results have been applied to real cases. As a main conclusions, the study reveals the viability of the use of magnetic systems in the joining of prosthesis and/or fragments in art pieces.Desde sus orígenes, el hombre ha tenido la necesidad de reparar utensilios con el fin de seguir usándolos. De igual modo, en las obras de arte esta intención de reparar y devolver la integridad a la pieza ha estado presente a lo largo de la Historia. Los procedimientos de reparación han evolucionado desde la Antigüedad hasta nuestros días. A raíz de estas premisas, la tesis doctoral que se presenta, plantea el estudio y la optimización de un método de unión de fragmentos mediante sistemas magnéticos. En este sentido, se propone un método de unión sencillo de usar que combina principios de Física de Materiales con criterios de Conservación y Restauración de Escultura y Ornamentos. Se planea como una alternativa al empleo de adhesivos estructurales, siendo un método reversible, poco invasivo y respetuoso con la obra de arte original, haciendo viable nuevos criterios de intervención en el ámbito del Patrimonio Cultural. El resultado ha sido el desarrollo de un modelo teórico que posibilita la predicción del comportamiento de las uniones y determina la distribución de las fuerzas magnéticas por la superficie de la junta consiguiendo estabilizarlas. En el cuerpo experimental de esta tesis se señalan los diferentes materiales, los procedimientos e instrumental empleados, aportándose unos resultados aplicables sobre casos reales. Las conclusiones fundamentales extraídas ponen de manifiesto la viabilidad del uso de sistemas magnéticos en uniones de prótesis y/o fragmentos en obras de arte.
Des dels seus orígens, l'home ha tingut la necessitat de reparar utensilis amb la finalitat de seguir usant-los. De la mateixa manera, en les obres d'art aquesta intenció de reparar i tornar la integritat a la peça ha estat present al llarg de la Història. Els procediments de reparació han evolucionat des de l'Antiguitat fins als nostres dies. Arran d'aquestes premisses, la tesi doctoral que es presenta, planteja l'estudi i l'optimització d'un mètode d'unió de fragments mitjançant sistemes magnètics. En aquest sentit, es proposa un mètode d'unió senzill d'utilitzar que combina principis de Física de Materials amb criteris de Conservació i Restauració d'Escultura i Ornaments. Es planeja com una alternativa a l'ocupació d'adhesius estructurals, sent un mètode reversible, poc invasiu i respectuós amb l'obra d'art original, fent viable nous criteris d'intervenció en l'àmbit del Patrimoni Cultural. El resultat ha estat el desenvolupament d'un model teòric que possibilita la predicció del comportament de les unions i determina la distribució de les forces magnètiques per la superfície de la junta aconseguint estabilitzar-les. En el cos experimental d'aquesta tesi s'assenyalen els diferents materials, els procediments i l'instrumental emprats, aportant-se uns resultats aplicables sobre casos reals. Les conclusions fonamentals extretes posen de manifest la viabilitat de l'ús dels sistemes magnètics en unions de pròtesis i/o fragments en obres d'art.
Rodríguez Rodríguez, MA. (2017). Análisis de Sistemas Magnéticos Aplicados a Uniones de Fragmentos [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90522
TESIS
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Dupuy, Delphine. "Fragments d'images, images de fragments : la statuaire gravettienne, du geste au symbole." Phd thesis, Université de Provence - Aix-Marseille I, 2007. http://tel.archives-ouvertes.fr/tel-00646870.
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Ce travail pose la question du sens et de la fonction des statuettes féminines gravettiennes. L'hypothèse d'une utilisation en contexte rituel menant à la fragmentation intentionnelle des sculptures, centrale dans la recherche européenne, est testée dans cette étude. La recherche est appliquée à la série de statuettes animales et féminines de Kostienki 1.1, site gravettien de la plaine russe daté des environs de 23 000 ans avant notre ère, une des plus riches du Paléolithique supérieur avec 297 pièces sculptées dont 289 en calcaire et 8 en ivoire. La classification des pièces selon leur place dans la chaîne de fabrication (support, ébauche, pièce achevée) et leur intégrité (entière, fragmentaire, fragment), étape préalable indispensable à l'inventaire des représentations, a nécessité de développer une approche technique. Trois outils principaux ont été utilisés à cette fin : l'observation de récurrences morphologiques et techniques, la reconstitution par défaut et l'expérimentation. L'étude a permis de caractériser un système technique peu connu auparavant (la sculpture en ronde-bosse gravettienne), d'identifier de nouveaux codes de représentation distants du réalisme visuel et de remettre en question la nature fragmentaire de la majorité des représentations. Ainsi, il ne s'agit pas de la fragmentation des représentations mais de la représentation du corps féminin fragmenté. Outre le thème de la fragmentation du corps, le thème de la gestation caractérise également les représentations féminines du site. L'interprétation iconographique de ces thèmes, jointe à l'analyse des indices témoins de l'usage matériel des statuettes, mène à proposer de nouvelles hypothèses fonctionnelles pour ces pièces.
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Serfontein, Estie. "Postcolonial nomadism and the simulated self in images of fragmented identity." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/27159.
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Since the onset of postcolonialism in South Africa, cultural diversity was brought on by the political decline of cultural borders, mass-media infiltration, technological advancement and the disposition of postmodernism’s assemblage of eclectic characteristics. Within postmodern postcolonialism, cultural conditions such as diaspora, nomadism and cosmopolitanism contributed to a sense of global citizenship. As such, postcolonialism and its cultural fusion promoted a new multi-cultural, hybrid culture. In this mini-dissertation it is argued that identity is a reflection or a simulation of the social surroundings in which one exists. Just as the individual’s identity becomes a product of his/her surroundings, elements of the individual’s identity manifest within cultural spaces. Within this simulation in a hybrid and multi-cultural space, personal identity becomes a fragmented and splintered concept, which is a subconscious reaction to the diversities in the individual’s cultural surroundings; moreover, the diversity in culture also contributes to constructing a more adaptable identity from these fragments. A growing feeling of Ubuntu or tolerance for differences and oppositions that develops in multi-cultural space contributes to the argument that cultural spaces become diverse and hybrid in a postmodern eclectic era. To overcome the fragmentation in identity, the postcolonial individual unintentionally formulates a hybrid, or fusion in identity by relating to different aspects that one finds in one’s surroundings. Identity becomes a fluid concept and is ever-changing to adapt to the multiplicities of contemporary postcolonial culture. This fluidity in identity is sub-consciously achieved by adopting psychological thought processes like Nomadism and Proteanism. The process of formulation of a new eclectic and fluid identity becomes more important than the identity in itself. Therefore, the ability to have a fluid and adaptable identity becomes more important than exclusivity in one’s identity. The establishment of this fluidity in identity is not a conscious decision, but merely an autonomic process of metamorphosis that enables the postcolonial individual to maintain identity, even though his/her identity cannot be fixed.Dissertation (MA)--University of Pretoria, 2006.
Visual Arts
unrestricted
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TEIXEIRA, ANDREZA DE LIMA RIBEIRO. "FRAGMENTS IN THE MIRROR: IS THE IMAGE THE SAME IMAGE?" PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=19047@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROFragmentos no espelho: Será a imagem a mesma imagem? investiga as formas como a cidade aparece na fotografia através do estudo de dois momentos significativos das tecnologias de imagem, que são as descobertas da fotografia mecânica e da fotografia digital. O primeiro período coincide com o processo de modernização decorrente das conquistas proporcionadas pelas descobertas técnicas e científicas do final do século XVIII, e as fotografias de Paris feitas por Eugène Atget são as escolhidas para analisar a relação entre a imagem mecânica e cidade moderna. O outro momento analisado na dissertação corresponde à disseminação do uso da fotografia digital que ocorre a partir do final da década de 1980, e cuja reflexão é apoiada no ensaio Babel tales, do fotógrafo Peter Funch.
Fragments in the mirror: Is the image the same image? investigates the ways in which the city appears in photography through the study of two significant moments of the technologies of the image, the advent of mechanic photography and then of digital photography. The first period goes along the process of modernization derived from the technical and scientific findings of the end of the XVIII century and the photographies of Paris by Eugène Atget are chosen to analyse the relationship between the mechanic image and the modern city. The other moment analysed corresponds to the dissemination of digital photography starting from the end of the eighties and the reflection about it is based on the essay Babel tales from the photographer Peter Funch.
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Ebner, Bonnie. "MANY TELLING MOMENTS:THE ESSENCE OF FRAGMENTED IMAGE CULTURE." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3376.
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My purpose in entering the UCF MFA program was to further explore and develop my passion for photography. During my time in the program, I developed my methodology--from having the traditional photography paradigm ingrained in my mind (and wanting to fit into it) to accepting and valuing my own unique process. I construct installations using diverse imagery and non-traditional presentation. In my installations, one may witness a reflection of the contemporary pace of image perception--fragmented, complex, abundant, and disordered. Together, images and their arrangements are used to create a unified piece that satisfies a new system within apparent disorder. The resulting installations summon the sensation of thinking and processing information in a new way, allowing for re-contextualization of fragmented imagery. Technology has pushed photography to evolve. Previously held traditional notions of photography as art (e.g., "single telling moment" photographs and similar subject matter) are now being confronted by a vernacular of "many telling moments". The current state of the art world is in flux, and is greatly influenced by the faster pace set by technology; I coin our new vernacular Image Culture.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Jones, Carissa P. "Phylogeography of the Livebearer Xenophallus umbratilis (Teleostei: Poeciliidae) : glacial cycles and sea level change predict diversification of a freshwater tropical fish /." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2205.pdf.
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Ebner, Bonnie M. "Many telling moments the essence of fragmented image culture /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002116.
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Andrade, Daniel Dias de 1981. "Estimativa e mapeamento de carbono em fragmentos florestais da APA Fernão Dias (MG) por meio de dados Landsat TM e de campo." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/286993.
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Orientadores: Marcos César Ferreira, Édson Luis BolfeDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociências
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Resumo: O uso de modelos de estimativa de biomassa através de dados de sensoriamento remoto pode contribuir à geração de conhecimento para a mitigação dos efeitos negativos no clima e na biodiversidade do planeta, oriundos da utilização humana dos recursos naturais. A Área de Proteção Ambiental (APA) Fernão Dias é uma Unidade de Conservação Estadual de Uso Sustentável localizada na Serra da Mantiqueira no Estado de Minas Gerais, próxima à fronteira com o Estado de São Paulo. Por meio da estimativa realizada a partir de dados de campo para a biomassa acima do solo do fragmento denominado "97", coberto por Floresta Ombrófila Madura, e de respostas espectrais detectadas pelo sensor TM do satélite Landsat 5, realizou-se a estimativa do carbono para a cobertura florestal presente no território da APA. O grau de relação entre o Índice de Vegetação ajustado ao solo (SAVI), o Índice de Vegetação pela Razão (SRI), o Índice de Vegetação Melhorado (EVI), o Índice de Vegetação da Diferença Normalizada (NDVI), o Índice de Vegetação Perpendicular (PVI) e os dados de campo foi obtido por meio de equações de regressão linear simples. Foram obtidas correlações distintas entre as variáveis espectrais (índices de vegetação) e os parâmetros biofísicos (carbono): r2 = 0,738; 0,728; 0,721; 0,670; e 0,542, respectivamente. Mapas síntese do estoque de carbono acima do solo (t/ha) foram gerados para as áreas florestadas da APA, delimitados por divisões físicas e político-administrativas. A estimativa se aproximou dos valores amostrados para a biomassa medida em campo, apresentando menor equivalência na medida em que se amplia e se diversifica a área utilizada na estimativa
Abstract: The use of biomass estimation models by means of remote sensing data may contribute to the generation of knowledge for the mitigation of negative effects on climate and biodiversity in the planet, due to the human appropriation of the natural resources. Fernão Dias Environmental Protection Area (APA) is a State Conservation Unit of Sustainable Use located at the Mantiqueira Mountains, Minas Gerais State, nearby the São Paulo State border. Aboveground biomass was estimated for the fragment denominated "97", covered by Mature Evergreen Forest. Landsat 5 imagery was used to map forest cover, so Carbon estimation could be represented for the entire Fernão Dias APA Area. The relationship between Soil Adjusted Vegetation Index (SAVI), Simple Ratio Index (SRI), Enhanced Vegetation Index (EVI), Normalized Difference Vegetation Index (NDVI), Perpendicular Vegetation Index (PVI), and field data was obtained by simple linear regression equations. Distinct correlations for the spectral variables (vegetation indices) and the biophysical parameters (Carbon) were obtained: r2 = 0,738; 0,728; 0,721; 0,670; e 0,542, respectively. Synthetic maps for aboveground Carbon (t/ha) were generated for the Fernão Dias APA's forest areas, delimited by physical and political-administrative divisions. The estimations were similar to the biomass values sampled in the field, presenting smaller equivalences as the area used in the estimation is increased and diversified
Mestrado
Análise Ambiental e Dinâmica Territorial
Mestre em Geografia
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Tromblee, Tonya Christine. "The Effect of CT Display Window and Image Plane on Diagnostic Certainty for Characteristics of Canine Elbow Dysplasia." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/42813.
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Computed tomography (CT) is an established diagnostic modality for evaluation of canine elbow dysplasia. However, diagnostic sensitivity for elbow abnormalities may be affected by variations in CT image quality. Currently there are no data-based recommendations for elbow CT image display parameters. The purpose of this study was to test the effect of CT display parameters on observersâ diagnostic certainty for CT abnormalities reportedly associated with canine elbow dysplasia. Fifty dysplastic elbows and ten clinically normal elbows were selected for imaging. Computed tomographic image data from selected elbows were filmed in transverse, sagittal and dorsal planes, with each plane filmed in window widths of 1500, 2500, and 3500 HU. Two veterinary radiologists independently evaluated each set of images for the presence or absence of hypoattenuating MCP subchondral defects, in situ MCP fissures, discrete MCP fragments, irregularity of the radial incisure of the ulna, subchondral sclerosis of the trochlea humeri, osteochondrosis or kissing lesions, and joint incongruity. Level of diagnostic certainty for each CT abnormality was recorded for each observer using a visual analog scale system. The effect of elbow status, plane, and window on the degree of observer certainty was tested. Overall, observers demonstrated higher diagnostic certainty for normal elbows than dysplastic elbows. Observer certainty for the presence of altered subchondral density (presumed osteomalacia or sclerosis) was primarily affected by window width, whereas certainty for structural defects of the MCP, radial incisure, trochlea humeri, and joint incongruity was primarily affected by image plane.Master of Science
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ESMERALDO, MOEMA DE SOUZA. "CITY IN FRAGMENTS: URBAN IMAGES IN THE CHRONICLES OF C.D.A FOR CORREIO DA MANHÃ." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=36131@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
A tese Cidade em fragmentos: Imagens urbanas nas crônicas de C.D.A. para o Correio da Manhã propõe investigações sobre a produção escrita de Carlos Drummond de Andrade elaborada para a coluna Imagens, no período de 1954 a 1968, no jornal Correio da Manhã, cujos textos foram arquivados pelo próprio autor. O presente estudo tem como objetivo analisar, sobretudo, crônicas, tendo em vista a construção de um pensamento por imagens do cotidiano urbano, realizada pelo cronista, o qual investiu na representação de temas banais e comuns para elaborar uma escrita que descreve a cidade em fragmentos. Desse modo, pretende-se trabalhar com um quadro teórico sob uma perspectiva comparatista que permita ler essas imagens como miniaturas metropolitanas, bem como discutir a profusão da experiência urbana. Nesse contexto, as crônicas que revelam um imaginário da cidade, reproduzidas nas séries Imagens urbanas, Imagens de rua, Imagens de pedestre e Imagens de lotação, são o foco desta exposição interpretativa, e fazem circular os textos drummondianos em um contexto diferenciado da sua produção (circulação) no jornal. Assim, atualizam leituras possíveis a partir dos desdobramentos do suporte e das suas materialidades que permitem ressignificar a crítica sobre crônica moderna no Brasil, em especial, no que concerne à produção de C.D.A.
The thesis City in fragments: Urban images in the chronicles of C.D.A for the Correio da Manhã proposes investigations on the written production of Carlos Drummond de Andrade elaborated for the column Images, that maintained, between the period of 1954 to 1968, in the newspaper Correio da Manhã and filed by the own author. The present study aims to analyze, mainly, chronicles, in view of the construction of a thought by images of urban daily life, carried out by the chronicler, who invested in the representation of banal and common themes to elaborate a writing that describes the city in fragments. In this way, we intend to work with a theoretical framework from a comparative perspective that allows us to read these images as metropolitan miniatures, as well as to discuss the profusion of the urban experience. In this context, the chronicles that reveal an imaginary of the city, reproduced in the series urban images, street images, pedestrian images and bus images, are the focus of this interpretative exhibition and circulate the texts of Drummond in a differentiated context of its production (circulation) in the newspaper. Thus, they update possible readings from the unfolding of the support and its materialities that allow to re-signify the critique about modern chronicle in Brazil, in special, of the production of C.D.A.
La tesis Ciudad en fragmentos: Imágenes urbanas en las crónicas de C.D.A para el Correio da Manhã propone investigaciones sobre la producción escrita de Carlos Drummond de Andrade elaborada para la columna Imágenes, que mantuvo, entre el período de 1954 a 1968, en el Correio da Manhã y archivado por el propio autor. El presente estudio tiene como objetivo analizar, principalmente, crónicas, teniendo en vista la construcción de un pensamiento por imágenes del cotidiano urbano, realizado por el cronista, que invirtió en la representación de temas banales y comunes para elaborar una escritura que describa la ciudad. en fragmentos. De esta forma, pretendemos trabajar con un referencial teórico a partir de una perspectiva comparativa que nos permita leer esas imágenes como miniaturas metropolitanas, así como discutir la profusión de la experiencia urbana. En este contexto, las crónicas que revelan un imaginario de la ciudad, reproducidas en las series imágenes urbanas, imágenes de calle, imágenes de peatones y imágenes de lotación, son el foco de esta exposición interpretativa y circulan los textos de Drummond en un contexto diferenciado de su producción (circulación) en el periódico. Así, actualizan lecturas posibles a partir del desdoblamiento del soporte y sus materialidades que permiten resignificar la crítica sobre la crónica moderna en Brasil, en especial, de la producción de C.D.A.
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Outal, Souhail. "Quantification par analyse d'images de la granulométrie des roches fragmentées : amélioration de l'extraction morphologique des surfaces, amélioration de la reconstruction stéréologique." Paris, ENMP, 2006. http://www.theses.fr/2006ENMP1355.
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Cette recherche s'inscrit dans le cadre général du contrôle de qualité des processus utilisés en production minière, tels que le tir à l'explosif, le broyage et le concassage. Elle s'intéresse plus particulièrement à la quantification par traitement d'images de la granulométrie des roches fragmentées. Globalement, les développements menés portent sur l'amélioration des deux étapes les plus déterminantes de la mesure : l'extraction des contours des fragments de roches dans l'image (2D) et la reconstruction de la courbe granulométrique en volume (étape de stéréologie, 3D). Actuellement, le tamisage (ou plus exactement le criblage) est le moyen le plus utilisé pour la mesure de la granulométrie des roches fragmentées. Il constitue la référence actuelle de la mesure. En conséquence, toute mesure établie par traitement d'images sera validée sur la base des résultats du tamisage. En ce qui concerne l'étape d'extraction les contours de fragments, le problème majeur qui se pose est celui du filtrage correct du bruit présent dans l'image. Dans un premier temps, de nouveaux outils de filtrage, basés sur les transformations morphologiques résiduelles, assez puissants et adaptés au cas des images de fragments de roches sont introduits et évalués. Dans un second temps, les surfaces des fragments sont extraites grâce à une segmentation de l'image, basée sur une ligne de partage des eaux contrôlées par les marqueurs extraits des filtrages. La robustesse et l'automatisation de la démarche sont validées sur plusieurs cas d'images de fragments de roches. Le second problème abordé dans cette recherche est celui de la reconstruction de la courbe granulométrique en volume à partir des surfaces extraites par traitement d'images. Afin d'éviter l'occurrence de nombreux biais liés à cette étape, nous proposons un découpage en deux sous-problèmes et ce en fonction de la disposition des matériaux analysés (tas abattu, camion, convoyeur à bande). Enfin les résultats obtenus dans cette recherche pour les fragments en vrac mais aussi pour d'autres types d'images d'éléments granulaires, nous ont permis d'envisager d'ores et déjà une valorisation aussi bien auprès de l'industrie minérale et aussi dans d'autres domaines tels que l'agralimentaire, pharmaceutiques, cimenteries….This research deals with a more general context of the quality control for some important operations in minig production, predominantly blasting, crushing and grinding. It is interested more in the granulometry quantification of the fragmented rocks by using image processing. In general, the developement work is mainly related to the improvment of two most important stages of measurement : the contours extraction of the fragments at the image (2D) and the rebuilding of the 3D size-distribution-curve ( stage of stereology,3D). Nowadays, screening ( or more general the sifting)is the most used and important process for measuring the granulometry of the fragmented rocks. It is therfore considered as the current reference of measurement. Consequently, any measurement established by image processing will then be valited on the basis of screening's result. With regard to the stage of contours extraction of fragments, the major problem is how to determine the correct filtering of the noise at the image. First of all, new tools for filtering, based on the residual morphological transformations and rather powerful and adapted to the case of fragment images of rocks, are introduced and evaluated. The study undertaken on grey level images, approaches the various aspects of the noise problems from a topographic point of view. Surfaces of fragments are then extracted carefully with the help of a segmentation of the image. The extraction process is principally based on the construction of a watershed controlled by the markers, which are extracted by filtering. The robustness and the automation of the step are afterward validated for sevarl case of images of rocks fragments. The second problem carried out in this rsearch is the rebuilding of 2D size-distribution-curve starting from the surfaces extracted by image processing. In order to avoid the interference of many skews related to this stage, we recommand to separate the problem into two subproblems according to the origin of analysed materials (cut down heap, truck, belt conveyor). Finally, the results obtained in this research for the case of the fragments of rocks as well as for oher type of images of granaular elements, enable us presently to consider a valorisation not only for mineral industry but also for other fields such as the agro industry, the pharmaceutical industry and cement factories
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Sumner, Joanna Mary. "The ecology and population genetics of the prickly forest skink in a fragmented habitat /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16515.pdf.
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Beale, Geoffrey Leonard. "Discovering fragmented speech : towards a Bakhtinian approach to the unconscious." Thesis, Brunel University, 2004. http://bura.brunel.ac.uk/handle/2438/5156.
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Fragmented speech, the discovery of which forms the basis of this dissertation, provides the aim and direction of our thesis. The aim is to clarify precisely what fragmented speech is, and subsequently define its application. In this thesis, we begin by providing the historical background to the initial collision between psychoanalysis and literature. This broad base provides the impetus needed in order to formulate certain conclusions regarding the unconscious and the dialogic. Our methodology involves a combination of Freudo-Lacanian theory and Bakhtinian linguistics. As we approach an understanding of our subject, it becomes increasingly necessary to develop the issues surrounding the significance of fragmented speech. The significance of our work becomes focused when we provide an analysis of a `psychotic discourse', namely, the Memoirs of My Nervous Illness, by President Schreber – using the methodology described. In the final stages of our thesis fragmented speech becomes a symptom of psychosis. Under pressure from the unconscious, the image of speech may fragment. It is the interaction between the body image and the speech image that provides us with a speech complex. Consequently, this dissertation discovers fragmented speech at the very heart of the psychoanalytic session.
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Defrasne, Claudia. "Images gravées et corps de pierre : Fragments d'ontologie dans les Alpes centrales du IIIe millénaire av.n.è." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3103.
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Les relations des sociétés préhistoriques à leur environnement constituent un aspect essentiel à leur compréhension. Cet engagement envers le monde s’exprime au travers des pratiques rituelles qui en dévoilent des accès autrement inaccessibles. Les Alpes centrales du IIIe millénaire av.n.è., insérées dans une Europe en mutation (traction animale et métallurgie du cuivre), ont livré un nombre considérable d’artefacts cognitifs. Stèles, blocs d’effondrement et parois gravés s’associent, au sein de sites cérémoniels à des dépôts de pierres aux formes allusives et lithologies particulières, à des dépôts d’objets, ainsi qu’aux résidus de l’activité métallurgique. L’iconographie gravée associe images d’objets nouveaux (poignards et haches en cuivre, hallebardes en silex ou en cuivre, objets textiles), d’ornements corporels, d’action aratoire et d’un nombre considérable de figurations animales. Les usages de la pierre, du métal, de l’araire et les interactions entretenues avec les espèces animales offrent différents canaux d’investigation des relations au monde des communautés chalcolithiques centre-alpines.L’objectif énoncé nécessite l’usage d’une analyse structurale des images seule à même de révéler des articulations essentielles des systèmes graphiques dont certains aspects sont ensuite interrogés à la lumière d’autres données archéologiques. L’image qui résulte de cette étude est celle de communautés pour lesquelles l’environnement ne semble pas constituer une réalité objectivée mais apparaît partie prenante des réalités socialesThe study of interactions between prehistoric human societies and their environments is a key area of research. This engagement with the world is expressed through ritual practices that provide access to otherwise inaccessible aspects of human culture. The Central Alps of the third millennium BC, situated within a European context that was undergoing important changes (animal traction and copper metallurgy) produced a significant number of cognitive artifacts. On ceremonial sites, engraved steles, rock faces and erratic blocs were associated with deposits of stones with allusive forms and specific lithologies together with objects. Some of these ceremonial site have also produced residues of the metallurgical activity.The engraved iconography combines images of new objects (copper daggers and axes, flint or copper halberds, textiles), body ornaments, plouging, and a considerable number of animal figures. The use of stone, metal, ploughs, and interactions with animals offer different means to access to relationships between alpine chalcolithic communities and their environment.The cited goal requires the use of a structural analysis of the images in order to reveal the essential aspects of the graphic systems. The Results are then compared with other archaeological data. The picture resulting from this study reveals communities in which the environment does not seem to be an objectified reality but an element that intersects with social realities
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Cutler, Barbara M. (Barbara Mary) 1975. "Aggregating building fragments generated from geo-referenced imagery into urban models." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/80525.
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Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1999.Includes bibliographical references (p. 113-115).
Barbara M. Cutler.
M.Eng.
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Kohn-Fiszel, Nadine. "L' auto-retrait : les voies de l'évidement." Paris 1, 2003. http://www.theses.fr/2003PA010577.
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L'auto-portrait, les voies de l'évidement, qu'est ce que ce titre composé comme un mot-valise, renferme. Comment, de quoi, par quels moyens, dans quel but se retire-t-on ? Quel est le principe conducteur du cheminement dans l'errance d'une encre qui s'applique et fait tache ? Quel est le sujet d'un soi au travail, tantôt sujet, parfois substrat ou subjectile qui s'éclipse de l'image qui le présente, le projette et l'étale ? Contractions et rétractions qui paniquent par mouvements anadyomènes, en ressacs incessants dans la retenue d'une trace et le déchiffrement d'un paysage. Effort contenu dans la tension d'un ultime recouvrement malgré les désirs de béance et d'effraction qui entraînent les antagonismes du voilé et du déchiré, de la surcharge et de l'annihilé. Palimpsestes qui résistent à l'effacement en devenant vestiges. Où se situer entre signe, symbole et allégorie. Entre matières et immatérialité ? Jeux ambigus entre retirance et portrait, autoportrait et retirure, corps étêtés aux membres manquants, mais dos offert qui s'implique. Histoire d'empreinte, histoire d'emprunt, histoire de textes et de textures qui s'imbriquent. Temps de l'histoire, oui, mais de quel temps et de quelle histoire s'agit-il ? Passé, présent et futur éclatés et enchevêtrés. Temps constellés. Figure de proue de l'Ange de l'histoire, ange du futur benjaminien, être-ange étrange, androgyne, céleste et satanique, qui parcourt les temps comme le Goofus bird de Borgès. Et qui vole vers son futur en regardant son passé. Mémoire impossible d'un immémorial en latence ; temps labile. Vides et entre-deux, réserve et souffle, Occident et Orient mêlés. Cultures de l'Occident confondues et détachées dans l'évidement de la Kénose et le retrait du Tsimtsoum. Enchevêtrement de la mystique juive de la restauration qui se mêlent et répliquent à l'épurement conceptuel. Minimalisme et matiérisme, Tony Smith et Anselm Kiefer réunis dans cette étude qui regarde autant Mark Rothko qu' Ad Reinhardt, autant Barnett Newman que Pierre Buraglio, autant Degottex que Donald Judd. Apories sans fin dans l'écart et l'intervalle, le trait d'union et la distance, qui, en Arts Plastiques et dans cette thèse, tentent de s'expliquer
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Ribokas, Jonas. "Diskrečiojo Le Gall spektro apskaičiavimo dvimačio vaizdo fragmentams algoritmų analizė." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110902_093308-24497.
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Darbe analizuojama diskrečioji Le Gall transformacija (DLGT) yra viena iš bangelių transformacijų, kurios naudojamos skaitmeninių vaizdų glaudinime. Vaizdų glaudinimas ypač svarbus, kai kalbama apie vaizdų siuntimą mažo pralaidumo kompiuteriniu kanalu. Šiai problemai spręsti pasitelkiama diskrečioji Le Gall transformacija, bei didelis dėmesys darbe skirtas vaizdo fragmento DLGT spektrui. Šio spektro radimui sukurtas ir realizuotas naujas algoritmas − greitoji procedūra. Palyginamosios analizės metu įrodyta, kad sukurta greitoji procedūra randa vaizdo fragmento DLGT spektrą daugiau nei 50 kartų greičiau nei tiesiogiai taikant DLGT vaizdo fragmentui. Darbo pradžioje aptariamos pagrindinės bangelių ir jų transformacijų savybės. Šių savybių svarba iliustruojama pateiktais pavyzdžiais ir sąsajomis su taikymu praktikoje. Viena iš svarbesnių aptariamų savybių būtų transformacijos lokalizavimas erdvėje. Nors DLGT pilnai netenkina šios savybės, tačiau darbe apžvelgtas dekoreliacijos metodas leidžia išspręsti šią problemą. Be to, pateikiami išsamūs DLGT algoritmai vienmačiams ir dvimačiams vaizdams. Šių algoritmų dėka buvo sukurta programinė įranga, padedanti analizuoti DLGT. Galiausiai darbo pabaigoje pateikiama sukurtos programinės įrangos instrukcija.In this paper the main attention is dedicated to discrete Le Gall transformation (DLGT), the family of discrete wavelets transformations, which usage in the image compression is quite popular. Image compression is very important when it comes to low bandwidth network and computer channels. To deal with this problem the discrete Le Gall wavelets are brought up and focused on the image fragment DLGT spectrum. For calculation of this spectrum the new fast procedure is suggested and realized. In comparative analysis the fast procedure is proved to work more than 50 times faster than applying DLGT direct to image fragment. In the beginning of this paper the main concepts of wavelets and their transformations are analyzed. An importance of these properties is illustrated by examples and applications in practice. One of the most important properties is localization in space. Even though DLGT does not fully meet this property decorrelation technique, introduced in paper, benefits in solving localization problem. Moreover, DLGT algorithms are proposed for one-dimensional and 2-dimensional images. According to these algorithms the new program was created, which is dedicated for image analysis. Finally, in the end of paper the instructions of program are presented.
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Zingman, Igor [Verfasser]. "Semi-Automated Detection of Fragmented Rectangular Structures in High Resolution Remote Sensing Images with Application in Archaeology / Igor Zingman." Konstanz : Bibliothek der Universität Konstanz, 2016. http://d-nb.info/1123504237/34.
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ALMEIDA, L. P. "Sobre Contar uma Vida: Imagens e Fragmentos de Histórias de subjetivações em Estado de Pause na Contemporaneidade." Universidade Federal do Espírito Santo, 2011. http://repositorio.ufes.br/handle/10/2899.
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Previous issue date: 2011-09-26Algumas primeiras questões que movimentam essa pesquisa: Sobre o que pesquisamos? Como escolher nossos métodos de pesquisa? Como contar uma vida? Como dar voz aos nossos interlocutores de forma justa e bela? Como se conta uma história? Como se escreve uma vida? Como dar a ver uma vida? Mas que histórias se trata de escutar, de contar, de fazer ver? O que temos feito de nós mesmos na contemporaneidade? Organizamos esta dissertação em artigos. No primeiro artigo, perguntamo-nos porque é importante conversar e contar histórias. Falamos sobre a noção de biografema proposta por Roland Barthes que se trata de uma potente estratégia para se pensar a escritura de vida. O biografema nos chama atenção ao passo que afirma a ficção e se sustenta na fragmentação, na escrita do detalhe e na afirmação de fatos descontínuos, não buscando um registro verdadeiro e total do que existiu. Ainda nesse artigo, discutimos a importância de produzir imagens de uma vida como dispositivo para criar um biografema. No segundo artigo pensamos sobre quais histórias se trata de contar, de biografemar; discutimos o objetivo dessa pesquisa de tratar sobre modos de vida produzidos na contemporaneidade e pensamos acerca do que temos feito de nós mesmos. Assim, discutimos a interface entre modos de vida e uma produção contemporânea de um uso abusivo de psicotrópicos, através da prática biografemática-imagética de fragmentos de uma das vidas (que fazem uso de medicação psicotrópica) que encontramos durante esses dois anos de pesquisa. Para isso, apresentamos ao leitor não apenas um biografema por imagens de Beatriz, mas uma reflexão acerca dos processos de produção de subjetivações em estado de pause. Palavras-chave: biografema, vídeo, medicalização, subjetividade.
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Desvoivres, Emmanuel. "Modélisation de la dynamique des fragments cométaires : application à la comète C/1996 B2 Hyakutake." Université Joseph Fourier (Grenoble), 1999. https://tel.archives-ouvertes.fr/tel-00009012.
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Il est admis que les noyaux cométaires sont parmi les objets les plus anciens du Système Solaire. Malheureusement, ils échappent à l'observation directe. L'étude de la dynamique des fragments cométaires constitue une méthode indirecte pour caractériser les noyaux. L'objet de cette thèse est de contribuer à la compréhension de la dynamique de ces fragments. La comète C/1996 B2 Hyakutake est passée à 15 millions de km de la Terre en mars 1996. Des condensations lumineuses ont été détectées dans sa coma interne, dans la direction anti-solaire. Des observations en provenance de divers observatoires ont été rassemblées, puis traitées afin de préciser l'évolution temporelle de la position des condensations par rapport au noyau. Avec l'hypothèse que ces condensations étaient dues à des fragments s'éloignant du noyau, un modèle a été développé pour la dynamique des fragments composés de glace et de poussières. Trois forces sont considérées: la gravité du Soleil, leur gravité mutuelle, et une force non-gravitationnelle due à la sublimation de la glace. Une intégration numérique directe des forces en présence permet de calculer les positions successives des fragments. Un excellent accord a été obtenu avec les observations de la comète Hyakutake, suggérant l'existence de sept fragments, dont les produits des masses volumiques et des rayons étaient de l'ordre de 10000 kg. M-2, et dont les dates de séparations ont pu être corrélés à un sursaut d'activité de la comète. Le modèle a été appliqué à la comète 46P/Wirtanen, cible de la mission spatiale Rosetta. Plusieurs milliers d'hypothétiques fragments ont été simulés, et leurs trajectoires traitées statistiquement. Il en ressort que la probabilité de présence d'un fragment dans la coma n'est pas isotrope. Des recommandations sont donc formulées pour réduire les risques de collision avec un fragment potentielCometary nuclei are among the most pristine bodies in the Solar System. They are almost impossible to observe directly. The study of the dynamics of the cometary fragments provide an indirect way to characterize them. The aim of this thesis is to contribute to the understanding of this phenomenon. Comet C/1996 B2 Hyakutake passed within 15 million kilometers of the Earth in March 1996. Bright condensations were observed in the near-nucleus coma, in the anti-solar direction. Observations coming from various observatories were gathered and processed in order to obtain the precise temporal evolution of the positions of bright condensations with respect to the nucleus. With the assumption that these condensations were due to icy cometary fragments, a model was developed for the dynamics of these fragments. Three forces were considered: the gravity of the Sun, their mutual gravity, and a non-gravitational force due to the sublimation of the water ice. The positions of the fragments were computed by a direct numerical integration of the relevant forces. An excellent agreement was obtained with the observations of comet Hyakutake, suggesting the existence of seven fragments. The products of their density and their radii are near 10000 kg. M-2. Their separation dates have been correlated to an outburst of the comet. The model was applied to comet 46P/Wirtanen, target of the space mission Rosetta. Trajectories of several thousands of hypothetical fragments were computed, and then statistically processed. It was shown that the probability of presence of a fragment in the coma is not isotropic. Recommendations were deduced in order to reduce the collisional risks
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Thompson, Shanley Dawn. "Mapping mixed and fragmented forest associations with high spatial resolution satellite imagery : capabilities and caveats." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/746.
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Satellite imagery such as Landsat has been in use for decades for many landscape and regional scale mapping applications, but has been too coarse for use in detailed forest inventories where stand level structural and compositional information is desired. Recently available high spatial resolution satellite imagery may be well suited to mapping fine-scale components of ecosystems, however, this remains an area of ongoing research.
The first goal of this thesis was to assess the capacity of high spatial resolution satellite imagery to detect the variability in late seral coastal temperate rainforests in British Columbia, Canada. Using an object-based classifier, two hierarchical classification schemes are evaluated: a broad classification based on structural (successional) stage and a finer classification of late seral vegetation associations. The finer-scale classification also incorporates ancillary landscape positional variables (elevation and potential soil moisture) derived from Light Detection and Ranging (LiDAR) data, and the relative contribution of spectral, textural and landscape positional data for this classification is determined. Results indicate that late seral forests can be well distinguished from younger forests using QuickBird spectral and textural data. However, discrimination among late seral forest associations is challenging, especially in the absence of landscape positional variables.
Classification accuracies were particularly low for rare forest associations. Given this finding, the objective of the third chapter was to explicitly examine the caveats of using high spatial resolution imagery to map rare classes. Classification accuracy is assessed in several different ways in order to examine the impact on perceived map accuracy. In addition, the effects on habitat extent and configuration resulting from post-classification implementation of a minimum mapping unit are examined. Results indicate that classification accuracies may vary considerably depending on the assessment technique used. Specifically, ignoring the presence of fine-scale heterogeneity in a classification during accuracy assessment falsely lowered the accuracy estimates. Further, post-classification smoothing had a large effect on the spatial pattern of rare classes. These findings suggest that routinely used image classification and assessment techniques can greatly impact mapping of rare classes.
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Unfried, Rosana Aparecida Reineri. "Fotografia e documentação urbana : as imagens de Oswaldo Leite como auxiliares na recuperação de fragmentos históricos de Londrina." Universidade Estadual de Londrina. Centro de Educação, Comunicação e Artes. Programa de Pós-Graduação em Comunicação, 2016. http://www.bibliotecadigital.uel.br/document/?code=vtls000204606.
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O objetivo deste trabalho é observar e discutir a capacidade das fotografias de obras urbanas em atuar como auxiliares na recuperação de fragmentos históricos da cidade retratada. Para tanto, utilizando as bases teóricas e metodológicas da história oral descrita por Thompson (1992) e Delgado (2006) e do uso da fotografia como disparadora do gatilho da memória descrita inicialmente por Hoffmann (2010) e sistematizada por Teixeira (2013) foram contextualizadas historicamente 21 imagens, selecionadas obedecendo o critério de importância do evento retratado para o desenvolvimento de Londrina. Essas imagens foram produzidas pelo fotógrafo Oswaldo Leite, funcionário da Secretaria de Obras e o primeiro fotógrafo oficial da Prefeitura do Município de Londrina, no decurso da década de 1960. Uma década marcada por grandes transformações no cenário urbano da cidade, decorrentes da decadência da cafeicultura até então, base da economia norte paranaense e do êxodo rural provocado pela modernização da agricultura e mecanização do campo.This work aims observe and discuss the ability of photographs of urban buildings construction, to act as an aid to recover historical fragments of the given city. So, using the theoretical and methodological foundations of oral history discribed by Thompon (1992) and Delgado (2006) and the use of photographs as a discherger of the trigger of memory first described by Hoffmann (2010) and sistematized by Teixeira (2013) here, 21 images were historically contextualized, and selected based on the criterion of importance of the event that was portrayed, for the development of Londrina. These images were produced by the photographer Oswaldo Leite, employee of the Works Bureau and the first official photographer of Londrina, during the 1960s. The 1960s were marked by big changes in the urban landscape of Londrina, as a result of the decline of coffee production so far the main product of the local economy and the rural exodus caused by the modernization and mechanization of agriculture.
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Carvalho, Rodrigo Souza Fontanini de. "ENTRE O BOI E O NEON: Fragmentos de mem?rias, identidades, imagens e sons no filme de Gabriel Mascaro." Pontif?cia Universidade Cat?lica de Campinas, 2018. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/1104.
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
This dissertation is the result of an interdisciplinary research in Languages, Media and Art. It is an interpretive analysis of the discourse of the Brazilian film Boi Neon (2016), by Gabriel Mascaro, and aims to develop reflections on the identities of the narrative characters and how their identities may be related to the formations of the contemporary subjects. Following an essayistic and rhizomatic model, the interlaced construction of the chapters from this text and the analysis of the corpus derive from statements collages ? based on the dialogues between authors of several areas of knowledge, such as Albuquerque, Deleuze and Guattari, Xavier, Zurian, and others ? to understand how the discourse of the film is able to (de)construct and (re)organize the multiple identities of its characters, by using descriptions of scenes, readings of images and interpretations of soundtracks. Scenes with potential for discussion and analysis of the identity formation of the characters were selected, trying to comprehend the relationships and social practices that implicate the constitution of the contemporary subject in the cinematographic discourse, as well as the way in which the film disrupts and reiterates social values from the collective imaginary ? especially those which define the Brazilian backlands ?, playing with the expectation of the public.
Esta disserta??o de mestrado ? resultado de uma pesquisa interdisciplinar do Programa de P?s-Gradua??o em Linguagens, M?dia e Arte, da PUC-Campinas. Trata-se da an?lise interpretativa do discurso do filme brasileiro Boi Neon (2016), de Gabriel Mascaro, buscando reflex?es a respeito da forma??o das identidades das personagens da narrativa e de como essas identidades podem estar relacionadas ? forma??o dos sujeitos contempor?neos. Seguindo um modelo ensa?stico e rizom?tico, a constru??o entrela?ada dos cap?tulos do texto e a an?lise do corpus derivam de colagens de enunciados capazes de ? alicer?ados nos di?logos entre/com autores de diversas ?reas do conhecimento, como Albuquerque, Deleuze e Guattari, Xavier, Zurian, entre outros ? entender como o discurso do filme expressa, (des)constr?i e (re)organiza as identidades m?ltiplas de suas personagens, a partir de descri??es de cenas, leituras de imagens e interpreta??es de trilhas sonoras. Foram selecionadas cenas com potencial para a discuss?o e a an?lise da forma??o identit?ria das personagens, tentando compreender as rela??es, os la?os e as pr?ticas sociais que implicam a constitui??o do sujeito contempor?neo no discurso cinematogr?fico, bem como a maneira com que o filme rompe e reitera valores sociais presentes no imagin?rio coletivo ? sobretudo o que marca o sertanejo nordestino brasileiro ?, brincando com a expectativa do p?blico.
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FitzGibbon, Sean. "Life in the suburbs : the survival of the northern brown bandicoot (Isoodon macrourus) in habitat fragments of urban Brisbane, with implications for the conservation of native ground-dwelling mammals /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19024.pdf.
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Hamilton, Elizabeth P. K. "A Study of Early Sixteenth-Century English Music Fragments from the DIAMM Database." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20241.
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While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued.
This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.
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Herbet, Isabelle. "Surfaces picturales : effondrement, poussée." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080064.
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Effondrement et poussée sont les deux étais qui font le soutènement de la surface picturale dans l’art contemporain. De cette hypothèse, est né un parcours esthétique à la recherche de ce qui crée l’événement dans la surface : l’espacement de la surface mallarméenne, l’ouvert de Maldiney et le « vide actif » chez Cézanne ou Mondrian, le saut ou « jump » de Willem de Kooning, l’incise, la déchirure, ce par quoi le regard semble tomber dans la surface, semble s’abimer dans ses dessous et provoquer ce que Walter Benjamin nomme l’image dialectique, un état-limite où la sensation d’effondrement intérieur se double d’un plaisir esthétique fondé sur une pratique de chiffonnier : la récolte de détritus ou de déchets pour créer un montage de temps, une surface complexe. Cet état-limite de la peinture est développé par Didi-Huberman grâce au concept de pan dont la force antithétique réunit les pôles entre lesquels s’écartèle la peinture : ordre et chaos, autrefois et présent, lointain et proche, structure et texture, vide et plein… Le battement qui en résulte fait naître, fait pousser un regard autre, caractéristique de l’aura dont on se demande si elle n’est pas l’origine même de la peinture et non pas sa conséquence, ses effets. Ainsi, la question de l’aura génère-t-elle des questions plastiques telles que la trace, la marque, le trait, le blanc, le vide, le rien… mais aussi celles du pli, du dépli, du repli et de son équivalent le retrait. La métaphore anthropologique de la peau est le fil conducteur de cette thèse dont les occurrences se retrouvent également dans la figure de l’arbre, de l’écorce, feuilles et nervures. Le livre ou le cahier auxquels est dévolue une partie de la recherche prend sa source dans la matière même de l’arbre, le liber, pellicule entre l’écorce et le bois. Le geste même de l’inscription est interrogé et, avec lui, les lieux et les temps mêmes de sa déposition, surfaces picturalesPictorial surfaces: collapse & thrust is based on the assumption that the “surface entity”, following the expression coined by Christian Bonnefoi, is the unstable location of painting, whose construction can only be chronological. An aesthetic journey unfurls on the foundation of this allegation, the first step being the attempt to determine a typology of surfaces : surface spacing as in Mallarmé’s work, the “open” in Maldiney’s work, with “active emptiness” in Cezanne or Mondrian’s work -, and also, what opens the body of painting. The rift on the surface, the missing part has the value of Willem de Kooning’s leap or “jump”. The incision, the tear through which the eye seems to drop onto the surface takes the shape of a strip, grating or mesh. Collapse can put on the attire of disaster. What emerges at the precise spot where stars fell is the dialectical venue of images, a border-line where the sensation of inner disintegration comes with an aesthetic pleasure based on a practice giving preference to withdrawal and generating a complex surface. This border-line of painting is taken up by Didi-Huberman, with the concept of “face”, whose antithetical strength brings together poles between which painting is torn apart: order and chaos, past and present, distance and proximity, structure and texture, emptiness and completeness. The resulting pulsation gives birth to, creates a different vision, which characterises the aura which may be the very origin of painting, we may wonder, not its consequence or effects. So, the question of the aura reaffirms the idea that there is something unknown about the surface and gives rise to the question of sensation in painting and concomitantly that of memory in the creative process
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Outal, Souhaïl. "Quantification par analyse d'images de la granulométrie des roches fragmentées : amélioration de l'extraction morphologique des surfaces, amélioration de la reconstruction stéréologique." Phd thesis, École Nationale Supérieure des Mines de Paris, 2006. http://pastel.archives-ouvertes.fr/pastel-00002394/en/.
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Cette recherche s'inscrit dans le cadre général du contrôle de qualité des processus utilisés en production minière, tels que le tir à l'explosif, le broyage et le concassage. Elle s'intéresse plus particulièrement à la quantification par traitement d'images de la granulométrie des roches fragmentées. Globalement, les développements menés portent sur l'amélioration des deux étapes les plus déterminantes de la mesure : l'extraction des contours des fragments de roches dans l'image (2D) et la reconstruction de la courbe granulométrique en volume (étape de stéréologie, 3D). Actuellement, le tamisage (ou plus généralement le criblage) est le moyen le plus utilisé pour la mesure de la granulométrie des roches fragmentées. Il constitue la référence actuelle de la mesure. En conséquence, toute mesure établie par traitement d'images sera validée sur la base des résultats du tamisage. En ce qui concerne l'étape d'extraction des contours des fragments, le problème majeur qui se pose est celui du filtrage correct du bruit présent dans l'image. Dans un premier temps, de nouveaux outils de filtrage, basés sur les transformations morphologiques résiduelles, assez puissants et adaptés au cas des images de fragments de roches sont introduits et évalués. Dans un second temps, les surfaces des fragments sont extraites grâce une segmentation de l'image, basée sur une ligne de partage des eaux contrôlée par les marqueurs extraits des filtrages. La robustesse et l'automatisation de la démarche sont validées sur plusieurs cas d'images de fragments de roches. Le second problème abordé dans cette recherche est celui de la reconstruction de la courbe granulométrique en volume à partir des surfaces extraites par traitement d'images. Afin d'éviter l'occurrence de nombreux biais liés à cette étape, nous proposons un découpage en deux sous-problèmes, et ce, en fonction de la disposition des matériaux analysés (tas abattu, camion, convoyeur à bande) : - dans le cas de faible recouvrement et chevauchement : un modèle expérimental de reconstruction volumique mettant en jeu les données des refus matériels (surface et volumes), et basé d'emblée sur les résultats de référence est développé. Les deux lois des tailles et des épaisseurs (lois de reconstruction) permettant d'attribuer une taille et un volume aux surfaces sont validées expérimentalement. - dans le cas complexe de présence de masquage entre fragments : nous commençons par émettre des hypothèses essentielles à l'adaptation de la théorie des modèles de structures aléatoires à notre cas de fragments de roches. L'analyse des limites d'une application directe du modèle aléatoire de feuilles mortes (hypothèse du schéma booléen) nous a amené à élaborer une nouvelle méthode d'acquisition basée sur une incidence à éclairement variable. S'inspirant de la technique du «shape-from-shading», elle permet d'obtenir une information supplémentaire sur le recouvrement (ombre portée entre fragments) pour l'application de la statistique des grains intacts. Enfin, les résultats obtenus dans cette recherche pour les fragments en vrac mais aussi pour d'autres types d'images d'éléments granulaires, nous ont permis d'envisager d'ores et déjà une valorisation aussi bien auprès de l'industrie minérale et aussi dans d'autres domaines tels que l'agroalimentaire, pharmaceutique, cimenteries,...
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DANCKAERT, PERRUCHOT ANNE. "Traitement informatique des autoradiographies de gels de sequences : conception et mise en oeuvre d'un systeme automatique d'interpretation d'autoradiographies, elaboration d'un algorithme de construction de la sequence consensus a partir de fragments." Paris 7, 1988. http://www.theses.fr/1988PA077045.
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Brunious, Wendell J. "Maturation of Practices." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1855.
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The disparate concepts of Pop Art and abstract painting heavily influence the scope of my work. Finding a link between these two concepts has been the focal point of my studio practices. The apex of my process is the focus on commercial imagery as abstract form. The merging of these two concepts presents a complex composition of balance, color and information.
This thesis explores the various concepts as well as influences that have propelled the evolution of my work. It chronicles the steps I have taken in my quest to articulate my conceptual ideas. By describing the works and defining their characteristics, this analysis gives further insight to my perception as well as process.
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Suret-Canale, Alice. "D’un fragment à l’autre : images empreintes de temps réel : exploration des nouvelles découpes de la vue et du temps dans le film d’animation et l’image numérique animée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080018/document.
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La vision multiple et la perception simultanée d’images et d’informations sont au cœur de notre vie quotidienne ; l’omniprésence des écrans et des fenêtres, de l’espace urbain à Internet, produit une vision sur-cadrée et fragmentée du monde qui transforme notre rapport à l’image. La révolution artistique des 19ème et 20ème siècles accompagna le développement des techniques de production de l'image photographique et cinématographique manifestant une certaine préoccupation pour la décomposition du mouvement et l’échantillonnage du temps. La naissance des technologies numériques, dont le développement est intimement lié à celui des réseaux de télécommunication et notamment d’Internet, a renouvelé cette tendance en faisant de la mobilité, de la téléprésence, de l’ubiquité et de la vision simultanée les caractéristiques fondamentales de la pensée visuelle de notre époque.Les systèmes figuratifs de l’image numérique, qui héritent des techniques d’enregistrements optiques tout en y adjoignant celles de la simulation par ordinateur, inaugurent-ils une attitude différente vis-à-vis du réel ? Leur parenté avec Internet et avec les systèmes temps réels les investit-t-elle d’un autre mode d’expression temporel, qui viendrait se substituer à l’histoire de la peinture classique et tendrait à renouveler la présence performative et le direct de l’art vidéo ? C’est à travers le concept du fragment, considéré comme outil au service de l’expérimentation artistique, que cette thèse de recherche-création examine la manière dont l’image numérique animée reprend et transforme les codes de la pratique figurative en peinture et en cinéma pour organiser une nouvelle découpe de la vue et du tempsMultiple vision and simultaneous perception of images and information are at the heart of our daily lives; The omnipresence of screens and windows, from urban space to the Internet, produces an over-framed and fragmented vision of the world that transforms our relationship to the image. The artistic revolution of the 19th and 20th centuries accompanied the development of photographic and cinematographic image production techniques, expressing a certain concern for movement decomposition and time sampling. The birth of digital technologies, whose development is intimately linked to that of telecommunication networks and especially the Internet, has renewed this trend by making mobility, telepresence, ubiquity and simultaneous vision the fundamental characteristics of the visual thinking of our time.Do the figurative systems of digital image, which inherit the techniques of optical recordings while adding those of computer simulation, inaugurate a different attitude towards reality? Does their kinship with the Internet and real time systems invest them in another mode of temporal expression, which would replace the history of classical painting and would tend to renew the performative and direct presence of video art? It is through the concept of fragment, considered as a tool in the service of artistic experimentation, that this research-creation thesis examines the way in which the animated digital image takes over and transforms the codes of figurative practice into painting and film to organize a new cut of sight and time
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Szacherski, Pascal. "Reconstruction de profils protéiques pour la recherche de biomarqueurs." Phd thesis, Université Sciences et Technologies - Bordeaux I, 2012. http://tel.archives-ouvertes.fr/tel-00788410.
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Cette thèse préparée au CEA Léti, Minatec Campus, Grenoble, et à l'IMS, Bordeaux, s'inscrit dans le thème du traitement de l'information pour des données protéomiques. Nous cherchons à reconstruire des profils protéiques à partir des données issues de chaînes d'analyse complexes associant chromatographie liquide et spectrométrie de masse. Or, les signaux cibles sont des mesures de traces peptidiques qui sont de faible niveau dans un environnement très complexe et perturbé. Ceci nous a conduits à étudier des outils statistiques adaptés. Ces perturbations peuvent provenir des instruments de mesure (variabilité technique) ou des individus (variabilité biologique). Le modèle hiérarchique de l'acquisition des données permet d'inclure ces variabilités explicitement dans la modélisation probabiliste directe. La mise en place d'une méthodologie problèmes inverses permet ensuite d'estimer les grandeurs d'intérêt. Dans cette thèse, nous avons étudié trois types de problèmes inverses associés aux opérations suivantes: 1) la quantification de protéines cibles, vue comme l'estimation de la concentration protéique, 2) l'apprentissage supervisé à partir d'une cohorte multi-classe, vu comme l'estimation des paramètres des classes, et 3) la classification à partir des connaissances sur les classes, vue comme l'estimation de la classe à laquelle appartient un nouvel échantillon. La résolution des problèmes inverses se fait dans le cadre des méthodes statistiques bayésiennes, en ayant recours pour les calculs numériques aux méthodes d'échantillonnage stochastique (Monte Carlo Chaîne de Markov).
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Benammar, Samy. "Fragments d’Alep : images et mémoire d’une guerre naviguée." Thèse, 2019. http://hdl.handle.net/1866/23773.
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Fragments d’Alep est le récit d’une navigation à travers des images de guerre. Celle-ci débute en 2016, année d’intensification et de conclusion de la guerre civile d’Alep. Elle tente de retrouver les moments marquant de la constitution d’un imaginaire de guerre et du monde arabe par son auteur. Imbriquée dans une mémoire technique où l’histoire de la représentation du Moyen-Orient semble déterminée par les transformations liées à l’ère du numérique, cette navigation devient le lieu de digression qui souhaite interroger les images de guerre à travers les textures des écrans qui les ont diffusées.Fragments of Aleppo draws a navigation through images of war. It begins in 2016, year of the intensification and conclusion of the civil war in Aleppo. It is an attempt from the author to find the key points of the building of the collective imagination as regards war and the Arab world. Embedded in a technical memory where the history of the representation of the Middle East seems determined by the transformations engendered by the digital age, this navigation becomes a site of digression that wants to interrogate images of war through the texture of the screens that broadcast them.
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Cih-an, Luo, and 羅慈安. "Self-shooting and creating fragments: The photographic images of Jo Spence." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/48060548564586403402.
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碩士高雄師範大學
美術學系
97
This study offers a critical interpretation of the family album, phototherapy and projects on women’s health produced by the English postmodern feminist and photographic artist, Jo Spence, during the period from 1979 to 1992. Based on the autobiography of Spence, critical visual methodologies, as well as the perspective of feminist theories and history of feminist practices, the author proposed that the images of the female body in the photographic works of Spence constitute a symbolic presentation of feminism photographic art and social practices. This study discusses the distinctive characteristics of Spence’s works according to the historical perspectives of photographic art, and explores the values and contributions of her works. The greatest finding of this study was that the phototherapy invented by Spence reflected a skill that matched photography with the field of gestalt therapy; the naming and contents of her photographic works mostly conformed to the practical skills of gestalt therapy. This reversed the perspectives of some of the critics who positioned her works as “iconoclasme” or “playing a female role under stereotype”. This study also deconstructs the statements of these critics by probing into the therapeutic field, and opens up another way to interpret the construction of Spence’s works.
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Wu, Yung-Chun, and 吳雍君. "Through Fragments of Memory –A Discourse of Cijin Image Creation." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/949hb3.
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碩士長榮大學
視覺藝術學系碩士班
98
In this paper, the customs and cultural landscape of Cijin are the main creation objects. Cijin in the special geographical environment has a natural harbor; it also nurtures a special offshore island culture that reflects the natural environment and characteristics in a historical context. The local residents surrounded by the sea are full of vitality and strength. They demonstrate the qualities of people who make a living from the sea, including sincerity, naturalness, roughness and perseverance, as well as beauty of simplicity from within, all of which are what the author has attempted to describe and explore. The author has extended his sentiments and ideas of the homeland to gain an insight into his own life experiences. From the local cultures, he has sought elements for his creation; from the intrinsic content of living aesthetics, he has pursued themes for his creative expression. By applying the techniques of impressionism and realism, he has explored the forms of painting and the naturalness and harmony of color and space, through which he has discovered the visual aesthetics that the fishing villages have. In order to add content and life to his work, he has also highlighted the self-contented nature of the residents that yearn to settle down. This paper is divided into five sections. The contents of each section are briefly described as follows: Chapter 1 Introduction：An overview of the author’s motives and purposes, as well as the research methods of the discourse of the creation are covered. In addition, the specific terms mentioned in this paper are also explained. Chapter 2 Literature Review：The related historical data of Cijin area is collected to explore the impact of the unique geographical, historical and social changes on Cijin. The rise of realism paintings in the 19th century are also traced and the impact of the rise of local realism in the 70s on local paintings in Taiwan is discussed. In addition, from the perspectives of the Sociology of Art, the art development under socialism and the value of labor are also discussed to invoke the painters’ descriptions of the spirit and meaning of the fishing villages. Chapter 3 .4 Creation Theory and Practice & Work Analysis：The author has presented the work content based on how he perceives life and from his aesthetic experience. The subject matter is taken from his recollection of the process of life and the transformation of the fishing harbor and cultural landscapes. Moreover, he has integrated his subjective perceptions in the descriptions and practice, hoping to combine the rational thinking and emotional colors that lie deep within Cijin. Chapter 5 Conclusion ：This section covers descriptions and a summarized account of the author’s self-reflection of the fishing harbor subject matter, content expression and practical techniques, as well as his expectations for the future. The author hopes to, through the presentation of his works, share with more people the beautiful fishing harbor in order to convey his faith, respect and care for this border town.
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Lagoa, Raquel Pelicano Teixeira. "Fragmentos de cidade. Imagens de arquitectura, do espaço e da memória." Dissertação, 2021. https://hdl.handle.net/10216/134835.
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O título Fragmentos de cidade, imagens de arquitetura, do espaço e da memória anuncia
uma investigação que, ancorada à abstração e a um conjunto de pensamentos disruptivos
e insondáveis, tem em vista descodificar o enigma do real, onde arquitetura e cidade
convergem. Um abandono momentâneo do mundo físico (sob a promessa de lá voltar)
promove a tangência com a arte e imagem, respetivos autores e obras que conservam o
melhor dos dois mundos, material e imaterial.
Fragmentos dispersos e imagens com vontade própria dominam a camada da inconsciência
como vestígios e nuances da arquitetura e cidade que nunca nos permitem abandoná-las,
física e espiritualmente. Concebida enquanto arquivo do presente, esta dissertação abre
um espaço invisível entre o real e a ficção, denunciando que o seu fim não é sinónimo de
conclusão mas de pausa, como um ponto de situação que antecede uma futura prática de
arquitetura.
A dissertação aspira a uma 'obra feita de fragmentos' (idêntica à ambição de Walter
Benjamin). Fragmentos que se alastram da forma ao conteúdo, da estrutura ao método e
intenção, provisoriamente divididos em quatro momentos materializados em quatro caixas
ou boîtes, numa analogia à organização de um arquivo. Antes do início, a boîte 0 dedica-se
à revelação de três cartas de leitura imprescindível para a compreensão do corpo total, um
incentivo para ver antes de ler. A primeira parte (boîte 1) introduz o estudo através de quatro
ensaios ou quatro (re)leituras da cidade a partir dos conceitos-chave: Fragmento, Utopia,
Casa e Ruína. O segundo momento (boîte 2) descreve os quatro instrumentos privilegiados
a propósito da percepção e representação do espaço e consequente organização dos seus
fragmentos e imagens: Fotografia, Arquivo, Atlas e Colagem. Numa aproximação à condição
experimental do atelier, a última parte (boîte 3) ensaia um laboratório de fotografia onde
se manipulam imagens e ideias que dão corpo a três exercícios de autoria própria. Da casa
para o mundo, do papel para o espaço público, exibem-se experiências fragmentárias, entre
a teia de contradições do real, que refletem a exigência multidisciplinar de um projeto de
arquitetura.
A intenção de produzir um movimento contra o real estático e imóvel concretiza-se no
deambular entre capítulos, através de imagens e obras que enriquecem o estudo crítico e
inovador sobre a arquitetura e a sua circunstância atual.The title Fragments of city, images of architecture, space and memory announces an investigation that, anchored to abstraction and a set of disruptive and untrustless thoughts, aims to decode the enigma of the real world, where city and architecture converge. A momentary abandonment of the physical world (under the promise of returning there) promotes tangency with art and image, their authors and their works that preserve the best of both material and immaterial worlds. Scattered fragments and images with their own will power dominate the layer of unconsciousness as traces and nuances of architecture that never allow us to abandon it, physically and spiritually. Conceived as an archive of the present, this dissertation opens an invisible space between reality and fiction, denouncing that its end is not equivalent to a conclusion, but instead, of a interruption, as a significant mark that precedes a future practice of architecture. The dissertation aspires to a 'work made of fragments' (identical to the ambition of Walter Benjamin). Fragments that spread from form to content, from structure to method and intention, provisionally divided into four moments materialized into four boxes (boîtes), in an analogy to the organization of an archive. Before the beginning, boîte 0 is dedicated to the extraordinary revelation of three reading letters essential for understanding the total body, an incentive to look at before reading. Then, the first part (boîte 1) introduces the study through four essays or four (re-)readings of the city from the key concepts of Fragment, Utopia, House and Ruin. The second moment (boîte 2) describes the four privileged instruments regarding the perception and representation of space, its fragments and images: Photography, Archive, Atlas and Collage. In an approximation to the experimental condition, the last part (boîte 3) rehearses the environment of a laboratory where manipulated images and ideas unfolds in three exercises of own authorship. From the house to the world, from the paper to the public space, fragmentary experiences are exhibited in spite of the web of contradictions of the real, in an approximation to the multidisciplinary manifestation of an architectural project. The intention of producing a movement against the static and immovable reality is accomplished by the wandering between chapters, through images and works that enrich the critical and innovative study on architecture and its current circumstance.
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Lagoa, Raquel Pelicano Teixeira. "Fragmentos de cidade. Imagens de arquitectura, do espaço e da memória." Master's thesis, 2021. https://hdl.handle.net/10216/134835.
Full textAbstract:
O título Fragmentos de cidade, imagens de arquitetura, do espaço e da memória anuncia
uma investigação que, ancorada à abstração e a um conjunto de pensamentos disruptivos
e insondáveis, tem em vista descodificar o enigma do real, onde arquitetura e cidade
convergem. Um abandono momentâneo do mundo físico (sob a promessa de lá voltar)
promove a tangência com a arte e imagem, respetivos autores e obras que conservam o
melhor dos dois mundos, material e imaterial.
Fragmentos dispersos e imagens com vontade própria dominam a camada da inconsciência
como vestígios e nuances da arquitetura e cidade que nunca nos permitem abandoná-las,
física e espiritualmente. Concebida enquanto arquivo do presente, esta dissertação abre
um espaço invisível entre o real e a ficção, denunciando que o seu fim não é sinónimo de
conclusão mas de pausa, como um ponto de situação que antecede uma futura prática de
arquitetura.
A dissertação aspira a uma 'obra feita de fragmentos' (idêntica à ambição de Walter
Benjamin). Fragmentos que se alastram da forma ao conteúdo, da estrutura ao método e
intenção, provisoriamente divididos em quatro momentos materializados em quatro caixas
ou boîtes, numa analogia à organização de um arquivo. Antes do início, a boîte 0 dedica-se
à revelação de três cartas de leitura imprescindível para a compreensão do corpo total, um
incentivo para ver antes de ler. A primeira parte (boîte 1) introduz o estudo através de quatro
ensaios ou quatro (re)leituras da cidade a partir dos conceitos-chave: Fragmento, Utopia,
Casa e Ruína. O segundo momento (boîte 2) descreve os quatro instrumentos privilegiados
a propósito da percepção e representação do espaço e consequente organização dos seus
fragmentos e imagens: Fotografia, Arquivo, Atlas e Colagem. Numa aproximação à condição
experimental do atelier, a última parte (boîte 3) ensaia um laboratório de fotografia onde
se manipulam imagens e ideias que dão corpo a três exercícios de autoria própria. Da casa
para o mundo, do papel para o espaço público, exibem-se experiências fragmentárias, entre
a teia de contradições do real, que refletem a exigência multidisciplinar de um projeto de
arquitetura.
A intenção de produzir um movimento contra o real estático e imóvel concretiza-se no
deambular entre capítulos, através de imagens e obras que enriquecem o estudo crítico e
inovador sobre a arquitetura e a sua circunstância atual.The title Fragments of city, images of architecture, space and memory announces an investigation that, anchored to abstraction and a set of disruptive and untrustless thoughts, aims to decode the enigma of the real world, where city and architecture converge. A momentary abandonment of the physical world (under the promise of returning there) promotes tangency with art and image, their authors and their works that preserve the best of both material and immaterial worlds. Scattered fragments and images with their own will power dominate the layer of unconsciousness as traces and nuances of architecture that never allow us to abandon it, physically and spiritually. Conceived as an archive of the present, this dissertation opens an invisible space between reality and fiction, denouncing that its end is not equivalent to a conclusion, but instead, of a interruption, as a significant mark that precedes a future practice of architecture. The dissertation aspires to a 'work made of fragments' (identical to the ambition of Walter Benjamin). Fragments that spread from form to content, from structure to method and intention, provisionally divided into four moments materialized into four boxes (boîtes), in an analogy to the organization of an archive. Before the beginning, boîte 0 is dedicated to the extraordinary revelation of three reading letters essential for understanding the total body, an incentive to look at before reading. Then, the first part (boîte 1) introduces the study through four essays or four (re-)readings of the city from the key concepts of Fragment, Utopia, House and Ruin. The second moment (boîte 2) describes the four privileged instruments regarding the perception and representation of space, its fragments and images: Photography, Archive, Atlas and Collage. In an approximation to the experimental condition, the last part (boîte 3) rehearses the environment of a laboratory where manipulated images and ideas unfolds in three exercises of own authorship. From the house to the world, from the paper to the public space, fragmentary experiences are exhibited in spite of the web of contradictions of the real, in an approximation to the multidisciplinary manifestation of an architectural project. The intention of producing a movement against the static and immovable reality is accomplished by the wandering between chapters, through images and works that enrich the critical and innovative study on architecture and its current circumstance.
41
Chaves, José António Borges 1982. "Estudo sobre espaços abandonados : documentar a ruína com as linguagens da imagem em movimento instalada." Master's thesis, 2014. http://hdl.handle.net/10451/11654.
Full textAbstract:
Tese de mestrado, Arte musltimédia - Audiovisuais, Universidade de Lisboa, Faculdade de Belas Artes, 2014This dissertation, entitled Documentar a ruina com as linguagens da imagem em movimento instalada (Documenting the ruin with the languages of the installed moving image), is a work of theoretical and practical nature, with the purpose of completing a Masters in Multimedia Arts in Audiovisual. The aim of this study is to examine and invite to a reflection about the different dimensions contained in the space of the ruin, which, in its quality of being a stray relating to a whole, as a fragment of a lost complexity, inevitably represents a field of interest for a filmic gaze with a documental approach. This research originated from the conceptual, aesthetic and interpretive relationship between my audiovisual production and the object of the investigation: the poetic of the abandoned spaces. With this purpose, on one side it was built an analysis based on the ruin's imaginary, by the other side we explored the potential of different type of poetics and techniques throughout other artist film productions, intended to create possible correlations with my own work. The artists, thinkers and philosophers presented cohabit in my memory's inventory and are agents of an active influence on my audiovisual production. These are references that stand on the threshold between documentary and installative moving image: Tacita Dean, Harun Farocki, Artavazd Peleshyan. The practical project consists of three videos that create a dimensional and fragmented study of the visual space, studying different ways to represent the abandoned spaces which are left to the modelling of time
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Martel, Claude. "Arkhaios modo : origine et perspective d'une proposition artistique récente, suivi de : Images commentées d'une exposition : fragments grossiers, étranges et récents : (vers une archéologie de l'imagination)." Thèse, 1994. http://constellation.uqac.ca/1210/1/1514147.pdf.
Full textAbstract:
Ce texte, par un aventureux retour aux sources des intérêts qu'il révèle, s'élabore sur fond de discours anthropologique où la méthodologie archéologique tient une place prépondérante. L'hypothèse qu'il défend: l'étrangeté et la bizarrerie des formes génératrice d'émotions esthétiques, repose sur le fait évident que tout comportement esthétique s'implante nécessairement sur le dispositif sensoriel primitif mis en rapport avec l'environnement matériel C'est à partir de ce leitmotiv que le texte, rigoureusement travaillé, minutieusement organisé - étape par étape, se situant d'abord dans le large champ des sciences humaines et ensuite dans celui de l'art - s'engage dans une double recherche (exigeante et complexe) de l'origine de l'émotion esthétique et parallèlement (à la lumière de travaux antérieurs) dans celle d'une voie d'exploitation et d'une stratégie d'exposition des productions plastiques récentes et à venir qu'il commente, motive et appelle constamment. Créations artistiques auxquelles s'adjoint le béton en tant que substance enrobante et fossilisante.
"Avec Martel, nous remontons littéralement le fleuve de la création et débouchons dans un bassin pléthorique de sens, une sorte de super-lac anthropologique assez grand pour y perdre l'horizon... "
Manipulant aussi librement l'écriture que les concepts généraux relatifs aux sciences humaines, ce texte, à travers une réflexion approfondie et tout à fait personnelle sur l'origine de l'art, nous mène vers une archéologie de l'imaginaire qui prend assise sur l'actualité et le présent, dans laquelle l'étrangeté et la bizarrerie auraient à jouer un rôle déterminant, fondateur, originel.
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Hernández, Alejandra Fabiana. "Proyecciones. Tras las huellas de un imaginario sensible." Bachelor's thesis, 2012. http://hdl.handle.net/11086/417.
Full textAbstract:
Trabajo final de la Carrera de Licenciatura en Grabado. Publicada en el marco de la convocatoria de la Oficina de Graduados de la FFyH: "BANCO DE TRABAJOS FINALES. Publicación en-línea de los Trabajos Finales de los Graduados de la FFyH", proyecto Conjunto con el Área de Tecnología Educativa FFyH. "El lugar me convocaba de una manera determinada, mi mirada estaba recortando partes de ese mundo, de ese espacio geográfico que aparecía ante mí como una inmensidad. El tema del trabajo formalmente remite al paisaje, desde un punto de vista personal puedo ver la nostalgia, el silencio de la obra. Las Salinas Grandes están desprovistas de la presencia humana y toma relevancia en ellas el encuentro con la naturaleza geográfica, revelándose como una epifanía. La selección de una parte de esa realidad (recorte-enfoque-encuadre), es la impronta personal que le da una apariencia única. Una cualidad en estas fotografías es el rastro, la huella (como en un grabado), la percepción indirecta del hombre en ese espacio geográfico. Aquí contemplo y compongo tomando ciertos atributos en los objetos significativos, como rieles o maderas que fueron guías. La fotografía es eterna y efímera a la vez. En el momento de la toma, asisto a la muerte de ese instante y consciente de ello me envuelve la nostalgia. Entonces estoy frente a un cambio paradigmático, no ya de la toma fotográfica sino de la imagen en sí misma y lo que ella trasmite. En el paisaje y su aparente quietud, en ese imaginario sensible y detenido, es donde comprendo la transformación que subyace y que debo hacer visible. Debo romper con la apariencia fotográfica. Se produce allí una grieta temporal entre un antes y un después. Una ruptura física, simbólica y temporal".