Dissertations / Theses on the topic 'Photography, Industrial'

While traveling home from work we may glance out our windows at these industrial structures whose fluorescent lights glow throughout the night. These places, often located on the outskirts of the cityscape, leave the viewer with a mix set of emotions. First, our reactions to the height, shape and form, whose towers and beams stretch high into the sky, loom over our tiny human frames. Regardless of the beauty that may be offered to the viewer at first glance, there is an underlying feeling of disgust and disregard, as these manufacturing plants stand as the agents of our environment issues in this era. This initial, fleeting, sense of wonder is what draws me to these locations as a photographer. There is a type of ordered rhythm that these locations embody, a type of ceaseless production whose beauty is within the confines of its method of production. Every pipe and tube has a specific purpose, which leads to uniformity in shape and positioning. Every light is set to illuminate the space, not only for functionality, but also for security. Every road, wall and doorway is placed just so in order to maximize efficiency. These places manufacture, process, and ship raw materials in vast sums every single day all across the globe. They provide us with all the tools and materials we need to make our society function, but more importantly, they allow us to transform our surroundings into whatever we may choose. Inside, engines thump and grind at a steady pace. Conveyor belts hum as they slide down their tracks. Outside, a truck comes in through the entrance to pick up its order, followed by another, and still another after that. In following some of the same techniques laid out by photographers before me, my hope is to capture the massive amount of details and nuisances of these locations. The night skies serve as the constant throughout these images, grounding these locations in the same timeframe; at once connecting them in this fashion, but also allowing each of them to be it's own unique structure as they reach up into the black sky in varying fashions. My hope for the viewer lies in a reassessment of these locations. While they do presume, as any images of industrial locations do of this era, to speak about the connection between manufacturing and environmental issues, my hope is that they are able to offer much more. While they are connected with these problems, they are also connected with the solutions to these problems, and in this regard, deserve a second glance, and hopefully, a second evaluation of their aesthetic qualities.

Au cours du procédé de transmission du médium photographique, du support argentique au support numérique, un phénomène voit le jour à la fin du 20ème siècle: la plupart des fabricants de supports argentiques au fur et à mesure ferment leurs portes. En conséquence, la production de matériel photographique s‘arrête et cette tradition séculaire de la photographie argentique doit faire face à l‘abandon et à la disparition progressive. Dans l'étude de cas du fabricant Fotokemika (1947-2012), une ancienne fabrique de matériel photographique en Yougoslavie et plus tard de la République croate, mon objectif est de démontrer ce que ce processus de transmission signifie au niveau local ainsi qu‘à l‘échelle mondiale. Ce document, à travers l'étude du cas de Fotokemika, en tant qu‘exemple d'unité industrielle fermée qui fabrique du matériel pour la photographie argentique, tente de contribuer à une meilleure compréhension de la situation du processus et de la technique de la photographie argentique au 21ème siècle. L‘étude explore l'histoire de la fabrique, ses réalisations dans les domaines de la science, de la technologie, la technique, la publicité, le design et son influence sur le développement de la photographie argentique sur le territoire de la Croatie en créant des critères pour la valorisation du patrimoine de la photographie argentique. L'objectif de la recherche est d'examiner comment les musées, en tant qu‘institutions responsables pour la protection et la sauvegarde du patrimoine, surtout après leur nouvelle définition, pourraient encourager la conservation du patrimoine industriel dans un processus de réaménagement d‘un ancien bâtiment industriel en musée; ABSTRACT: In the transmission process of a photography medium, from analog to digital, a phenomenon that occurs at the end of the 20th century, most of the analog photo factories are being shut down. As a result, production of photo equipment dies and centuries-old tradition of analogue photography is disappearing into history. In the case study of Fotokemika factory (1947-2012), once a famous and respectable photo equipment factory during Yugoslavia, later the Croatian Republic, I am showing what this transmission process means on a local and global level. This paper, trough case study of Fotokemika factory, as an example of shut down industrial unite that produced equipment for processing analog photography, is trying to contribute to a better understanding of position of analog photography process and technique in 21st century. The study examines the history of the factory, the achievements in the fields of science, technology, technique, advertisement, design and its influence on developing of analog photography in the territory of Croatia creating criteria for valorization of analog photography heritage. The research aim is to examine how museums like an institution for protection and safeguarding of heritage, especially after the new definition, can give a solution in maintaining industrial heritage in a process of reusing former industrial buildings into museum; RESUMO: Ao longo do processo de transmissão do suporte fotográfico, do suporte analógico ao suporte digital, fenómeno esse que vê a luz no fim do século XX, a maior parte das fábricas de suportes analógicos vêm os seus dias contados. Como consequência disso, a produção de equipamento fotográfico analógico desaparece e a tradição secular de fotografia analógica está a acabar. No caso de estudo da fábrica Fotokemika (1947-2012), já famosa e reputada fábrica de produtos fotográficos durante a Yugoslávia, e depois durante a República Croata, o meu objetivo é o de demostrar o que esse processo de transmissão significa ao nível local e global. Este documento, pelo estudo da fábrica de Fotokemika, como exemplo de unidade industrial fechada que produzia equipamento para processar fotografia analógica, tenta contribuir para um melhor entendimento da posição do processo e da técnica de fotografia analógica no século 21. Este trabalho examina a história da fábrica, os seus resultados nos campos da ciência, tecnologia, técnica, publicidade, design e suas influências ao desenvolver fotografia analógica no território da Croácia criando critérios para a valorização da herança da fotografia analógica. O objetivo desta pesquiza é o de examinar como é que museus, sendo instituições para a proteção e salvaguarda da herança, sobretudo com a nova definição de museu, podem dar soluções para manter a herança do património industrial num processo de reutilização do edifício antigo num museu.

Cette recherche est basée sur la photographie d'un anthropologue et le travail d'un groupe interdisciplinaire créé en 1999 dans la ville d'Olavarría, province de Buenos Aires, Argentina. L'étude explore le rôle, l'incidence et l'utilisation de l’image photographique dans les processus d'activation, de resignification et de construction du patrimoine. On verra que la photographie est utilisée dans la recherche anthropologique et la documentation des fours à chaux, des techniques et des savoir-faire des travailleurs. L’image est également un élément central des actions et des activités d'intervention communautaire développées par le groupe. Dans ce sens, les photographies deviennent un objet nécessaire et important dans un contexte de conflits territoriaux et de perte des références associés à l'exploitation minière artisanale locale; Portraits, biographies, and lime kilns: Images, memory, and heritage construction of mining in a town in Argentina at the end of the 20th century - Abstract: This research is based on the photography of an anthropologist and the work of an interdisciplinary group created in 1999 in the city of Olavarría, Province of Buenos Aires. The study explores the role, incidence and use of photography in the field of heritage. It will be seen that photography is used in anthropological research and in the documentation of the lime kilns, the techniques, and the workers’ know-how. The image is also a central element in the interventions and community activities developed by the group. In this sense, photographs become a necessary and important object in a context of territorial conflicts and loss of references associated with local artisanal mining.

This thesis, Lenses of Industry, examines how industrial companies and engineers adapted photography to their needs in the late nineteenth and early twentieth centuries. Innovations in camera and plate technologies marketed to a broad range of people contributed to a steep rise in the number of photographers in the United States. Recognizing the potential that photography held for industrial companies and engineers, a handful of experts advocated the idea that photography had the potential to make many aspects of business faster, and easier, as well as to make visual records more truthful and accurate. Likewise, innovations in halftone printing technology allowed trade journals like Engineering and Mining Journal to print photographic illustrations, which engineers perceived as being more objective representations of machines and heavy equipment than handmade engravings. The photo collections of three Lake Superior mining companies show that approaches to industrial photography varied according to company and industry. Lake Superior mines did not use photography as regularly or as systematically as large national corporations because mines did not have large public interfaces that sold consumer goods to the public.

La thèse poursuit comme objectif d’explorer la liaison entre le projet de paysage, conçu comme une intention de transformation soit matérielle soit immatérielle du territoire, en relation à la pratique photographique. Il s’agit d’une enquête interdisciplinaire qui essaie de comprendre les interactions possibles entre les deux matières, évitant une soumission de l’une à l’autre. Se matérialise un champ de recherche sur la culture du projet, orienté à déterminer les possibilités d’utilisation de la photographie comme contribution aux pratiques de conception de l’espace. L’étude problématique pose les questions suivantes: La photographie en tant que représentation et interprétation critique, joue-t-elle un rôle dans le processus matériel et immatériel de transformation du territoire? Quel est l’impact/l’influence sur la pensée projective d’une pratique de fragmentation sélective du paysage? Un mécanisme de re-production du réel, tel que la photographie, peut-il proposer une manière tangible de concevoir l’espace?Pour répondre à cette problématique la recherche développe une démarche méthodologique qui souhaite combiner un double niveau d’étude. D’un côté le parcours de connaissance générale, interrogeant le statut de la photographie en relation au paysage, au-delà d’une simple catégorisation d’un genre photographique. De l’autre côté une pratique expérimentale de l’action photographique dans le cadre d’une transformation de la côte du Sulcis Iglesiente, en Sardaigne: une tentative de représentation critique du territoire. La reconstruction d’une image du territoire passe par une prise de conscience et une mise en perspective de son évolution. L'intérêt général est de pouvoir construire la notion de « vision paysagère » comme action de voir spécifique, évitant la formation des stéréotypes ; une pratique capable de proposer un regard interprétative sur le paysage à travers le filtre de l’appareil photographique
The thesis aims at exploring the relationship between the landscape project, conceived as a discipline able to transform the material and immaterial territory, and the photographic practice . It is an interdisciplinary research that attempts to understand the possible interactions between the two branches of knowledge, avoiding the submission of one over the other. It is so conceived a field of research on the design culture oriented to determine the potential use of photography as a contribution to the conception of space. The study highlights some key issues: Can the photography, as representation and critical interpretation, perform a role in the process of transformation of the material and immaterial territory? What is the influence of a practice of selective fragmentation of the landscape on the design thinking? May a mechanism of reproduction of the reality propose a concrete way of conceiving the space?In order to answer these questions the research developed a methodology oriented to the combination of two levels of study. On the one hand the creation of a broad knowledge which examines the status of the photography in relation to the landscape, going beyond the simple categorization of a photographic genre. On the other hand an experimental practice of photographic action in the context of the coastal landscape of the Sulcis-Iglesias, in Sardinia. It is an effort aimed at a critical representation of the territory. The aim is to build a concept of vision paysagère, as a specific visual action, which avoids the formation of stereotypes. A practice able to offer an interpretative view on the landscape

The theme of the research the industrial photography in Italy frome 1933 to 1965. A period of Italian history marked by really significant changes, especially from issues related to the economy. About the methodology, the research considers the photograph not as an aesthetic object , but as part of a broader cultural path followed by the company in those years. In particular, the industrial photography has considered as a whole ideological product of large companies, made for propaganda purposes and to create an identity. The work is divided mainly into four historical chapters that identify as many temporal segments, which is accompanied by an introduction and a brief conclusion. The first chapter, from 1933 to 1939, shows how since the birth of IRI the industrial photograph knows a booming, thanks also to the great cultural ferment in all the arts and to the influence of German avant-garde. The second chapter, from 1940 to 1947, deal with the industrial photography during the second world war, analyzing the problems that led to a considerable loss of linguistic values built in the previous decade. The third chapter studies the period from 1948 to 1958, showing as the industrial photography, following the economic boom after the Reconstruction, has known her most interesting years. Chapter 1959-1965 focuses on the concerns that led to the season of the dispute, thus closing, even for the industrial photography, the historic years of its maximum expression.
La ricerca ha come tema la fotografia industriale in Italia dal 1933 al 1965. Un periodo della storia italiana segnato da importanti cambiamenti, soprattutto per gli aspetti legati all’economia. Dal punto di vista della metodologia il lavoro considera la fotografia non come oggetto estetico, ma come parte di un più ampio percorso culturale seguito dalla società in quegli anni. In particolare si pensa alla fotografia industriale come a un complesso prodotto ideologico delle grandi aziende, realizzato con scopi di propaganda e creazione d’identità. Il lavoro è suddiviso principalmente in quattro capitoli storici che identificano altrettanti segmenti temporali, ai quali si accompagna un’introduzione e una brevissima conclusione. Il primo capitolo, dal 1933 al 1939, mostra come dalla nascita dell’IRI in poi la fotografia conosca una forte espansione, merito anche del grande fermento culturale in tutte le arti e dell’influenza delle avanguardie tedesche. Il secondo capitolo, dal 1940 al 1947, si occupa della fotografia industriale durante la guerra, analizzando i problemi che portarono a una notevole perdita dei valori linguistici costruiti nel decennio precedente. Il terzo capitolo, dal 1948 al 1958 studia come la fotografia industriale, seguendo il boom economico del periodo seguente alla ricostruzione, abbia conosciuto i suoi anni più ricchi. Il capitolo dal 1959 al 1965 si concentra sulle inquietudini che portarono alla stagione della contestazione, chiudendo così, anche per la fotografia industriale, gli anni storici della sua massima espressività.

Digital technology and the Internet has fundamentally reshaped the way photographs are viewed and shared. Today designers can reach out and publish their work via web sites and blogs without having to rely on editorial features or even the objects being in production. Most people will only see the finished products on blogs or in magazines, and it is almost as though the image is more important than the real object. How does this change the role of the image in the field of product design and what new demands does it put on product photography? Through theoretical and applied research, the aim is to identify knowledge, relevant in order to approach the creation of images as an integrated part of the design process, rather then a form of documentation done after a project is completed.

This practice-based research study examines two questions in an effort to determine how the photographer can play a role in the promulgation of environmental activism. Firstly, I ask if certain aesthetic approaches to the documentation of industrial pollution can be regarded as antithetical to the values of environmentalism; in particular, I examine the use of the sublime and the role that beauty plays in documenting scenes of environmental despoliation. In response to this question, I describe the problems associated with establishing a counter-aesthetic position in my artistic practice, which is commensurate with environmental ethics. Secondly, I ask how photography can be used as a means of conducting environmental protest by working in solidarity with environmental scientists and activists, in the struggle for environmental remediation. In a bid to answer this question, I argue that the production and dissemination of the photobook is one method of realising the dissensual capacity of art to bring about the conditions necessary for remediation to occur. Importantly, my practice proceeds through an understanding of debates ongoing in contemporary theory. In particular, I argue that Jacques Rancière s conceptions of dissensus (Rancière, 2010: 173) and the politics of aesthetics (Rancière, 2004: 25) can be interpreted as a means of understanding how aesthetics can be used to enact a form of political praxis. Using Rancière and Murray Bookchin s concept of social ecology as a basis for my artistic practice, I claim that photography can not only make the existent reality of pollution visible, it can also initiate a form of participatory democratic subjectivity, allowing the demands of the artist to become visible too. Moreover, in the design and dissemination of the three photobooks I have created, I make a case for a collaborative model of artistic practice, which extends beyond the medium specificity of photograph, and embraces multimodality and trans-disciplinarity, as a means of situating the photograph into a broader discursive field.

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O estudo desenvolve reflexão sobre os limites e possibilidades de um processo de constituição de suporte para a memória e sobre a memória das extintas câmaras frias do Frigorífico Anglo de Pelotas. Utilizou-se de revisão bibliográfica, análise de acervos fotográficos atuais e históricos e depoimentos de ex-trabalhadores para compreender como essas unidades fabris apresentaram trajetórias de patrimonialização tão diversas. As fábricas de Pelotas (Brasil) e Fray Bentos (Uruguay), foram implantadas pelo grupo inglês de beneficiamento de alimentos de origem animal, Vestey Brothers. O estudo parte de considerações sobre o desenvolvimento da indústria frigorífica na Argentina, Uruguai e Brasil, mais especificamente no Rio Grande do Sul, para compreender a relação entre os valores que determinaram o nível de proteção das plantas fabris remanescentes nesses lugares. Especificamente no caso brasileiro, observa-se como a ocupação do antigo Frigorífico Anglo pela Universidade Federal de Pelotas, provocou uma série de obras para adaptar a antiga indústria em um campus universitário provocando a descaracterização do conjunto. O foco do levantamento de dados e da análise centrou-se nas câmaras frias, sobre as quais se estabeleceu a observação comparativa entre os dois lugares. Apresentam-se as câmaras frias como o local mais identificador dessa fábrica e discute-se como a sua eliminação indica o abandono da proteção do patrimônio industrial em foco. O Arquivo Fotográfico e outros acervos existentes no Uruguai sobre o extinto, Frigorífico Anglo del Uruguay, localizado em Fray Bentos, declarado como Patrimônio Cultural da Humanidade em 2015 foi a base dessa consideração, contrapondo-se a ela a documentação gerada na derradeira intervenção que inabilitou o local das câmaras frias na extinta unidade pelotense. Fotografia, patrimônio industrial e a construção da memória são as bases do tripé conceitual desta investigação, cuja meta é aportar conhecimento ao conjunto remanescente do Frigorífico Anglo de Pelotas.
The study develops a reflection about the limits and possibilities of a process of constitution of support for the memory and about the memory of the freezer buildings of Frigorífico Anglo de Pelotas. It was used a literature review, analysis of current and two historical photographic collections and testimonies of former workers to understand how these plants showed patrimonialization paths as diverse. The industrial plants of Pelotas (Brazil) and Fray Bentos (Uruguay), were implemented by the English group of animal food processing, Vestey Brothers. The study starts of considerations about of the development of the meatpacking industry in Argentina, Uruguay and Brazil, more specifically the Rio Grande do Sul state to understand the relationship in between the values have determined the level of protection of remaining manufacturing plants in these places. In the Brazilian case, it is observed as the occupation of meatpacking industry Anglo for the Universidade Federal de Pelotas, caused a series of works to adapt the old industry at a university campus leading to mischaracterization of the assembly. The focus of the data collecting and analysis focused in the freezer buildings over which has established the comparative observation between the two places. Are shown the freezer buildings as the most identifier place of this factory and discusses how their elimination indicates the abandonment of the protection of industrial heritage in focus. The Photographic Archive and other existing collections in Uruguay about the extinct, Frigorífico Anglo del Uruguay, located in Fray Bentos, declared as World Cultural Heritage in 2015 was the basis of this consideration, in opposition to it the documentation generated in the last intervention that unfitted to the place of freezer buildings in the former Pelotas unit. Photography, industrial heritage and building of the memory is the basis of the conceptual tripod of this investigation, whose aim is to provide its expertise to the remaining set of the Frigorífico Anglo de Pelotas.
El estudio desarrolla una reflexión acerca de los límites y las posibilidades de un proceso de formación de soporte para la memoria y acerca de la memoria de las extintas cámaras frías del Frigorífico Anglo de Pelotas. Se utilizó la revisión de la literatura, el análisis de colecciones fotográficas actual y dos colecciones históricas y testimonios de ex trabajadores para entender cómo estas plantas mostraron caminos de patrimonialización tan diversos. Las fábricas de Pelotas (Brasil) y Fray Bentos (Uruguay), se llevaron a cabo por el grupo de Inglés de elaboración de alimentos de origen animal, Vestey Brothers. El estudio parte de las consideraciones acerca del desarrollo de la industria frigorífica en Argentina, Uruguay e Brasil, específicamente Rio Grande do Sul. para comprender la relación entre los valores que determinaron el nivel de protección de las instalaciones fabriles restantes en estos lugares. En el caso de Brasil, se observa como la ocupación del antiguo Frigorífico Anglo por la Universidad Federal de Pelotas, he causado una serie de obras de adaptación de la industria en un campus universitario empezó a desfigurar el aspecto original del conjunto. El foco del levantamiento de datos y el análisis se ha centrado en las cámaras de frío, sobre el que se estableció la observación comparativa de las dos ubicaciones. Presentan las cámaras frías como el área más identificador de esta fábrica y discute cómo su eliminación indica el abandono de la protección del patrimonio industrial en el foco. El Archivo Fotográfico y otras colecciones existentes en Uruguay acerca del extinto, Frigorífico Anglo del Uruguay, ubicado en Fray Bentos, declarado Patrimonio Cultural de la Humanidad en 2015 fue la base de esta consideración, oponiéndose a ella la documentación generada en la última intervención que incapacitó el local de las cámaras de frío en la antigua unidad de Pelotas. Fotografía, patrimonio industrial y la construcción de la memoria es la base del trípode conceptual de esta investigación, cuyo objetivo es ofrecer conocimiento al conjunto restante del Frigorífico Anglo de Pelotas.

Orientador: Roberto Berton de Ângelo
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este estudo se propõe a observar a obra fotográfica de Bernd e Hilla Becher, um casal alemão que se dedicou ao registro fotográfico de construções industriais por quase meio século. Dividido em três capítulos, o texto busca abordar um pouco da história de vida e do processo artístico dos fotógrafos, bem como suas influências, influenciados e a conjuntura artística que os cercava. Para tanto o trabalho se baseou em pesquisa bibliográfica acerca das fotografias becherianas, bem como da arte (especialmente a fotográfica) feita no período que vai - com maior ênfase - do início do século 20 até o início dos anos 1990 deste mesmo século. Através da pesquisa foi possível obter uma concisa definição da fotografia becheriana, sua influência junto aos fotógrafos atuais, bem como um diálogo entre a arte e a sociedade das quais foi contemporânea
Abstract: This study intends to be a general investigation about the Becher's photograph view, a german couple who devoted your lifes to the registration of industrial buildings for almost half century. Divided into three chapters, the text examine to some extent - or some fragments - of the history of life and the artistic process of the photographers, as well as their influences and the artistic situation around them. Then, this work was based on literature about the Becher's photograph and art (especially photographic) made in the period - with emphasis - from the early 20th century until the early 1990s this same century. Through research it was possible to obtain a concise definition of their photography, yours influence with the current photographers as well as a dialogue between art and society from which it was contemporary
Mestrado
Multimeios
Mestre em Multimeios

The thesis aims at exploring the relationship between the landscape project, conceived as a discipline able to transform the material and immaterial territory, and the photographic practice . It is an interdisciplinary research that attempts to understand the possible interactions between the two branches of knowledge, avoiding the submission of one over the other. It is so conceived a field of research on the design culture oriented to determine the potential use of photography as a contribution to the conception of space. The study highlights some key issues: Can the photography, as representation and critical interpretation, perform a role in the process of transformation of the material and immaterial territory? What is the influence of a practice of selective fragmentation of the landscape on the design thinking? May a mechanism of reproduction of the reality propose a concrete way of conceiving the space? In order to answer these questions the research developed a methodology oriented to the combination of two levels of study. On the one hand the creation of a broad knowledge which examines the status of the photography in relation to the landscape, going beyond the simple categorization of a photographic genre. On the other hand an experimental practice of photographic action in the context of the coastal landscape of the Sulcis-Iglesias, in Sardinia. It is an effort aimed at a critical representation of the territory. The aim is to build a concept of vision paysagère, as a specific visual action, which avoids the formation of stereotypes. A practice able to offer an interpretative view on the landscape.

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Laneira Brasileira Sociedade Anônima, located at the district of Fragata in the city of Pelotas, Rio Grande do Sul, Brazil, was an important factory for the Pelotas' community. For more than 50 years it helped the social and economical development of the city through activities focused in wool production and commercialization. In 2003 the factory terminated its activities due to bankruptcy. In the year of 2010 Universidade Federal de Pelotas, Federal University of Pelotas, bought the Laneira's building to install some branches of the University and to create a memorial of the extinct factory. Inside of the building a variety of artifacts, like photographs, were found which can lead to new interpretations of the factory's path. This study will discuss photography as historical documents to the industrial heritage, in the Laneira Brasileira S. A.'s case, evidencing systematic methodologies which can bring information about the manufacturing of this company. It is believed that the organization of the Laneira's photographic collection is fundamental to understanding its history while the factory was in full operation. This organization contributes to the creation of the memorial related to this patrimonial heritage of Pelotas
A Laneira Brasileira Sociedade Anônima, localizada no Bairro Fragata, em Pelotas/RS, foi uma importante indústria para a comunidade pelotense, ajudando no desenvolvimento econômico e social da cidade, por meio das atividades voltadas para produção e comercialização de lã, durante mais de cinquenta anos. Devido à falência, a Laneira encerrou seu processo de beneficiamento da lã em 2003. No ano de 2010, foi adquirida pela Universidade Federal de Pelotas para a instalação de novas unidades da instituição, bem como a constituição de um memorial sobre a extinta indústria. De seu espaço foram resgatados inúmeros artefatos materiais, os quais levam a imaginar e a reinterpretar a trajetória desse local, como as fotografias. O presente trabalho objetiva discutir as possibilidades da fotografia como suporte para o patrimônio industrial, no caso do Memorial da Laneira Brasileira S. A., evidenciando metodologias de sistematização que possibilitem trazer informações a respeito do trabalho fabril dessa indústria. Acredita-se que as ações efetivadas para a organização do acervo fotográfico da Laneira sejam fundamentais para a compreensão de sua história no período de seu funcionamento, contribuindo para a criação do memorial referente a esse patrimônio industrial pelotense

A quantificação colorimétrica da pele do rosto humano apresenta uma grande dispersão de valores. Esta dispersão varia de acordo com o espaço de cor (HSV ou YCbCr) adotado para a análise e quanto menor a dispersão mais adequado é o espaço ao reconhecimento facial. O objetivo deste trabalho é analisar a distribuição estatística da colorimetria de imagens de rostos digitalizadas. A análise poderá dizer se as coordenadas de cor, tais como saturação, matiz e valor podem auxiliar em técnicas de reconhecimento de faces. Como resultado da análise, espera-se concluir qual dos sistemas de coordenadas de cor (HSV ou YCbCr) é o mais adequado à aplicações em reconhecimento facial. Os resultados obtidos serão apresentados com fundamentação no design da informação. O grande número de amostras fotográficas disponíveis para análise (530) e o correto equilíbrio de iluminação, contraste e temperatura de cor constituem o principal diferencial desse trabalho.
The colorimetric quantification of the human face skin presents a large dispersion of values. This dispersion varies according to the color space (YCbCr or HSV) adopted for the analysis. The smaller the dispersion the more appropriate is a certain color space for face recognition methods. The objective of this paper is to analyze the colorimetric statistical distribution of digital face images. The analysis will show how color coordinates (such as hue, saturation and brightness), can help with facial recognition techniques. The result of this analysis will tell which color space (HSV or YCbCr) is more adequate to be used in face recognition systems. The results obtained will be presented in accordance with the fundamentals of information design. The large number of photographic samples available for analysis (530) and the right balance of lighting, contrast and color temperature are the main differential of this work.

From the 1880s, a new type of designed green space appeared in the industrial landscape in England and the USA - the factory pleasure garden or park. At the same time, industrialists began to enhance their office and factory buildings with landscaping and planting, and some opened allotment gardens for the children of factory workers. The making of gardens and parks around or near office and factory buildings, designed by professionals, was driven by belief in the value of gardens and parks to recruitment and retention of staff, to industrial welfare, and to advertising, corporate identity and public relations. The thesis will show how industrialists appropriated the historical, cultural and metaphorical meanings of gardens in a bid to redefine industry as progressive and responsible and to shift the image of factory labour from unhealthy and exploitative to healthy, caring, respectable and sociable. The thesis will argue that companies employed landscape professionals to contribute to a positive image of industry and industrial development in the suburban or rural landscape, and to harmonise industry and nature. It will show how the factory gardens and parks supported numerous and varied opportunities for outdoor recreation that in some districts would not have been so readily accessible to working people, particularly to women and young people. The thesis will show how companies exploited the social and cultural capital of gardens and recreation space through photography, illustration and film for promotional purposes. It will suggest that although the sporting and other outdoor recreational opportunities at factories were likely to be beneficial to many, the greater value to companies of factory pleasure gardens was in advertising and public relations. The thesis will build on existing research that highlights the valuable contribution of industry to sports and recreation provision in this period. It will also suggest that industry had more influence on gardens and gardening than is currently understood.

Durant la période de prospérité des années 1920, avec l’accroissement de la consommation résultant de la seconde révolution industrielle, de nouvelles stratégies commerciales se mettent en place. Alors que la publicité moderne en est à ses premiers balbutiements, les Éditions Paul-Martial — qui sont créées à Paris en 1926 — deviennent, grâce à leur fondateur Paul Martial Haeffelin, une des entreprises les plus novatrices dans le domaine. Elles proposent plusieurs types de prestations : la conception de lignes graphiques, de logotypes, d’affiches, d’annonces, d’encarts qui sont publiés dans les magazines, l’édition de brochures, catalogues et ouvrages publicitaires, ou encore la conception de stands d’exposition. L’entreprise se spécialise dans le domaine industriel. Elle est dotée d’un atelier de graphisme et de typographie, d’une imprimerie et d’un studio photographique. Entre 1929 et 1960, de nombreux reportages extérieurs sont également réalisés sur l’ensemble du territoire français à la demande de grandes sociétés comme la Compagnie des Forges et Aciéries de la Marine et d'Homécourt, les Établissements Arbel, la Société des aéroplanes Henry Potez, la SNCF, Schneider & Cie, Moët & Chandon ou encore l’OTUA. Les archives du studio photographique de l’entreprise sont aujourd’hui réparties dans quatre grandes collections : celle du musée d’art moderne et contemporain de Saint Étienne Métropole, celle du département des estampes et de la photographie de la Bibliothèque nationale de France, celle du Kunstmuseum de Bâle et celle du collectionneur Marc Pagneux. Elles permettent de constater que l’entreprise a œuvré à la promotion de l’industrie durant plus de trente ans en développant une esthétique photographique propre à l’époque, faisant preuve de nombreuses affinités avec l’avant-garde artistique
During the prosperity period of the 1920’s, new commercial strategies are implemented since the consumers society expands as the result of the second industrial revolution. At the beginnings of modern advertising, the Éditions Paul-Martial — created in Paris in 1926 — became, thanks to their founder Paul-Martial Haeffelin, one of the most innovative compagny in this field.Specialized in the field of the industry, the Éditions Paul-Martial offer several kinds of services : the design of graphical lines, logos, posters, advertisements, inserts that are published in magazines, the edition of brochures, catalogs and advertising works, or the design of exhibition stands. The compagny is equipped with a workshop of graphic design and typography, a printing press and a photographic studio. From 1929 to 1960, many external reports were also made on the whole French territory at the request of large companies such as the Compagnie des Forges et Aciéries de la Marine et d'Homécourt, the Établissements Arbel, the Société des aéroplanes Henry Potez, the SNCF, Schneider & Cie, Moët & Chandon or the OTUA.Today, the archives of the company’s photographic studio are mainly divided into four large collections: that of the musée d’art moderne et contemporain de Saint-Étienne Métropole, of the departement des estampes et de la photographie of the Bibliothèque nationale de France, of the Kunstmuseum Basel and that of the Marc Pagneux collection. Their study allows to note that the Paul Martial editions have worked for the promotion of industry for over thirty years. During the years between the two world wars, the photographers of the company have developed an aesthetic which is characteristic of this period, having many affinities with the avant-garde art movement

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The general objective of this research is to verify which attributes are most relevant to a stock photography agency that represent the purchaser's standards of choice. For this objective to be accomplished, qualitative interviews with the customers of stock photography agencies had been made in order to raise the attributes considered with relevance in the process of choice for the Brazilian stock photography agency market. The levels of each attribute to be tested had arisen through the mapping of the products and services offered by the competition and the relative weight assigned to each one of the attributes related to the research in the choices for a stock photography agency. A transversal study was made with a sample of stock photography agencies customers from Brazil¿s Southeastern region. For the analysis of this data, a survey method was used, that, according to MALHOTRA (2006: 182), involves a structuralized questionnaire to be answered by an interview that elucidates specific information, in which the questions had a predetermined order. This questionnaire was presented through interviews on the Internet. The method adopted for this analysis was a joint analysis. A sampling of 1000 customer stock photography agencies were selected, which were represented by a didactic book editor, advertising agencies, editorial companies, etc., in the states of Rio de Janeiro, São Paulo, Espírito Santo and Minas Gerais. They had been obtained by 16 stimulations, or cards, for the application of the companies. Of the sample of 1000 customers of stock photography agencies, 7,8% responded to the research. The attribute most relevant in accordance with the presented results is the availability of images in high resolution for layout. Its relative importance was 40,78%. At the end of the study, the management implications were propitiated to the stock photography agencies managers inabling them to be more competitive.
O objetivo geral desta pesquisa é verificar quais são os atributos mais relevantes de um banco de imagens que representem os padrões de escolha dos compradores deste mercado. Para que tal objetivo fosse alcançado, foram realizadas entrevistas qualitativas com os clientes de banco de imagens a fim de levantar os atributos considerados relevantes no processo de escolha do mesmo dentre os bancos de imagens existentes no mercado brasileiro. Levantaram-se os níveis de cada atributo a ser testado, através do mapeamento dos produtos e serviços ofertados pela concorrência, e estimou-se o peso relativo a cada um dos atributos relacionados na pesquisa na escolha de um banco de imagem. Realizou-se uma pesquisa descritiva, um estudo transversal único de onde foi extraída de uma população de clientes de bancos de imagem no Brasil uma amostra de clientes de banco de imagem da região Sudeste. Para a análise destes dados, utilizou-se o método de levantamento, que, segundo MALHOTRA (2006:182), envolve um questionário estruturado a ser respondido pelos entrevistados que elucida informações específicas, no qual as perguntas possuíam uma ordem predeterminada. Este questionário foi apresentado através de entrevistas pela Internet. O método adotado para a análise dos dados foi análise conjunta. Para este estudo foi selecionada uma amostra de 1000 clientes de bancos de imagens, que são representados por agências de publicidade, editoras de livros didáticos, empresas de editoriais etc, nos estados do Rio de Janeiro, São Paulo, Espírito Santo e Minas Gerais, e foram obtidos 16 estímulos ou cartões para a aplicação junto às empresas. Da amostra de 1000 clientes de bancos de imagem, 7,8% responderam à pesquisa. Através desta pesquisa verificou-se que o atributo mais relevante foi a disponibilidade de imagens em alta resolução para layout. Sua importância relativa foi de 40,78%. No final do estudo, as implicações gerenciais propiciaram aos tomadores de decisão de bancos de imagens fatores que poderão torná-los mais competitivos.

Cette étude se consacre au développement et au fonctionnement des banques d’images des années 1920 à nos jours, à partir du cas formé par deux entreprises liées par leur histoire : le fonds crée à Berlin en 1933 par la bibliothèque, historien et hommes d’affaires Otto Bettmann et le groupe Corbis, agence spécialisée dans le commerce de reproductions numériques fondée en 1989 par Bill Gates, créateur de Microsoft. Les banques d’images développent des méthodes sophistiques et efficaces d’archivage, de gestion et de diffusion des photos. Elles assument un rôle essentiel dans l’industrialisation de la photographie et façonnent notre culture visuelle. Comment les informations associées aux images contribuent-elles à leur conférer une valeur ? Comment les contraintes de l’efficacité économique influencent-elles la matérialité et le statut de la photographie ? Sur quels principes reposent les collections à vocation commerciale ? Que racontent les pratiques des banques d’images sur la photographie et sur la place des images dans les sociétés développes ?
This study traces the history and development of image banks from the 1920s to the present through the example of two interrelated companies: the Bettmann Archive, a commercial picture library established by the librarian, historian and entrepreneur Dr. Otto Bettmann around 1933 in Berlin and the visual content provider Corbis, owned by Microsoft founder William H. Gates and specialized in the sale of digital and digitalized images for print and web. Providing the image infrastructure, image banks have adapted ever-more sophisticated and efficient methods of storage, administration and distribution. As filters and catalysts, these “capitalist machines” influence and regulate the flow of images, ultimately shaping visual culture. How does the information associated to an image as well as the specific forms of analogue and digital archiving and image retrieval contribute to its value ? How does the dictate of economic efficiency shape and influence the materiality and status of photography? What concepts of photography are behind the collection of photographs for commercial purposes and what do the practices of image banks tell us about photography? What do they tell us about the image?

L’oggetto di indagine considerato nella ricerca è il rapporto tra grafici e fotografi in Italia tra gli anni Cinquanta e Settanta all'interno della produzione di artefatti pubblicitari a stampa. Prendere in esame, osservare e indagare tali relazioni ha significato identificare i protagonisti e ricostruire una vicenda lacunosa e dimenticata dalla storiografia ufficiale. L'indagine, svolta grazie alla combinazione di dati quantitativi, fonti secondarie e materiali d’archivio, intende offrire un resoconto ragionato sul dialogo che fotografia e grafica hanno affrontato in ambito pubblicitario. Si tratta dunque di un viaggio teso a ricostruire una cartografia, dai tracciati multipli, che si propone non solo di portare alla luce le relazioni fra grafici e fotografi ma anche quelle intercorse fra altre figure professionali coinvolte e i loro committenti, delineando il clima culturale e storico in cui si sono consolidate queste collaborazioni e aprendo la strada per possibili ricerche future sulla tematica. Attraverso la digitalizzazione della pubblicazione Pubblicità in Italia: Suggestioni Pubblicitarie, edita dal 1953 al 1987 dall'Ufficio Moderno, è stata sviluppata la piattaforma www.pubblicitainitalia.com. Creata come supporto alla ricerca storica, diventa un tool open source utilizzabile e implementabile per ulteriori ricerche, permettendo inoltre la verifica e l'incrocio dei dati con quelli provenienti dagli archivi e dalla letteratura di settore. L’ampia quantità di dati digitalizzati ha permesso di rilevare pattern, ricorrenze e relazioni con l'obiettivo di elaborare osservazioni storiche su di essi. Sono state così identificate tre fasi, la prima dal 1953 al 1960, la seconda dal 1961 al 1970 e la terza dal 1971 al 1980, ognuna delle quali riflette su determinati nodi storici che intersecano grafica e fotografia.

On considère, dans ce travail, le problème de la qualité des photos délivrées après traitement et tirage en laboratoires de développement rapide. L'application des algo-rithmes développés ne se limite pas au domaine des mini-laboratoires mais concerne aussi les interfaces graphiques dans lesquelles les procédés tels que le tirage ou le ma-quillage sont simulés ou encore la retauration d'images. Notre travail se divise en trois parties principales. La première consiste en la caractérisation de l'environnement de recherche; lors de cette étude, on calibre les différents appareils ayant servi à l'aqui-sition des images; on présente les résultats de deux calibrations, celle de la caméra CCD PogRes 3012 et celle du scanner Sprintscan de Polaroid. La deuxième partie est consacrée à la reconnaissance automatique des photos mal prises. Des algorithmes ont été développés afin de reconnaître les candidats à la correction en tenant compte des contraintes industrielles; la méthode d'ajustement pour les fonctions non-linéaires selon Marquart combinée à l'analyse multi-échelle est comparée ici avec d'autres algo-rithmes. La question de restauration est traitée dans une troisième partie. On propose une méthode de restauration basée sur l'utilisation de masques binaires modifiés a un niveau de la transition entre la zone de correction et le reste de l'image. On compare l'effet de différents filtres permettant le lissage de la zone de transition, dont celui basé sur la diffusion. Des critères psychophysiques sont utilisés afin de minimiser l'effet de halo résultant de l'utilisation des masques de correction. Les problèmes concernant les modifications de couleurs lors de la correction sont expliqués et pris en compte. De ces travaux de recherche, il ressort donc le développement d'un procédé de reconnaissance et de correction photographique automatisé dont on peut envisager l'implantation dans les mini-laboratoires.

La notion de « Conception de l’Apparence Assistée par Ordinateur » (CA²O), apparue `a la fin des années 90, est une branche de la CAO traitant plus spécifiquement de l’aspect des matériaux. La CA²O pourrait être un outil déterminant pour la prise de décision lors des phases de conception des produits manufacturés. Pourtant, alors que de nos jours la maquette numérique a presque totalement supplanté la maquette physique en ce qui concerne le choix de la forme, la détermination des couleurs et des matières passe encore essentiellement par la réalisation d’un ou plusieurs prototypes réels. Ce travail de recherche pose la problématique de la prise décision liée `a l’apparence sur la base d’une simulation en images de synthèse. Cette approche pragmatique permettant le lien entre réel et virtuel constitue dans ce domaine un nouveau paradigme qu’on appellera le rendu iso-photographique
The so-called “Computer Aided Appearance Design” (CA²D), which emerged in the late 1990s, is a branch of CAD dealing specifically with the appearance of materials.CA²D could be a key tool for decision-making in the design phases of manufactured products. However, while nowadays the digital model has almost completely superseded the physical model as far as the choice of shape is concerned, the determination of colours and materials still essentially requires the production of one or more real prototypes. This research workraises the issues of decision-making related to appearance on the basis of a computer-generated image simulation. This pragmatic approach allowing a link between real and virtual provides in this field a new concept that we shall call iso-photographic rendering

Autour de 1900 paraissent de nouveaux types de photographies, à réseau, qui donnent par elles-mêmes une illusion de profondeur ou d'animation. La première partie de ce travail est consacrée à l'invention et aux sources théoriques de ces procédés, puis à la production jusqu'en 1950 (portraits, notamment). Cette histoire révèle une fascination pour les progrès techniques de la photographie qui tendent vers l'utopie de ce qui peut être appelé le naturalisme perceptif. La seconde partie analyse la commercialisation du réseau après 1950. D'autres formes techniques sont inventées afin de permettre des utilisations neuves à plus grande diffusion (porte-clés, cartes postales, photographie d'amateur, etc. ). Le réseau est maintenant recherché pour des effets ludiques, souvent plus sommaires qu'autrefois et peu naturalistes. Nous analysons les formes commerciales de cette imagerie (nature physique, usages, esthétique) comme révélatrices du sens de la photographie à réseau à différentes époques
Circa 1900, new kinds of photographs appear that use screens to give the illusion of depth or of animation. The first section of this dissertation discusses the invention and the theoretical sources of these new processes and their uses up until 1950 (for portraits, in particular). The analysis of this era reveals a fascination for the advance of photographic innovation towards the imitation of human perception of the natural world. The second section studies the commercialization of screen photography after 1950. Innovative physical forms were invented in order to allow new, more widespread uses of the processes (key chains, postcards, amateur photography, etc. ). Screens were used to create intriguing illusions, often simplified with respect to the past and not as naturalistic. The commercial forms of such imagery (physical presentation, uses, aesthetics) are analyzed to understand the meaning of screen photography for the public of different periods

Ces recherches déplient les pans de la médiatisation des événements de mai juin 1968 en France par la presse magazine et les entreprises du photojournalisme au cours des 45 dernières années. L'étude de cas du dit Mai 68 donne la mesure de la construction de l'histoire par le journalisme en faisant le choix de l'analyse à l'échelle de l'événement. Une chaîne éditoriale conduit à l'élaboration des récits médiatiques ; elle n'a pas vocation à être vue, les médias revendiquant leur objectivité, leur transparence. Restituer la place des images dans ces élaborations, les considérer sous l'angle de l'occurrence éditoriale met en évidence cette chaine et le rôle des images dans la mise en forme des événements et leur qualification. Elle amène à prendre la mesure du rôle de l'éditeur dans ces élaborations médiatiques. La démarche historienne et culturaliste redonne sa place à l'agence de photographie, entreprise qui exploite/commercialise les images. La description de sa structure -indexation/photothèque ; editing/édition, notamment - contextualise la production des corpus visuels et indique l'impact de ces structures entrepreneuriales sur la mise en récit des événements. La valorisation de ces images, en une histoire encore très corporatiste, entre alors en jeu : l'autorité culturelle de ces représentations repose sur des éléments de légitimations professionnelles. Enfin, la multiplication des opportunités éditoriales est un besoin structurel de ce qu'il convient de considérer comme une industrie culturelle. Les effets de répétitions des corpus visuels, particulièrement lors d'anniversaires ou « commémorations », justifiées par une archive photographique finie, s'expliquent aussi par le souci de la réutilisations de certains fonds d'images. La circulation de ces représentations conduit à la circularité et la fixation des récits médiatiques des événements historiques selon des mécanismes caractéristiques des constructions culturelles (L. W. Lewine).

Capturing Appalachia: Visualizing Coal, Culture and Ecology, draws on extensive ethnographic, archival, and ecographic research conducted across Appalachia between 2014-2016 to develop an empirically informed sociological image of the interactions between culture, geography, and industry. Of particular interest are the ways that extractive cultures in Appalachia are constructed and communicated, and so the project includes archival work researching historical images as well as fieldwork focused on the production of images. Drawing on the traditions of cultural and ‘green’ criminologies, geography, and critical ecotheory, concluding that the cultural, political, and ecological worlds of Appalachia exist in a dialectical relationship with one another, and that at the center of each is an intense cultural relationship with the region’s historic and contemporary capture (cultural, economic, and ecological) by resource extraction. These dialectical relationships are made clear in the visuality of Appalachia, with paradigms frequently challenged by the production of countervisual narratives in productions spanning photography, literature, cinema, and media. The project constitutes the first extensive empirical application of the suggestions of an emergent green-cultural criminology. This research contributes significantly to the existing theoretical literature on extractive cultures through the development and application of the concept of ‘capture’, which is employed in throughout and which constitutes a central concept the project. The concept of ‘regulatory capture’ informs much of the existing sociological literature on harmful industry. Expanding on the concept of ‘capture’, I consider the capture of Appalachian economies by a single industry (economic capture), the capture of cultural production by the dominant industry (cultural capture), the legal capture of material landscapes by industry (ecological capture), the visual-mechanical capture of images of ecology and culture (photographic capture), and finally, the capture of ecology and people by an emerging industry of incarceration (carceral capture).

This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.

Un film est une œuvre de collaboration qui se nourrit des différentes sensibilités des professionnels qui le font et qui épaulent, de manière plus ou moins significative, son auteur. Notre réflexion se situe au moment charnière de toute œuvre artistique, sa création. L’étude de la poétique du film, des processus de sa fabrication, permet d’en comprendre plus profondément les enjeux esthétiques. En abordant spécifiquement les relations de collaboration chez le réalisateur portugais Manoel de Oliveira, il s’agit d’enquêter sur la façon dont les rapports idéologiques, personnels et professionnels que le cinéaste noue avec quelques-uns de ses collaborateurs déterminent la conception de l’image, du montage, du choix des acteurs et du processus d’adaptation d’une œuvre littéraire. Les professionnels choisis sont l’acteur portugais Luis Miguel Cintra, la monteuse française Valérie Loiseleux, le directeur de la photographie suisse Renato Berta et la romancière portugaise Agustina Bessa-Luis. En analysant ces relations bilatérales, ce travail se demande comment la présence du collaborateur influence la conception de la mise en scène d’Oliveira et comment le fait d’être un interlocuteur privilégié du réalisateur portugais détermine la suite de la carrière de quelques-uns de ces collaborateurs. Sans mettre en doute le cinéma d’auteur, nous croyons néanmoins au cinéma de collaboration, un cinéma qui dit « nous » au lieu de « je », où le collaborateur est non seulement un témoin du faire cinématographique, mais aussi une surface sensible, une présence active et constamment mise à l’épreuve dans le processus de création qu’il intègre – et qui l’intègre
A film is a collaboration work that feeds on the different sensibilities of the professionals who make it and contribute, more or less significantly, to its author. This study focuses on the key moment of every work of art, its creation. The study of the poetics of film – the making of film – allows for a more profound understanding of the aesthetic challenges involved. Specifically addressing the collaborative relationships of Portuguese filmmaker Manoel de Oliveira, involves inquiring how the ideological, personal and professional relationships the filmaker has with his collaborators determines his concepts of image, editing, his choice of actors and the process of adapting a literary work. The chosen professionals are Portuguese actor Luis Miguel Cintra, French editor Valerie Loiseleux, Swiss Cinematographer Renato Berta and Portuguese novelist Agustina Bessa-Luis. By analyzing these bilateral relationships, this study questions how the presence of the collaborators influences the concept of Oliveira’s scene setting, as well as how being a privileged interlocutor of the Portuguese filmmaker influences the careers of these collaborators. Without calling the author’s work into question, we believe in collaborative cinema, a cinema that says « us » instead of « me ». A cinema where the collaborator is not only a witness to the making of films, but also a sensitive surface and an active presence put to the test in the creation process which he integrates and integrates him

This dissertation contextualizes and interprets several hundred photographs illustrating six books of poetry by Paul Laurence Dunbar. Although their significance as cultural landmarks is largely unrecognized today, they rank among the largest and most widely distributed bodies of photographs of African Americans in American visual culture. Published between 1899 and 1906, the images in the Dunbar books represent a counterpoint to the much-emphasized publicity photographs made concurrently for the school by Frances Benjamin Johnston, complicating simplistic conclusions about the nature of Hampton Institute and the industrial education movement. Drawing upon substantial original research on the predominantly white Hampton Institute Camera Club and its institutional context, and presenting a biographical portrait of the lead photographer, Leigh Richmond Miner, this study ultimately traces a history of photography at Hampton Institute from the 1890s through the 1920s, reproducing more than 150 unpublished and unrepublished images. This study reveals that the photographs in Dunbar’s works were created explicitly to reconceive pictorial representations of African Americans, and to subtly discredit any reductive conventional perception of racial character altogether. By depicting their subjects photographically, the members of the Hampton Camera Club sought to undermine essentialist characterizations--both derogatory and sentimental--by presenting their subjects as self-determining and multifaceted individuals. In their use of serial photography and by employing African-American creative forms, the books ultimately suggest vernacular origins of a disjunctive, Modernist aesthetic, casting both Dunbar and Hampton as proponents of modernity rather than as icons of retrogressive racial politics.
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This project explores a reinterpretation process of a deindustrial site through landscape architecture. By using the industrial process to guide the formation of the landscape, spaces, and experiences, a semi-abandoned industrial site is transformed into a cultural park. The purpose of the project is to articulate the intriguing qualities of a deindustrial site and respond to them through a design process that is sensitive to the history and character of the site, while allowing contemporary uses and experiences to evolve.
February 2008

碩士
大葉大學
國際企業管理學系碩士在職專班
97
Businesses can affect the consumer behaviors and transmit the product informa-tion via the advertisement. The research focuses on how the research variables affect the advertising effects. The research variables include advertising types, types, wedding photographs types and vital statistics variables. The advertising effects consist of adver-tising attitudes, product attitudes, advertising recalling and purchasing intentions. The advertising types involve billboards, magazines, radio, mails, Internet and flags. The wedding photographs types contain wedding photographs, wedding photographs plus baby photographs and wedding photographs plus family photographs. The vital statis-tics variables consist of education backgrounds, incomes and consumers’ tendencies. Based on the experiment result, the marketing strategy is proposed. On the vari-ous education backgrounds, businesses can put advertising exposure on the consumers with the high educations. On the different wedding photographs types, businesses can make different advertising based on the various wedding photographs. On the different consumers’ tendencies, businesses can put more advertisements on the consumers with various tendencies to increase the purchasing intentions.

碩士
國立中山大學
企業管理學系研究所
94
Abstract The economical pioneer of new era ─ The cultural and creative industries become the chief pattern in New Economy. I take the example of “bridal photography industry” which is deep into the Chinese culture, and still act as a role model after going through industry life cycle, to found a successful pattern for cultural and creative industries. The applications to the cultural and creative industries from the key success factors in bridal photography Industry are as follow： 1. The cluster effect is shown not only in the “bridal photography street” but other kinds of cultural and creative industries. 2. The vertical and horizontal integration concepts in the wedding industryi chain can be applied to cultural and creative industries, it can create more production value for the firm ─ for the cultural and creative enterprises, “industrialization” is the key point, to make it work, the enterprises should dropped their preconceived ideas and cross their limitation, thus they could compete with each other under the developing process of industry. 3. Value-added application ─ First--Differentiation：it makes the bridal photography industry become the specialty in Taiwan; Second--Duplication—standardization、high level expression and module：while considering the booming expansion, cultural and creative industries can learn from the concept of cost-down in mechanical industry, that is, make their product duplicable, come off the hand-made, and develop successful module; third – Authorization. The original creation process of cultural and creative industries is extremely tough, if they can use the authorization well, then they should create more production value and influence. 4. The technology urged the industry to go for two extremes：The very few artists standing on the top, and the main stream of industry which caters to trend; embracing technology is the best option when cultural and creative industries confront new era. 5. Open up the exporting and tourism markets. 6. The blue ocean strategy for individualization era – The new consumption stage：selling the wonderful lifestyle, customer-orientation、emotional marketing、symbolic economic and luxury marketing; using the human resources well and creating high value-added. Other warnings are about the difficult financing policy, the over-supply after industrialization, the competitor after globalization and the extra pressure problems from social economic state. The cultural and creative enterprise and the industry should drop the preconceived ideas or take others to slightly, they should learn the advantages from each other：The cultural and creative enterprise should emulate the concepts of standardization、high level expression、module or cost-down from industry, and the industry can observe the variation ability of duplication form The cultural and creative enterprise, and create high value-added by authorization.

The Internet has been serving as an effective marketing tool in tourism. It provides both the business and the customers with a valuable tool for information sharing, communication, and online purchasing. Photos posted along traveling are fast and up to date, and as they are available everywhere, and they have become the word of mouth of the digital age. Research accomplished throughout the last couple of decades has demonstrated that the photo is an essential concept for understanding the process of selection of a destination by tourists. They are easily recognised and remembered by customer than words. Photographs were also found to attract attention from a customer more than textual content when visiting web sites of online shops and they evoke feeling and generate desire for the associated products or places. However, there have been very limited attempt to assess visual content and visual quality of online photos. That is probably due to the limited background in photography among tourism researchers, and the inefficiency of manual assessment approach for large scale dataset such as the case of online hotel photos shared by travellers. As a result, prior works were unable to provide comprehensive understanding about traveler's perception and interests toward hotels, especially the differences between visual photo content and visual photo quality shared by different groups of travellers online. Aiming to overcome these barriers, the focus of this thesis is to introduce computational approaches to automatic photo content recognition and visual features extraction for automatic photo quality assessment from online hotel photos.

The advancement of medical imaging techniques such as fundus photography and breast magnetic resonance imaging (MRI) has shown tremendous improvement in the quality of multidimensional image produced. The image segmentation technology is used to partition the medical image into different regions for accurate identification and segregation of diseased area. Hence, the medical image is a vital entity to diagnose several pathological conditions. However, Multidimensional medical image analysis with automatic segmentation techniques these medical images have problems such as: 1. lack inherent spatial resolution; 2. contains different form of noise; 3. have boundary with the similar color intensity; and 4. populated with non-uniform illumination across the image and other imaging ambiguities. In many clinical studies, the segmentation process can be carried out either manually or automatically. Manual segmentation for the identification of several landmarks in medical images has been popularly considered, but is time consuming, tedious, error prone and observer-dependent. On the other hand, automatic segmentation technique are highly desirable because of its robustness, improved efficiency, reliability and faster computation. Therefore, the development of an automatic segmentation technique for the medical images has become an integral part of the medical diagnosis system that yields a practical insight. However, achieving a desirable result from automatic segmentation is still challenging. This is because; variation is seen in image features for different cases, even when produced with same imaging technique. The broad aim of this thesis is to identify the robust and automatic segmentation technique overcoming the issues seen in medical images and hence can assist doctors for the evaluation and detection of several pathologies. The objective is fulfilled by developing automatic segmentation algorithms and provide solutions to tackle challenges associated in two different imaging modalities: fundus photography (2D) and breast MRI (3D). The result is a series of work associated with the problem identification, analysis and a desirable solution with qualitative and quantitative validation. Specifically, we have strengthened the state-of-the-art by making the following novel contributions: 1. The analysis of retinal blood vessel is crucial for finding several pathological disorder that manifest through human eye. Therefore, blood vessel segmentation in fundus photography has great importance in medical image analysis. From the experiment, we observed that the retinal images with lesions, exudate’s, non-uniformed illuminations and pathological artefacts have intrinsic problems such as the absence of thin vessels and detection of false vessels. In our work, we developed an automatic blood vessel segmentation framework, which is effective in analysing retinal blood vessels on noisy, pathological and abnormal retinal images. Initially, the noise is minimized with image subtraction technique using morphological operation. Then, we investigated thin and thick blood vessels separately. Thin vessels are detected using local phase-preserving denoising, line detection, local normalization, and maximum entropy thresholding. Local phase-preservation denoising removes the additional noise while preserving phase information (detailed) of the image. Thick vessels are segmented using maximum entropy thresholding. The performance of the proposed methods is carried in four popular databases (DRIVE, STARE, CHASE DB1, HRF). The result shows that the proposed segmentation method is automatic, accurate and computationally efficient. Furthermore, the proposed methods is found to be superior when compared with the other methods in the state of art. 2. The automatic optic disc (OD) segmentation is a challenging task for the images, which are under the influence of noise, uneven illumination and pathologies. As per the state-of-art, development of OD segmentation is still a challenging task because of several reasons such as 1) Ophthalmic pathologies causes the change of color, shape or depth of OD 2) Retinal pathologies (exudate, lesion), sometimes possess similar properties causing a false identification of OD. 3) Different factors like illuminations and contrast irregularities, boundary artefacts and blurred image edges makes segmentation complicated and requires pixel to pixel analysis. 4) Also the texture feature of OD vary for different images, adding more challenges, thus requiring a pre-processing step prior to the segmentation. 5) If the vessels are dense and around OD, the identification the OD boundary becomes difficult. To solve the above-mentioned challenges, a new method for the accurate localization and detection of the optic disc is developed. The process utilizes kmeans clustering over foreground and background estimated images to obtain the brightest cluster. The obtained results are merged together to estimate the OD center. The OD boundary is then estimated using circular Hough transform (CHT) using the radius and center obtained in the initial step. The boundary estimation is also obtained from superpixels method. Finally, the OD boundary pixels are identified with the geometrical model over the edge information obtained from superpixels and CHT. The experiments carried out on seven publicly available database verify the efficiency of proposed methods. In addition, the outstanding results while compared with the other proposed methods in the current state of art proves the superiority of proposed methods. 3. A novel and accurate segmentation method of the breast region of interest (BROI) and breast density (BD) in breast MRI is proposed. The precise segmentation of BROI and BD is challenging, especially in noisy magnetic resonance images (MRI) due to similar intensity levels and the closely connected boundaries between BROI and other anatomical structure such as heart, lung and pectoral muscle. The segmentation of BROI is carried out in three major steps. Initially, we utilize adaptive wiener filtering and k-means clustering to denoised image by preserving edges and unwanted artefacts. Then, active contour based level sets is used to eliminate the heart area from the denoised image. Initial contour points for the active contour methods are determined by the maximum entropy thresholding and convolution method. Finally, a pectoral muscle is removed to obtain a BROI segmentation by using a morphological operations and local adaptive thresholding methods. The segmentation of BD is obtained with 4 level fuzzy c-means (FCM) thresholding methods on the result image obtained from BROI segmentation. The validation of proposed methods is performed using the 1350 breast images from 15 female subjects. The obtained result show that the proposed method is automatic, fast and efficient. 4. The segmentation of breast lesions in breast MRI is considered as a important and challenging task in medical image analysis. Noise, intensity similarity of lesions and other tissues, and variable shape and size of lesion are the primary challenges during the process of lesion segmentation. Hence, the framework for the accurate segmentation of breast lesion from the DCE MRI image is proposed. The framework is built using max flow and min cut problems in the continuous domain over the denoised image. The proposed method is achieved in three steps. Firstly, in the pre-processing step, the post contrast and pre-contrast image are subtracted. This is followed by image registration that benefits by enhancing the tumor area. Secondly, a phase preservation denoising and pixel-wise adaptive Wiener filtering technique are used which is followed by max flow and min cut problems in the continuous domain. A denoising mechanism clears the noise in the image by preserving the useful and detailed features such as edges. Then, a tumor detection is done using continuous max flow. Finally, morphological operation is used as a post-processing step to further delineate the obtained results. The efficiency of the proposed method is verified with the series of qualitative and quantitative experiments carried out on 21 cases with two different MR image resolution. The obtained results when compared with the manually segmented results demonstrates the quality of segmentation obtained from the proposed method. The segmentation experiments for all above-mentioned four proposed algorithms are performed on Matlab R2013b running under Intel(R) core(TM) i5-4570s CPU@ 2.90 Ghz with 8GB of RAM. In an effort to test the performance of the proposed algorithms, both the public and private datasets with the manually drawn ground truth image are used. Moreover, the qualitative and quantitative measurements were used as a way to verify the robustness of the proposed algorithms. Also, the result were compared with the recent state-of-art which demonstrate the enhanced performance and advancement of the proposed methods. Finally, our overall results on the proposed methods show that the proposed algorithms are automatic, accurate and computationally efficient.