Search results

This paper aims to present the results of an analysis about the subjectivity in the process of thematic representation of photographs.

The experiments were applied to students of the Course of Librarianship (Biblioteconomia) of the Universidade Federal de Minas Gerais, during the discipline “thematic representation of images”. The methodology included two methods of analysis: in free form and using four methodologies: the methods of Panofsky (1979), Smit (1996), Shatford (1986) and Manini (2002).

The results showed that subjectivity is always present, even with the use of methodologies.

This paper shows the importance of doing the librarian course and the need to improve and update their methods, standards, techniques and tools to provide subsidies for the normalization of subject analysis as an essential procedure for information retrieval.

It is concluded that thematic representation of images requires clear and detailed indexation policies that can systematize the activity and minimize the effects of the subjectivity involved.

The determination of the subject of the document involves many factors. One of them is the cognition of the indexer, which is influenced by his prior knowledge, limitations and biases about the context. However, it must take into account, above all, the social reality of the user, as the main purpose of the representation is the retrieval of information.

This study contributes to reaffirm the importance of the indexing discipline in vocational training in librarianship courses, emphasizing the cognitive aspects to which the indexer will be subject.

This research demonstrates that the combination of two methodologies to describe photographs — Nobrade and Sepiades — together with the contextualization and identification of the content informational model of the photograph facilitates the reconstruction of institutional memory. This exploratory research based on case study adopted a set of metadata from Nobrade and Sepiades aiming at the organization and availability of the set of information extrinsic to the 20 portraits of the rectors of the Federal University of Pernambuco from 1946 to 1971. For the contextualization of this period, some of the events that occurred in Brazil were highlighted, as they influenced the academic environments during the Democratic Period and the Military Regime. The description of the photography was made in four parts: first part was called administrative dates resulting in the photo identification information; second part was the provenance data, that is, data about its origin and context; third part was composed of the technical data of the photograph; and fourth part was composed of the image data which contains information about the content of the photograph. The second and fourth parts using context and content information enable the photograph to be understood beyond what can be seen and contribute to the reconstruction of institutional memory. This research contributes to the elaboration of a documentary system using a combination of methodologies, focusing on photographs, not only as an institutional technical activity, but also as an activity necessary for the reconstruction of the institutional memory.

The paper provides a theory base for deriving connotative descriptors for photographs from existing denotative descriptors, and then demonstrates a model for enhancing browsing within image collections by providing a tool for carving up the searching space.

The paper conceptually explores the nature of iconic messages contained in an image by adopting semiotics as a theoretical tool. A problem of image retrieval is identified as loss of connotative messages during the image representation process. The paper proposes an image‐retrieval model utilizing an association thesaurus that facilitates the assignment of connotative index terms by making use of denotative index terms of an image. A series of experiments are performed for evaluating the effectiveness of the proposed model.

Experimental results demonstrate that the association thesaurus improves image‐retrieval effectiveness by increasing the recall of connotatively related image documents as well as the recall of browsing sets.

Applying connotative index terms to an image would be time consuming. Deriving connotative terms from denotative terms and then using them to enrich the browsing environment suggest a method of increasing retrieval effectiveness while reducing the resources required for representation.

Since images are often used to illustrate concepts that are not immediately evident from just the objects in front of the lens, connotative descriptions are particularly valuable. Since human perception of images is, in a sense, hard wired into our brains, browsing is a frequent and reasonable search method in image collections. Using connotative descriptors to point the way to clusters of images with a higher probability of relevance changes the locus of control over representation establishes an environment for dynamic representation, and gives credibility to browsing as a significant search method.

The children returned and Ms. Lee had them go to their desks. There was so much excitement in the air … . Ms. Lee has rearranged the desks again and I like how there are such frequent shifts in seating. Ms. Lee spoke of their photographs and their collages. She then said I would give the guiding question for their work on the citizenship education project today in their small sustained response groups. I fumbled badly and said something about who they are and how they belong. Ms. Lee wrote it on the board. As Ms. Lee continued to speak, I went and changed the words to “Who I am and how I belong.” Ms. Lee spoke to the children of how they were going to start putting their photos on their poster boards and to think about how their photographs were representations of who they were and where they belonged. No glue or scissors at this point. She also showed them the paper where she wanted them to write about their photographs.The children got their individual pieces of bristol board for their collages and Ms. Lee said they might want to choose a spot on the floor as they did this work. They were intent and focused on their own photographs but were also sharing with their neighbours. At one point, I commented to Ms. Lee, Simmee, and Jennifer about how impressed I was with their intentness. I spent some time with Logan who had some magnificent photographs … he has an eye for the aesthetic. I pointed out to him how much I liked the photographs. I also spent some time with Taylor who had three photographs of clothes: one Chinese outfit, one Korean outfit, and a long white dress that she said she did not know what it was. I asked if it was a christening dress and she said she thought so, that her mom had taken the photograph. She also had a close up of a Canadian flag. I spent some time with Sophie who had rejected some of her photographs as not interesting. When I pointed out what I saw as interesting things in her photographs, she started to see them more positively. I asked a few children what they planned to put in the centre of their collages. I realized, even as I asked that question, that I was privileging the centre photograph. Liam had his dad's photo clearly in the centre. He was busily writing words. He said he wasn't sure what to write about his dad but then wrote something about family being important. (Field notes, April 2, 2007)

Although photographs in sustainability reports are useful in conveying complex messages, they may also be used to manipulate the presentation of disclosures to exploit the limited cognitive processing capacity of humans. Therefore, this paper aims to examine the features of photographs aimed at capturing individuals’ attention through visual structures and evoking specific emotions through carefully chosen content. Furthermore, it examines whether such framing practice is explained by incentives for legitimizing behaviours and influencing reputation.

The authors conduct a content analysis of photographs in 154 sustainability reports published by US companies. The authors captured the nature of photographs, the context in which they are being used, their themes and emotional content and layout and interaction features to understand how photographs are used for attribute framing to influence information processing. Furthermore, the authors statistically examine the framing practice between companies with different characteristics to identify any patterns for the impression management use of photographs in sustainability reports.

Photographs are often large with a horizontal orientation to capture attention and show content viewed at eye level and in either medium or close-up shots to engage viewers. Furthermore, photographs are emotionally loaded with different themes such as depictions of people, technology and nature. These themes are used to predominately evoke positive emotions of awe, nurturance, pride, amusement and attachment. This practice is often used by companies in environmentally sensitive areas that have close consumer relationships or are covered controversially in the media.

The authors reveal reporting practices and identify photographic features that attract attention and convey emotions that go beyond aesthetic qualities. This is important because emotions conveyed through photographs can be potentially misleading and influence judgements subconsciously.

The purpose of this paper is to survey the treatment of relationships, relationship expressions and the ways in which they manifest themselves in image descriptions.

The term “relationship” is construed in the broadest possible way to include spatial relationships (“to the right of”), temporal (“in 1936,” “at noon”), meronymic (“part of”), and attributive (“has color,” “has dimension”). The intentions of these vaguely delimited categories with image information, image creation, and description in libraries and archives is complex and in need of explanation.

The review brings into question many generally held beliefs about the relationship problem such as the belief that the semantics of relationships are somehow embedded in the relationship term itself and that image search and retrieval solutions can be found through refinement of word-matching systems.

This review has no hope of systematically examining all evidence in all disciplines pertaining to this topic. It instead focusses on a general description of a theoretical treatment in Library and Information Science.

Many forms of modern life are united by their fragility, temporary nature, vulnerability, and inclination to constant change (Bauman, 2012). The complex and fluid nature of 21st century society requires expansion of competence and skills focused university curricula. Academic institutions are challenged to rejuvenate curricula to encompass – besides the development of students’ technical and cognitive skills – the development of students’ ability to engage with and drive their own learning, thereby developing graduates who can thrive in a fluid world. Work-integrated learning (WIL) is increasingly being embraced as a possible remedy to answer this call for career-ready graduates (Goulter & Patrick, 2010). Consideration of specific work-integrated learning pedagogies underpinned by situated and workplace-learning theories that privilege student participation in workplace activities is required (Patton, Higgs, & Smith, 2013). The critical contribution of student disposition to the shaping and reshaping of workplace learning spaces and the central position of students in driving – not just receiving – workplace learning must be part of the pedagogical change. Building on my doctoral research that used photo-elicitation techniques to explore physiotherapy students’ learning in clinical workplaces (Patton, 2014), as well as contemporary literature, this chapter introduces visual spaces as a pedagogical strategy to assist students to drive their own unique learning in workplaces.

Tackling the social exclusion of people with mental health problems is a primary concern for contemporary mental health services. A social inclusion network was developed to co‐ordinate a small participatory project arising as part of a practice development initiative. It aimed to examine the experiences of involvement in the community from the perspectives of those using and working in rehabilitation adult mental health services.To gather information three different approaches were used. Networks between rehabilitation services and community resources were identified using a mapping tool whilst focus groups were used to gain more in‐depth perceptions from rehabilitation staff. Finally, a participatory photo project was conducted which involved working with people who use services to capture images of their involvement in their local community. This article reports on the outcomes of the focus groups and photography project.Findings suggested that services reported some success at developing partnerships within the community, but discrimination still remained a significant obstacle. For those people living in the units, social inclusion was an acutely subjective experience in which people continued to experience acceptance and inclusion within mental health services and had made active choices in defining this as their community.

Frank Lloyd Wright's famous house Fallingwater has been the subject of enduring scholarly debate centred on the allegedly clear parallels between its form and that of its surrounding natural setting. Despite these claims being repeated many times, no quantitative approach has ever been used to test this argument. In response, this paper uses a quantitative method, fractal analysis, to measure the relationship between the architecture of Fallingwater and of its natural surroundings.

Using fractal dimension analysis, a computational method that mathematically measures the characteristic visual complexity of an object, this paper mathematically measures and tests the similarity between the visual properties of Fallingwater and its natural setting. Twenty analogues of the natural surroundings of Fallingwater are measured and the results compared to those developed for the properties of eight views of the house.

Although individual results suggest various levels of visual similarity or difference, the complete set of results do not support the claim that the form of Frank Lloyd Wright's Fallingwater exhibits clear visual similarities to the surrounding landscape.

In addition to testing a prominent theory about Wright's building for the first time, the paper demonstrates a rare application of fractal analysis to interpreting relations between architecture and nature.