Rozprawy doktorskie: „Digital documentary”

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Gaudenzi, Sandra. "The living documentary : from representing reality to co-creating reality in digital interactive documentary". Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/7997/.

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This thesis concentrates on the emerging field of interactive documentaries. Digital interactive and networked media offer so many new possibilities to document reality that it is necessary to define what an interactive documentary is and whether there is any continuity with the linear documentary form. This research therefore proposes a definition of interactive documentaries and a taxonomy of the genre based on the idea of modes of interaction – where types of interactions are seen as the fundamental differentiator between interactive documentaries. Interactivity gives an agency to the user – the power to physically “do something”, whether that be clicking on a link, sending a video or re-mixing content - and therefore creates a series of relations that form an ecosystem in which all parts are interdependent and dynamically linked. It is argued that this human-computer system has many of the characteristics associated with living entities. It is also argued that by looking at interactive documentaries as living entities (Living Documentaries) we can see the relations that they forge and better understand the transformations they afford – on themselves and on the reality they portray. How does an interactive documentary change while it is being explored/used/co-created? To what extent do such dynamic relationships also change the user, the author, the code and all the elements that are linked through the interactive documentary? Those questions are discussed through the use of case studies chosen to illustrate the main interactive modes currently used in interactive documentaries. This thesis is a first step in exploring the multiple ways in which we participate, shape and are shaped by interactive documentaries. It argues that interactive documentaries are ways to construct and experience the real rather than to represent it.

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Landesman, Ohad. "Reality Bytes| Reclaiming the Real in Digital Documentary". Thesis, New York University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3557010.

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This dissertation offers a preliminary survey of different documentary practices in the digital age. I recognize and discuss several recent modes of filmmaking where documentary and fictional spaces collide and coalesce, modes which existed long before the arrival of the digital, but have been rejuvenated and made more prominent in the digital age. I point to how such a collapse of boundaries is celebrated rhetorically via digital technology to produce a contingent documentary argument made of ontological, epistemological and aesthetic contradictions. The impact of digital technology on the development of such current documentary rhetoric is explored by placing it within the historical context of earlier technological assimilations in documentary (particularly 16mm film and video cameras). By countering dominant arguments about epistemological doubt in the age of digital manipulability, I show how new digital technologies are currently refining the documentary aesthetically and sharpening its argumentative rhetoric.

I begin by challenging the dominant scholarly tendency that regards the introduction of digital technology into documentary practices through a binary, sensationalist prism. Thus, in chapter one I propose to treat digital technology not as a radical novelty in film with either utopian or dystopian results, but as a transition that forms a complex network of continuities and hybridities with previous technological assimilations and earlier documentary traditions. Chapters two through four illustrate this by describing how the digital refines or extends earlier documentary practices and traditions, whether these are observational, participatory, reflexive, performative or hybrid. Chapter two focuses on the emerging form of the doc-fiction hybrid, and focuses on how digital cameras have contributed to the formulation of a challenging interplay between fiction and documentary for almost two decades. In chapter three, I explore the meeting point between the digital and the essay film tradition, arguing that the former revitalizes essayistic tendencies which have existed in cinema for years, and which were instigated time and again with the arrival of different technological innovations. In the fourth I turn the focus from the photographically-indexical digital image to the computer-generated animated image by discussing the long-lasting tradition of the animated documentary.

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Nime, Nicole Marie. "The impact of digital technology on documentary distribution". Thesis, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589008.

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The Internet and digital technologies have created an opportunity for documentaries to find new audiences; however, documentary's capacity to overcome the challenges that the online market presents and achieve sustainability is not yet understood. This study brings together research in the areas of new media and documentary in order to comprehend and assess the significance of the growing overlap between the two. Focusing on documentary distribution post-2000, in the United States and the United Kingdom, the thesis examines how the online market has influenced both the culture of documentary and the economic structure of the methods used to distribute documentary films. This involves an exploration of the rise of digital media in relation to its impact upon the film industry and a historical review of the changes that have occurred within the documentary marketplace. The core analysis takes the form of a case study approach that sets out to identify trends in documentary distribution and generate insights into the new models that both documentary platforms and filmmakers have employed. What this research suggests is that documentary distribution via the Web requires a new framework for thinking about how films reach audiences and generate revenues. In particular, it indicates how audience engagement from the onset of production can help documentaries overcome challenges in the online market. In line with participatory media trends, the research confirms that distribution has become more than just a mechanism for content dissemination and that, in the digital age, distribution has developed as a social phenomenon, which expands through ongoing public . involvement and innovation. However, the research also indicates that alternative distribution strategies that rely upon leveraging communities must be uniquely adapted to each project and its particular core audiences. This means that there is no singular, overarching theory or replicable model that characterises the online distribution process for documentary films. Thus, the thesis adds to our knowledge of the diverse ways in which documentary has inhabited the social space offered by new media while ancho~ing existing theories of 'social media' within specific contexts. 3

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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.

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My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters; privately-owned centers and social networks that enable the production, exhibition, and distribution of films; and the relationship between this community and government regulation. I argue that the independent documentary community constitutes a jianghu (literally, “rivers and lakes”), which, drawing from Chinese literature, I delimit as a social world of marginality and resistance against the status quo. Further, jianghu refers not only to independent filmmakers, but also to millions of “migrants” within the Chinese population who, even as they provide labor that fuels development, nonetheless subsist on the margins. This study also considers the efforts of filmmakers and scholars to elucidate a Chinese visual aesthetic, which has been called xianchang (“on the spot”) and, most recently, jingguan dianying (“quiet observational cinema”). These indigenous framings counter eurocentric notions of documentary and prevail among the majority of independent directors as an aesthetic wellsuited to represent the “cruelty of the social,” a term I introduce to describe social suffering born not only of China’s modern history of pain but also its contemporary turbulent era. I draw together the issues of distribution, social impact, and economic stability for independent documentary, as well as document the role of the state in quelling, censoring, and co-opting independent film. I conclude by exploring xianchang and my own filmmaking practice as advancing a form of knowledge that, owing to its experiential quality and its refusal to simplify and reduce phenomena into cultural data, is well-suited to represent the inherent complexity of Chinese society. Finally, a coda documents recent government oppression and festival cancellations to argue that the current moment is one of grave uncertainty for Chinese independent film.
Anthropology

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Meiklejohn, Donna M. "Documentary pitching, pre-sales and funding: Succeeding in a transforming digital landscape". Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/114129/2/Donna%20Meiklejohn%20Thesis_Part_A.pdf.

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This practice-led DCI thesis identifies and examines a series of contemporary funding models, including conventions and industry expectations, and the pitching processes being employed by practitioners in a dynamic and uncertain documentary filmmaking marketplace. In the context of digital disruption, the proliferation of TV channels and online broadcast platforms and increasingly limited funding sources, practitioners must be more innovative at the business end of the production chain. In response, a key output of the research project is an informed and informative handbook for practitioners entitled A Documentary Filmmaker's Guide to Pitching.

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Nelson, Jodi. "Digital technologies, social media and emerging, alternative documentary production methodologies". Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54595/.

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My research is a practice-based project involving documentary production and theoretical analysis of emerging forms of documentary and online co-collaboration, exploring paradigm shifts in digital technology particularly in the web-based feminist activism and feminist social praxis. The practice-led research explores new forms of production practices outside traditional methodologies and dissemination. Specifically, by utilizing cheap digital technology tools and working within online social networking platforms the research theoretically analyses what means were available towards online participatory media practices to create new documentary forms. My research aims are therefore to investigate how the new paradigm shifts in digital technology and the democratization of the filmmaking process, through online, collaborative practice, can allow women documentary filmmakers to connect to a global marketplace outside the traditional filmmaking channels. Further, looking at the history of the documentary form, as well as the feminist movement, I am interested in which of the key themes and debates that have characterized their intersection are still important at this moment of changing and emerging technologies. Can new technologies, access to cheap digital tools and collaborative modes of practice help or hinder the creative process of making a digital documentary? In examining the history of feminist filmmaking and the emerging documentary shifts in production offered the opportunity to position my own practice within these traditions and experiment further with online forms of modality. This experiment allowed me to gather empirical data using new media practices (i.e. creation and curation of online and repurposed content, use of new production tools within online spaces) to create a first person, auto-ethnographic narrative on the subject of feminism and online activism. Additionally, my research looks at the theoretical and historical underpinnings surrounding feminist filmmaking, new documentary practices and its implications within new technologies, and the emerging forms of collaborative online modes of practice. Each of these areas will intersect within the three key areas of debate surrounding documentary filmmaking; those of 1) narrativity, 2) witness and 3) ethics. My practice investigates these interactive, participatory modes created with emerging technologies and online audiences and how this is shifting narratives, audience reception and producing new ethical debates around ‘truth' and ‘authenticity' as these lines are continually blurred. Rethinking documentary in the virtual space brings about new challenges to the old debates around evidence, witness and ethics, as it is the product of a more democratic attitude towards practice, distribution and dissemination of its stories. New participatory audiences are now also helping to create the very product they are witnessing. Therefore, creating media within the public sphere can bring about a wealth of new tools, wider contributions to media making and a more global awareness of its dissemination. But it is not without its controversy and challenges. Further, my research looks at how working within this co-collaborative mode, the position of filmmaker as the ‘sole' creator or ‘auteur' comes into question. It discuses the advantages and/or the disadvantages to this approach and in doing so looks at what contributions and challenges an online audience can provide to support the filmmaker that cannot be gained through historical and traditional production and exhibition forms. What once was a higher barrier to entry into the film business is now a more open and online accessibility where anyone can wield a cheap camera or mobile phone device, make a movie and share it on the internet. These newfound democratic practices could potentially disrupt an already complex system of communication practices. However, it could also supply it with a much-needed collective idea bank for tackling global issues and finding sustainable solutions. Within the scope of participatory practices, a first person filmmaker can experience the greatest of democratic freedom within the confines of this process and delivery. The research is supported and conducted through a practice-led film project, web support platform (including blog and social media sites) and published case study. The final output film project around which these questions are posed is entitled: “Single Girl in a Virtual World: What does a 21st Century Feminist Look Like?”. The film's purpose is therefore to engage an online global audience of participants and contributors to the film's narrative thread by asking for contributions within the production, creation and financing of the documentary film. The practice utilizes social networks, crowd funding initiatives, web blogs, viral video, virtual chat interaction and traditional modes of documentary practice in its methodology in an effort to collect data surrounding activity and attempt to answer my research questions at large. The overall objective is to create an online documentary film that exemplifies feminist activism in a new frame through application of documentary modes and new emerging digital media practices.

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Mamblona, Agüera Ricard. "Las nuevas subjetividades en el cine documental contemporáneo. Análisis de los factores influyentes en la expansión del cine de lo real en la era digital". Doctoral thesis, Universitat Internacional de Catalunya, 2012. http://hdl.handle.net/10803/83917.

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L’objecte d’estudi d’aquesta investigació és el nou cinema documental que sorgeix a partir de la digitalització i, en particular, els factors que han influenciat en el desenvolupament i expansió del gènere a les últimes dècades. De la mateixa manera, el treball estudia les formes en les quals l’autor intervé dins l’obra i, més concretament, en les noves subjectivitats que sorgeixen a partir d’aquesta fenomenologia. La digitalització ha obert el camí a noves aproximacions i reflexions entre la imatge i el real. Les fronteres entre ficció, documental i experimental es dilueixen cada vegada més, i es barregen creant noves formes híbrides. La televisió, la institució museística i altres plataformes de difusió, com les derivades de la interactivitat o la hipertextualitat, beuen de la influencia del documental, arribant inclús a la creació i establiment de nous subgèneres. Finalment, aquest estudi aporta una classificació i analitza una mostra de les diferents formes d’intervenció de l’autor en el documental, que van des de la pròpia aparició física fins a les formes més assagístiques en les que el “jo” es manifesta dins l’obra.
El objeto de estudio de esta investigación es el nuevo cine documental que surge a partir de la digitalización y, en particular, los factores que han influido en el desarrollo y expansión del género en las últimas décadas. Del mismo modo, el trabajo estudia las formas en las que el autor interviene en la obra y, más concretamente, en las nuevas subjetividades que surgen a partir de esta fenomenología. La digitalización ha abierto camino a nuevas aproximaciones y reflexiones entre la imagen y lo real. Las fronteras entre ficción, documental y experimental se diluyen cada vez más y se entremezclan creando nuevas formas híbridas. La televisión, la institución museística y otras plataformas de difusión, como las derivadas de la interactividad o la hipertextualidad, beben de la influencia del documental, llegando incluso a la creación y establecimiento de nuevos subgéneros. Finalmente, este estudio aporta una clasificación y analiza una muestra de las diferentes formas de intervención del autor en el documental, que van desde la mera aparición física hasta las formas más ensayísticas en las que el “yo” se manifiesta en la obra.
The purpose of this research is the new documentary cinema that emerges from digitalization and, particularly, the factors that have influenced the development and expansion of the genre in recent decades. Moreover, the paper examines the ways in which the author intervenes in the film and, more specifically, the new subjectivities that emerge from this phenomenology. Digitalization has opened up new approaches and insights between image and reality. The boundaries between fiction, documentary and the experimental are becoming increasingly diluted and mixed creating new hybrid forms. Television, the museum institution and other distribution and exhibition platforms, such as those arising from interactivity or hypertext, are fed by the influence of the documentary, even creating and establishing new subgenres. Finally, this research project provides a classification and analysis of a sample of the different forms of intervention of the author in documentary, from the mere physical appearance to those essayistic forms in which the "I" is manifested within the film.

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Kohle, Friedrich Herman. "Whose Documentary is it anyway? : encounters with the global digital family on social media and the rise of a participant-centric mode of documentary filmmaking". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31426.

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This study examines the way social media changes the way documentaries are developed, produced and distributed. I want investigate how web 2.0 technologies disrupt the documentary sector and the way producers navigate the social media ecology. Research exposed an industry in transformation. New roles, like the Producer for Marketing and Distribution (PMD), the Impact Producer (IP) and a participant-centric mode of documentary filmmaking are revealed. The way users connect via social media has changed the way people interact with each other at work. A balanced real- and virtual world network approach makes a strong and highly central network position for a documentary project possible. Emotional contagion and an authentic online presence create value for a films social media campaign. Both are crucial factors to the mobile multi-device audience expecting a credible social media experience. Research suggests that users accept the risks associated with the way their data is exploited by social networks as long as the user's social media experience is not diminished. The concept of the Global Digital Family is revealed when reappraising social media. I suggest further research into the problem of online authenticity. Kozinets' ideas on Gemeinschafts-type engagement (Kozinets, 2015) shed light on the phenomenon. But exactly when something is perceived as authentic online is still not entirely clear and should be investigated further. I also recommend that the PMD is formally accredited to encourage industry recognition.

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Hardie, Harold Robert (Bob). "The documentary mind: In the subject of a practitioner’s perspective on changes in documentary concept and production". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1924.

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This autoethnographic study examines the influences of recent digital technology upon the practice and philosophy of documentary filmmaking. To assess the impact of new digital methodology on the film production process, The Musicians, a wholly-digital, 55-minute documentary film, was produced as an example. This music-based subject was chosen to specifically demonstrate the potential advantages of lightweight digital equipment and its extended recording capacity in orchestral documentation. The capability of non-linear digital editing to process large amounts of imagery, together with its ability to manage multiple image and audio streams concurrently, was also examined. This exegesis also reviews the impact of recently-emerged digital multimedia and multi-platform formats on perceptions of the more standard linear documentary format, all of which have been incorporated into a single documentary category by some researchers. For a traditional documentary such as The Musicians to be categorised with open-ended, multimedia constructions seems somewhat anomalous.

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Elkington, Ruari B. "The education market for documentary film: Digital shifts in an age of content abundance". Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/98494/4/Ruari_Elkington_Thesis.pdf.

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This research examines the education market for documentary film at a time of digitally mediated content abundance. How can an expanded acknowledgment of cineliteracy within the education market for screen content contribute to sustainability of the Australian documentary sector through improved distribution and educational outreach practices? Engaging with international case studies of film festivals, foundations and charities both in the UK and US allows for observations around best practice to be considered for a local context.

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Lee, Hyunseok. "Representing Korean Buddhist art and architecture : a 3D animated documentary installation". Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/9420.

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This practice-led research One Mind - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes.

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Davidson, Paul John. "Time Rhythm and Magic: Developing a Communications Theory Approach to Documentary Film Editing". Thesis, Griffith University, 2016. http://hdl.handle.net/10072/367998.

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Time, Rhythm and Magic: developing a Communications Theory approach to Documentary Film Editing is principally concerned with the editing of documentary films, in particular the historical documentary. The essence of the study draws upon a reflective experiential analysis of the author’s extensive creative practice in documentary film production, with particular reference to the principles and techniques the author employs in documentary editing. The research argues that the process of constructing certain forms of documentary film involves the selection of small segments, or samples, taken from a whole and re-assembled into a reductive representation of that whole. The author finds that useful analogies can be drawn between this process in documentary film editing and the process of sampling, encoding and re-construction inherent in digital telecommunication systems. The study also argues that a central component of both processes is the sharing and manipulation of temporal elements, and that although these manipulations are a crucial determinant of the cohesion and flow of a finished documentary film, they are invisible to the viewer. The documentary film editor is thus able to create convincing illusions which the audience perceives as reality—a creative process which might thus be described as a form of ‘magic’.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text

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Taranger, Nils. "A Blue Flower: The Development of a Personal Documentary". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5526.

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A Blue Flower is a feature-length documentary film by Nils Taranger, made as part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida. The film focuses on the director's journey to find healing, both physically and emotionally. Following the guidelines of UCF's program, Nils produced the film on a microbudget (under $50,000) level. The majority of filming took place in Florida with only a one or two person crew. This thesis is a record of the film's progression from development to picture lock, in preparation for distribution.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema

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Frigo, Denise. "PRESERVAÇÃO DIGITAL: UM SUBSÍDIO PARA O CENTRO DE ARTES E LETRAS DA UFSM". Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/10999.

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This work aims to verify the application of digital preservation strategies in the documents produced and/or received in the Department of Education s Center for Arts and Letters from the Federal University of Santa Maria. Thus, the study was based on the query works, articles and related material on the subject of study. We also applied the technique of observation with the aid of a script, which was applied in all departments of the Center for Teaching Arts and Letters and the translation of data and information resulting from studies produced data sheets and graphs. From the analysis of surveys, reports and this observation, we have reached conclusions. One is that digital preservation is a constant risk control, in which the recognition that losses are inevitable develops the relevance of the ways to avoid them. Moreover, there is a consensus on the best strategies and methodologies to be employed in a digital preservation plan, since no measure is capable of meeting all requirements of all digital documents. However, the more the management of electronic documents is as standards, the more likely the sustainability of digital heritage. Although the knowledge and experience that exist today are not able to guarantee the durability of needed. These findings have allowed, at the end of the work, a handbook with recommendations for preservation of digital documents. It is expected therefore that the results obtained in the study can be considered as a reference for both the UFSM, and for other institutions who are interested in this work.
Este trabalho tem por objetivo verificar a aplicação de estratégias de preservação digital nos documentos produzidos e/ou recebidos nos Departamentos de Ensino do Centro de Artes e Letras da Universidade Federal de Santa Maria. Para tanto, o trabalho foi baseado na consulta de obras, artigos e materiais afins sobre o tema de estudo. Também foi realizada a técnica de observação com o auxílio de um roteiro, o qual foi aplicado em todos os Departamentos de Ensino do Centro de Artes e Letras e a tradução dos dados e informações resultantes dos estudos originaram planilhas de dados e gráficos. A partir da análise dos levantamentos, dos relatórios e dessa observação direta, chegou-se a conclusões. Uma delas é que a preservação digital é um constante controle de riscos, no qual o reconhecimento de que perdas são inevitáveis desenvolve a relevância dos modos de evitá-las. Além disso, de que não existe consenso quanto às melhores estratégias e metodologias a serem empregadas num plano de preservação digital, pois nenhuma medida é capaz de atender todos os requisitos de todos os documentos digitais. No entanto, quanto mais a gestão de documentos eletrônicos estiver conforme padrões, maior probabilidade haverá da sustentabilidade do patrimônio digital. Embora o conhecimento e a experiência que existem hoje não sejam capazes de garantir a durabilidade dos documentos digitais, a adoção de planos de preservação digital, mesmo que básicos, se faz necessária. Essas constatações possibilitaram apresentar, ao final do trabalho, um manual com algumas recomendações para preservação de documentos digitais. Espera-se, portanto, que os resultados obtidos nesta pesquisa possam ser considerados como referencial, tanto para a UFSM, quanto para outras instituições que tenham interesse neste trabalho.

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Hedlund, Dhion Carlos. "O PATRIMÔNIO FOTOGRÁFICO DE SANTA MARIA EM AMBIENTE DIGITAL". Universidade Federal de Santa Maria, 2014. http://repositorio.ufsm.br/handle/1/11020.

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In view of the potential presented by information and communication technologies, this study discusses access to the photographic archives of the Historical Archive of Santa Maria using the ICA-AtoM (International Council of Archives - Access to Memory) tool available on the world wide computers, based on theoretical criteria for archival description and access to digital documents. The proposed activities are discussed from preparing the documentation to the final presentation of the information to the user. It is a scientific research of an applied nature, exploratory and qualitative approach. The research is divided into five stages: 1) preparation of documentation and literature review, 2) digitization of documents, 3) the ICA-AtoM software installation; 4) description of photographs; and 5) analysis of the results obtained by previous practical activities, in comparison with the recommendations raised in the literature review. The electronic survey instrument is available on the Internet to users in general, containing archival descriptions and the digital representative, based on existing national recommendations. It was found that it is possible to perform digital capture using low-cost, guided by the recommendations of digital preservation. Regarding the software, it was found that there are many features that enrich and facilitate the activity of archival description and presentation of information to the end user. It was concluded that each institution has its own specifications in relation to archival description of the documentary genre and their preferences in the description, however, when compared to commercial solutions, ICA-AtoM software lets you explore enormous potential for a fraction of the cost of proprietary solutions, and guided by the standards of archival description.
Tendo em vista a potencialidade apresentada pelas tecnologias de informação e comunicação, esta pesquisa discute o acesso ao acervo fotográfico do Arquivo Histórico Municipal de Santa Maria a partir do software ICA-AtoM (International Council Archives Access to Memory) disponibilizado na rede mundial de computadores, com base nos critérios teóricos arquivísticos exigidos para descrição e acesso. São discutidas as atividades propostas desde a preparação da documentação até a forma final de apresentação das informações ao usuário. É uma pesquisa científica de natureza aplicada, exploratória e de abordagem qualitativa. A pesquisa é dividida em cinco etapas: 1) preparação da documentação e revisão de literatura; 2) digitalização das fotografias; 3) instalação do software ICA-AtoM; 4) descrição das fotografias e; 5) análise dos resultados obtidos pelas atividades práticas anteriores, em confronto com as recomendações levantadas na revisão de literatura. O instrumento eletrônico de pesquisa estará disponível na internet para os usuários em geral, contendo as descrições arquivísticas e os representantes digitais, tomando por base as recomendações nacionais existentes. Constatou-se que é possível realizar a captura digital utilizando custo baixo e pautado pelas recomendações de preservação digital. Em relação ao software, verificou-se que há muitas funcionalidades que enriquecem e facilitam a atividade de descrição arquivística e apresentação das informações para o usuário final. Concluiu-se que cada instituição tem suas especificidades em relação à descrição arquivística do seu gênero documental e suas preferências na descrição, porém quando comparado com soluções comerciais, o software ICA-AtoM permite explorar enormes potencialidades por uma fração do custo das soluções proprietárias, e pautado pelas normas de descrição arquivística.

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Peixoto, Hugo Cardoso Brandão. "Webdocumentário: a representação da ótica documental no ciberespaço". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5021.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research has the intention to discuss documentary language expansion and its ramifications in cyberspace, focusing on webdocumentaries, analyzing the relationship between documentary traditions and new media narrative processes. In order to contextualize the new possibilities of documentary point of view representations, based on the multiple forms of contemporary audiovisual production, which, marked by continuous development of digital technologies, production and manipulation of images, form the broader context of new media. Founded on the creative freedom afforded by new media, documentary cinema widened, and with the tools of digital technologies, its creative process and its experimental possibilities have expanded. Generating new narrative patterns, which are powered at all times by new productions, resulting in the documentary field, a constant modification and development of its language.
Esta pesquisa tem como intuito, discutir a expansão da linguagem documental e suas ramificações no ciberespaço, com o foco nos webdocumentários, analisando a relação entre as tradições documentais e os novos processos narrativos midiáticos. Visando contextualizar as novas possibilidades de representação da ótica documental, com base nas múltiplas formas de produção audiovisual contemporâneas, que, marcadas pelo desenvolvimento contínuo das tecnologias digitais, de produção e manipulação das imagens, agregam o contexto abrangente das novas mídias. Em função da liberdade criativa proporcionada pelas novas mídias, o cinema documentário se ampliou, e com as ferramentas das tecnologias digitais, seu processo criativo e suas possibilidades de experimentação se expandiram. Gerando novos padrões narrativos, que são alimentados a todo instante pelas novas produções, provocando no campo documental, uma constante modificação e desenvolvimento de sua linguagem.

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India, National Mission for Manuscripts. "Legal and Policy Framework for Promoting Equitable Access to Documentary Heritage: Report Submitted to UNESCO by National Mission for Manuscripts, India". UNESCO, 2008. http://hdl.handle.net/10150/105516.

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The National Mission for Manuscripts of India, in association with UNESCO, completed a research study to assist in the development of legal and policy framework and protocols for promoting equitable access to documentary heritage, relevant to India and other South Asian countries. Entitled Legal and Policy Framework for Promoting Equitable Access to Documentary Heritage, the study seeks to accurately identify and critically examine the legal and policy framework for promoting equitable access to documentary heritage. The National Mission for Manuscripts is the most important institution in India dealing with bibliographic databases and the conservation and preservation of valuable manuscripts. The study covers the legal and policy framework which envelops the lifecycle of the Mission's work: access to manuscripts, their digitisation and creation of databases. By critically examining the legal rules in the practical context of the Missionâ s work, the research team has put together the first review of an initiative aimed at the protection of Indian traditional knowledge. The study illustrates working patterns of the Mission within the legal and policy framework of the country. It is a helpful sourcebook for understanding South Asian legal and policy framework for accessing documentary heritage collections. While the study does not set out to be the final word on these policy initiatives, it definitely makes significant progress in the policy debate and legal literature in this field. The conclusions presented in the form of draft legal agreements and policy recommendations will, with no doubt, be valuable tools for South Asian countries that share similar legal and policy framework within the sub-region.

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Deacon, Henry Christopher. "The perspective of Cape Town professional photographers on issues of integrity in the documentary photograph". Thesis, Cape Peninsula University of Technology, 2013. http://hdl.handle.net/20.500.11838/1312.

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Thesis submitted in fulfillment of the requirements for the degree Magister of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2013
This study investigates the perspective of Capetonian professional photographers on issues of integrity, regarding the impact of digital imaging technology. Key objectives are to establish how the concept of photographic integrity manifests itself throughout the history of the documentary genre, prior and subsequent to the introduction of digital imaging technology; to ascertain the extent to which the Capetonian professional photographer uses digital imaging technology compared to film technology; to discover how Capetonian professional photographers perceive various concepts related to integrity in a documentary photograph; to identify what Capetonian professional photographers regard as acceptable digital editing to the photojournalistic documentary photograph; to ascertain whether Capetonian professional photographers believe that digital imaging technology impacted on the integrity of the documentary photograph; and finally, to discern whether Capetonian professional photographers who have practiced professional photojournalism see the need for a national regulating body, which clearly makes known what acceptable picture taking (in terms of content, e.g. staging of a photograph) and digital editing entails, for the South African photojournalist. The rationale for this study is that we exist in an era where we are faced with a digital revolution which transforms perceptions of integrity and it is essential to ascertain how technology influences the perceptions of the very professionals who produce documentary photography images. The literature review evolves a context for this study. This empirical study’s data collection and analyses has a mixed-method design. The survey’s instrument of data collection is a questionnaire, which captured quantitative data and with half of one question captures qualitative data. I analysed quantitative data with the help of SPSS and I analysed qualitative data much akin to a case study. The statistical test used to analyse quantitative data is a chi-square test and there are 66 participants in the study. I found that a breach of integrity, for instance manipulation, was always possible in the era prior to the introduction of digital imaging technology. Now it is only done faster, more thorough and more people have access to editing technology. Many who lack moral fiber are tempted now, more than ever, to illicitly manipulate. Capetonian professional photographer’s experience in digital image creation and editing technology outweighs the equivalent in the film medium. Digital camera usage takes precedence over film cameras. An example of a perception of a concept related to integrity in documentary photography is the sub-group which has practiced professional photojournalism insisted (73.5% of them strongly agreed) that it is possible to be creative and truthful at the same time in documentary photography. With regard to what acceptable editing entails, for cropping respondents favoured slight cropping; for dodging and burning in respondents favoured very light dodging and burning in; for pasting in respondents favoured no pasting in is acceptable; and for removing of objects respondents favoured no removing of objects. The Capetonian professional photographer believes that digital imaging technology has impacted on the integrity of the documentary photograph. For instance, the study has measured and proved that a majority of Capetonian professional photographers believe that a documentary essay taken in film and processed in the traditional darkroom feels more consistently trustworthy than its digital equivalent. This study has shown that there is a need for a body that clearly makes known what acceptable picture taking and digital editing entails for the professional photojournalistic photographer in South Africa.

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Ferreira, Neto Arthur Leopoldino. "Prova documental eletrônica no processo do trabalho: validade e valoração". Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19729.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The indisputable current essentiality of the internet, with the information technology revolution, has brought a radical change in legal relationships, both in the form of data storage and information exchange, and in the conduct of judicial processes. We can see nowadays a significant change in legal relationships, since the records that were previously made on paper, are now carried out digitally, through electronic documents. This facility raises some troubling points. Among them, the credibility of the electronic document because of its abstract support in the face of the material support of the traditional document. Another point is: is the technology nowadays enough that we can equip it with the traditional document? We can not forget that security is the main fear of those who use electronic means. The reliability of electronic documents is associated with the conviction that it has not been adulterated in the path between sender and receiver, and that its author subscribes. This is the panorama on which the problem of this work is based, so that electronic evidence can be given probative force
A indiscutível atual essencialidade da internet, com a revolução da tecnologia da informação, trouxe radical alteração nas relações jurídicas, tanto na forma de armazenamento de dados e troca de informações, quanto na condução dos processos judiciais. Pode-se perceber nos dias atuais, uma mudança significativa nas relações jurídicas, pois os registros que antes eram realizados em papel, agora são realizados de forma digital, por meio de documentos eletrônicos. Essa facilidade levanta alguns pontos preocupantes. Entre eles, a credibilidade do documento eletrônico em razão de seu suporte abstrato face o suporte material do documento tradicional. Outro ponto é: a tecnologia disposta hoje em dia é suficiente para que possamos equipará-lo ao documento tradicional? Não se pode olvidar que a segurança é o principal receio dos que utilizam os meios eletrônicos. A confiabilidade dos documentos eletrônicos está associada à convicção de que este não foi adulterado no caminho entre remetente e destinatário, bem como de que seu autor é quem o subscreve. Esse é o panorama em que se assenta a problemática deste trabalho, para que se possa conferir força probatória aos documentos eletrônicos

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Prodan, Anca Claudia [Verfasser], Marie-Theres [Akademischer Betreuer] Albert i Uwe [Akademischer Betreuer] Meinberg. "The digital "Memory of the World" : an exploration of documentary practices in the age of digital technology / Anca Claudia Prodan ; Marie-Theres Albert, Uwe Meinberg". Cottbus : BTU Cottbus - Senftenberg, 2014. http://d-nb.info/111428288X/34.

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Lang, Ian William, i n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]

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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
Full Text

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Stacchio, Lorenzo. "Detecting social patterns within 20th century documentary photos: a deep learning based approach". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21552/.

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The job of a historian is to understand what happened in the past, resorting in many cases to written documents as a firsthand source of information. Text, however, does not amount to the only source of knowledge. Pictorial representations, in fact, have also accompanied the main events of the historical timeline. In particular, the opportunity of visually representing circumstances has bloomed since the invention of photography, with the possibility of capturing in real-time the occurrence of a specific events. Thanks to the widespread use of digital technologies (e.g. smartphones and digital cameras), networking capabilities and consequent availability of multimedia content, the academic and industrial research communities have developed artificial intelligence (AI) paradigms with the aim of inferring, transferring and creating new layers of information from images, videos, etc. Now, while AI communities are devoting much of their attention to analyze digital images, from an historical research standpoint more interesting results may be obtained analyzing analog images representing the pre-digital era. Within the aforementioned scenario, the aim of this work is to analyze a collection of analog documentary photographs, building upon state-of-the-art deep learning techniques. In particular, the analysis carried out in this thesis aims at producing two following results: (a) produce the date of an image, and, (b) recognizing its background socio-cultural context,as defined by a group of historical-sociological researchers. Given these premises, the contribution of this work amounts to: (i) the introduction of an historical dataset including images of “Family Album” among all the twentieth century, (ii) the introduction of a new classification task regarding the identification of the socio-cultural context of an image, (iii) the exploitation of different deep learning architectures to perform the image dating and the image socio-cultural context classification.

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Gifreu, Castells Arnau. "El Documental interactiu com a nou gènere audiovisual : estudi de l'aparició del nou gènere, aproximació a la seva definició i proposta de taxonomia i d'un model d'anàlisi a efectes d'avaluació, disseny i producció". Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/119606.

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L’objecte d’aquesta tesi doctoral és mostrar i demostrar com el documental interactiu es constitueix i es proposa en els últims anys com a nou gènere audiovisual amb característiques pròpies i específiques. Aquesta investigació argumenta com el mitjà digital interactiu ha afectat les lògiques de producció, exhibició i recepció audiovisuals del gènere documental tradicional. Durant els últims anys, aquestes noves dinàmiques han transformat els processos comunicatius i la naturalesa dels diferents actors implicats, donant lloc a un nou gènere que anomenem “documenal interactiu”. A partir d’una mostra de casos significatius, hem elaborat un marc conceptual original amb l’objectiu de caracteritzar el documental interactiu com a gènere audiovisual específic, diferenciant-lo alhora de les formes convencionals de documental i de no ficció interactives. La primera part de la recerca estableix els precedents i el context on es desenvolupa l’àmbit de l’audiovisual interactiu. A partir del plantejament d’un estat de la qüestió general sobre el gènere documental i el mitjà digital interactiu, descrivim el context principal on es desenvolupa aquest format, el web, i el tipus de producte en el que s’engloba, les aplicacions interactives. S’estableix també en aquesta part una introducció als principals gèneres de la no ficció interactiva, tot caracteritzant-los i diferenciant-los entre ells i entre els gèneres de la no ficció audiovisual. La segona part argumenta i justifica les raons per les quals podem considerar el documental interactiu com un nou gènere audiovisual, amb característiques pròpies i específiques. Per a situar-ne el context adequat, localitzem i descrivim l’aparició, consolidació i diversificació d’aquest nou gènere, per arribar a formular-ne una definició, una caracterització àmplia i una proposta taxonòmica originals. També ens centrarem en la transformació dels processos de producció i circulació, atenent a les noves lògiques i dinàmiques actuals. Amb l’objectiu d’establir i delimitar el marc conceptual de manera precisa i concreta, hem elaborat un model de categorització centrat en l’anàlisi del nou gènere, model que aspira a ser també útil per a la creació i producció d’aquest tipus de documental. La recerca inclou també una avaluació de l’estat de l’art del documental interactiu en relació a la temàtica tractada, la plataforma d’accés i l’experiència de l’usuari. I el capítol de conclusions resumeix les principals aportacions originals de la investigació, tot afirmant la pertinència de la identificació del documental interactiu com a nou i prometedor gènere audiovisual.
The objective of this doctoral thesis is to show and demonstrate what an interactive documentary consists of. In recent years this interactive medium has been proposed to be a new audiovisual genre with its own specific characteristics. This research discusses how interactive digital media have affected the logics of audiovisual production, exhibition and reception of the traditional documentary genre. In recent years, these new dynamics have transformed the communication processes and the nature of the different actors involved, giving rise to a new genre called “interactive documentary”. From a sample of significant cases we have developed an original conceptual framework with the aim of characterizing the interactive documentary as a specific audiovisual genre, while differentiating it from the conventional forms of documentary and interactive non-fiction. The first part of the study establishes the precedents and the context in which the interactive audiovisual environment is developed. Based on a general overview of the documentary genre and interactive digital media, we describe the main context in which this format is created, the Web, as well as the types of products that it includes, interactive applications. In this section we also introduce the main interactive non-fiction genres, characterizing them and differentiating them among each other and among audiovisual non-fiction genres. The second part discusses and justifies the reasons why we can consider the interactive documentary as a new audiovisual genre with its own specific characteristics. To place it in an appropriate context, we situate and describe the emergence, consolidation and diversification of this new genre, based on which we formulate an original definition, carry out an extensive characterization and propose a taxonomy. We also focus on the transformation of the production and dissemination processes according to the new logics and current dynamics. In order to establish and define the conceptual framework specifically and precisely we have developed a categorization model for analyzing the new genre, which is also useful for creating and producing this type of documentary. In addition, we evaluate the state-of-the-art of the interactive documentary in relation to the topics discussed, the access platform and the user's experience. The conclusions chapter summarizes the main original contributions of the research, affirming the relevance of identifying the interactive documentary as a new and promising audiovisual genre.

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Gantzer, George Edward IV. "Discovering the Process of Creating an Animated Biography". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1262110820.

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Rondot, Sarah Ray. "Radical Epistemologies in Twenty-First Century Trans* Life Narratives". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19664.

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This dissertation explores how life narratives created by trans*-identified people (transsexual, transgender, genderqueer, and other non-binary identities included in the term’s asterisk) imagine new categories by re-working familiar stories; trans* life narratives are thus indispensable for comprehending how gender, identity, and self shape each other across social contexts in relation to dominant cultural narratives and embedded epistemologies. Prevailing U.S. ideologies (created and maintained through medical and media discourses) conceive of trans* identity through a binary formation, reinforce trans* people as objects who exist for nontrans* consumers, and rationalize trans* people as trapped within improper bodies or liberated within surgically constructed new ones. In opposition, twenty-first century narratives by filmmakers Jules Rosskam and Gwen Tara Haworth, autobiographers Jennifer Finley Boylan and Alex Drummond and YouTube digital storytellers Ky Ford and Skylar Kergil imagine trans* identity as productive – the goal is not to explain or justify gender diversity but to embrace it and to continue to widen its collective scope. The twenty-first century narratives I analyze reconceptualize trans* identity as viable with or without medical intervention and articulate a whole, continuous subject rather than a subject split between pre- and post-transition. Evoking a new historical moment, these life writers and media producers celebrate their identity in spite of or even because of the transphobia they experience. In so doing, radical trans* life narratives exemplify how medical models and popular media fail those who they purport to protect and represent. Gender is an identity as well as a social and historical process, which is constantly open to investigation. If laying claim to an identity makes subjects, as Michel Foucault argues, the process also occurs bi-directionally: identities come into existence through the act of naming and narrating them. As more individuals articulate what it means to be trans*, personal and collective knowledges will expand to include a range of diverse subjectivities, some of which have yet to be narrated into existence.

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Maldaner, Sandra Schinwelski. "DOCUMENTO SONORO COMO PATRIMONIO ARQUIVÍSTICO DOCUMENTAL: UM AMBIENTE DE DESCRIÇÃO, DIFUSÃO E ACESSO PARA O MUSEU ANTROPOLÓGICO DIRETOR PESTANA". Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/11066.

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The Anthropological Director Pestana Museum (MADP), maintained Integration Foundation, Development and the Northwest Education (FIDENE), a private institution of technical and educational-cultural character, becomes part of the development environment of this study with respect to the collection sound made cassette tapes. This file gathers historical documentation Integration Foundation, Development and Education of the Rio Grande do Sul state Northwest - FIDENE installation of FAFI in 1956, the establishment of FIDENE in 1969 and the recognition of UNIJUI in 1985, the regionalization of this in 1993, continued until the present day. The historical building of this institution, as well as custody audio collection and preserved, justify the conduct of this research, while these sound documents require special care and handling, linked to life expectancy of magnetic tape directly attached to the support and technological obsolescence. This research aims to investigate the light of current references of typological identification and the consequent integration of sound documents in the Classification Plan, the methodology and the definition of an arrangement of systematic and preservation for the sound collections generated from scanning cassettes of the Anthropological Museum Director Pestana - MADP belonging to FIDENE File. The need to discuss the inclusion of sound documents in archival management programs part of the whole document assumption is a registration unit independent support information, and the sound file is integrated by sound recordings resulting from public institutions activities, private, person or family in the performance of their activities and regardless of the nature of the support. The motivation for this study is in line with Resolution No. 41 of Conarq - provide for the inclusion of audiovisual, iconographic, sound and musical documents in archival document management programs for their preservation and access. To accomplish this goal, the diagnosis of the sound collection was performed in order to verify the organization and arrangement of these documents. The theoretical framework of this research was based on the themes cultural heritage, archival sound document - cassette, archival description and standardization, dissemination and access, digital preservation and conservation strategies, reliable digital archival repositories and contemporary diplomatic. The foundation of this research consisted in the identification of funds and the use of typological identification of concepts to define the species and preparation of documentary arrangement framework that culminated in the development of research tools Guide, Inventory and catalog in an electronic environment via ICA AtoM. It is an applied research, qualitative approach, conducted through desk research and direct observation, and on the technical procedures consisted in a case study. This research allowed to work out an arrangement framework and establish an arrangement systematically for sound documents FIDENE file and prepare to master product research instruments guide, inventory and catalog to access and dissemination and available online at ICA-AtoM platform documents sound.
O Museu Antropológico Diretor Pestana (MADP), mantida da Fundação de Integração, Desenvolvimento e Educação do Noroeste do Estado (FIDENE), instituição privada de caráter técnico-educativo-cultural, passa a compor o ambiente de desenvolvimento deste estudo no que tange ao acervo sonoro composto de fitas cassete. Este arquivo reúne a documentação histórica da Fundação de Integração, Desenvolvimento e Educação do Noroeste do Estado do Rio Grande do Sul FIDENE da instalação da FAFI, em 1956, à constituição da FIDENE em 1969, ao reconhecimento da UNIJUI em 1985, à regionalização desta, em 1993, mantida até aos dias atuais. A construção histórica desta instituição, assim como a acervo de áudio custodiado e preservado, justificam a realização dessa pesquisa, ao passo que estes documentos sonoros necessitam de cuidados e manuseio especiais, atrelados a expectativa de vida útil da fita magnética diretamente ligada ao suporte e a obsolescência tecnológica. Esta pesquisa tem como objetivo principal investigar à luz dos referenciais atuais da identificação tipológica e a consequente inserção dos documentos sonoros no Plano de Classificação, a metodologia e a definição de uma sistemática de arranjo e de preservação para os acervos sonoros gerados a partir da digitalização de fitas cassetes do Museu Antropológico Diretor Pestana MADP pertencentes ao Arquivo FIDENE. A necessidade de discutir sobre a inserção dos documentos sonoros em programas de gestão arquivística parte do pressuposto de que todo documento é uma unidade de registro de informações independente do suporte, e o documento sonoro é integrado por registros sonoros resultantes das atividades de instituições públicas, privadas, pessoa ou família, no desempenho de suas atividades e independente da natureza do suporte. A motivação para este estudo vem ao encontro da Resolução nº 41 do Conarq - dispõem sobre a inserção dos documentos audiovisuais, iconográficos, sonoros e musicais em programas de gestão de documentos arquivísticos visando a sua preservação e acesso. Para cumprir tal objetivo, foi realizado o diagnóstico do acervo sonoro, a fim de verificar a organização e arranjo desses documentos. O referencial teórico desta pesquisa foi embasado nos temas Patrimônio cultural, documento sonoro arquivístico fita cassete, arquivologia, descrição e normalização, difusão e acesso, preservação digital e estratégias de preservação, repositórios arquivísticos digitais confiáveis e diplomática contemporânea. O alicerce desta pesquisa se constituiu na identificação dos fundos e a utilização dos conceitos de identificação tipológica para definição das espécies e elaboração do quadro de arranjo documental que culminaram na elaboração dos instrumentos de pesquisa Guia, Inventário e Catálogo em um ambiente eletrônico, via ICA-AtoM. Trata-se de uma pesquisa aplicada, de abordagem qualitativa, realizada por meio de pesquisa documental e observação direta, e quanto aos procedimentos técnicos constituiu-se em um estudo de caso. Esta pesquisa permitiu elaborar um quadro de arranjo e estabelecer uma sistemática de arranjo para os documentos sonoros do Arquivo FIDENE e elaborar como produto de mestrado os instrumentos de pesquisa guia, inventário e catálogo para acesso e difusão e disponibilização online na plataforma ICA-AtoM dos documentos sonoros.

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May, John Edwin. "The McFarlands: "One Season"". Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1719.

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This thesis is in support of the Master of Fine Arts exhibition entitled The McFarlands at East Tennessee State University, Slocumb Galleries, Johnson City, Tennessee, November 5th - 9th, 2007. This artist's photographic survey, which lasted approximately two years, investigated the lifeworld of a family in a rural Appalachian town. His photographic work depicts the subjects working on their farm growing tobacco and their relationships within the family unit. The artist discusses his work in terms of historical and contemporary influences with an emphasis on the relationship to the work of Lewis W. Hine, Wright Morris, Mary Ellen Mark, and David M. Spear. The thesis includes images and discussion of four works.

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Machado, Pâmela de Bortoli 1987. "A representação de inclusão social e digital por meio da música em documentários brasileiros". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285332.

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Orientador: Fábio Nauras Akhras
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T23:59:27Z (GMT). No. of bitstreams: 1 Machado_PameladeBortoli_M.pdf: 3196543 bytes, checksum: 4c99bcfffa51629a4c7bf69db461f611 (MD5) Previous issue date: 2015
Resumo: O vídeo documentário é elemento de mobilização e crítica social uma vez que contextualiza os fatos de um problema social, evidenciado pela valorização dos indivíduos que ilustram suas expectativas, dificuldades e ideais. Buscamos enfatizar nesta dissertação com a análise dos documentários Fala Tu (2003) e L.A.P. A. (2007) a ideia de que a música, no caso o rap, pode ser utilizada na inclusão social quando expressada de forma ideológica, pelo diálogo que representa na maior parte dos conflitos integrantes da vida na periferia. E, ao estabelecer a música como prática de uma identidade cultural, a análise de Insurreição Rítmica (2008) explicita como a música promove a mudança social, ao retratar a transformação promovida por organizações sociais em bairros pobres de Salvador. Em paralelo à inclusão social, a questão da empregabilidade é mensurada a partir da inclusão no mercado da música digital, no uso das novas tecnologias disponíveis e que vêm transformando a prática do músico independente, ao substituir o consumismo do CD por arquivos de áudio intercambiáveis. Tal problemática foi explorada pelos documentários Música.BR e Internet (2009), We.Music (2010) e Profissão: Músico (2011), nos quais se pode compreender como os músicos dependentes de geração de renda por intermédio da música sobrevivem à transformação no mercado musical. A dissertação desenvolve-se a partir de teorias acerca das questões que envolvem esse conjunto de documentários, como conceitos de inclusão social e digital, identidade cultural e revolução digital no mercado musical juntamente com a análise dos mesmos. Assim, discute-se como se desenvolve a representatividade deste conjunto de documentários que explora as problemáticas relacionadas à inclusão social e digital fazendo uso da música e evidenciando o uso do audiovisual como fator de conscientização de realidades que expressam essas problemáticas
Abstract: The video documentary is an element of mobilization and social criticism it contextualizes the facts of a social problem, evidenced by the recovery of individuals who illustrate their expectations, difficulties and ideals. We emphasize in the analysis of Fala Tu (2003) and L.A.P.A (2007) the idea that music, if rap, can be used in social inclusion when expressed in ideological form, by the dialogue that represents for the most part conflicts of the periphery. And, as we set the song as practice of a cultural identity, the analysis of Rhythmic Uprising (2008) explains how music promotes social change, portraying the transformation promoted by social organizations in the slums of Salvador. In parallel to social inclusion, the issue of employability is measured to inclusion in the digital music market, by the use of new technologies available that changed the practice of independent musicians, to replace consumerism of CD for audio files. This issue was explored by the documentaries Música.BR and Internet (2009), We.Music (2010) and Occupation: Musician (2011), in which we understand how musicians that depend on the generation of income from the music survive under the transformation of the music business. Therefore in the development of this dissertation we have explored theories about the issues surrounding this set of documentaries, as concepts of social and digital inclusion, cultural identity and digital revolution in the music business, along with the analysis. Thus, we discuss how the representativeness of this set of documentaries develops exploring the issues related to social inclusion and to the use of digital music, highlighting the use of the audiovisual as a way of raising awareness about realities expressing these problems
Mestrado
Multimeios
Mestra em Multimeios

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Nunes, Janilton Fernandes. "FUNDO COMARCA DE SANTA MARIA (1910 - 1946): A digitalização como auxílio ao acesso e a preservação do patrimônio documental". Universidade Federal de Santa Maria, 2014. http://repositorio.ufsm.br/handle/1/11026.

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The present dissertation research has as the analysis of procedures for document preservation, such as the description, the scanning, and the availability of digital representative on the internet, of ciminal case of fonds Judicial District of Santa Maria (JDSM), corresponding to the period 1910-1946 . Currently, this documentary fonds is in the custody of the Municipal Historical Archive of the City of Santa Maria (AHMSM). The research aims to decrease the handling of original documents, thus contributing to the preservation of documentary heritage. Create a finding aid that allows quick access to contents of the fonds Judicial District of Santa Maria. The fonds framed in the classification scheme of the AHMSM and is considered closed, organized chronologically. The related documents are composed of 604 stored procedures in 70 standard file boxes totaling 77,000 images. This work proceeded research, creation and review of the descriptions of each process fonds. This work, necessary for the preparation and launch of data in the archival description ICA-AtoM software. The fonds scanning was performed, permeated with the standards and recommendations mainly the National Council on Archives of Brazil (CONARQ), which passed the feasibility study of equipment and the creation of digital documents representative of the fonds. The AHMSM today have digital representatives of the Judicial District of Santa Maria fonds available, with access via the Internet. The consolidation of JDSM, replicated in digital format, adds another responsibility to AHMSM, which is responsible for the maintenance and access the content on the other hand, the body receives a finding aid, the catalog, which reduces the handling of original documents, enabling fast access to content.
A presente dissertação teve como pesquisa a análise de procedimentos para a preservação documental, tais como: a descrição; a digitalização e; a disponibilização do representante digital na internet, dos processos crime do fundo Comarca de Santa Maria (FCSM), correspondentes ao período 1910-1946. Atualmente, este fundo documental está sob custódia do Arquivo Histórico Municipal da cidade de Santa Maria (AHMSM). A pesquisa tem como objetivo, diminuir o manuseio dos documentos originais, contribuindo assim, com a preservação do patrimônio documental. Criar um instrumento de pesquisa que permita acesso rápido ao conteúdo do fundo Comarca de Santa Maria. O fundo enquadrado, no quadro de arranjo do AHMSM e é considerado fechado, organizado cronologicamente. Os documentos correlatos são compostos de 604 processos guardados em 70 caixas arquivo padrão totalizando 77.000 imagens. Este trabalho procedeu pesquisa, criação e revisão sobre as descrições de cada processo do fundo. Trabalho este, necessário para a preparação e lançamento dos dados no software de descrição arquivística ICA-AtoM. A digitalização do fundo foi executada, permeada pelas normas e recomendações principalmente do Conselho Nacional de Arquivos -(Conarq), que passou pelo estudo de viabilidade de equipamentos e da criação do representante digital dos documentos do fundo. O AHMSM tem hoje, os representantes digitais do fundo Comarca de Santa Maria disponíveis, com acesso via internet. A consolidação do FCSM, replicado em formato digital, acrescenta mais uma responsabilidade ao AHMSM, que é, zelar pela manutenção e acesso do conteúdo, por outro lado, o órgão recebe um instrumento de pesquisa, o catálogo, que diminui o manuseio dos documentos originais, possibilitando acesso rápido ao conteúdo.

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Phillips, Brett Michael. ""You want it all to happen now!": The Jinx, The Imposter, and Re-enacting the Digital Thriller in True Crime Documentaries". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6743.

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In this thesis, I outline the changing shape of the reenactment in the contemporary true crime documentary to illustrate a burgeoning crisis of epistemology and anxieties about the authority of evidence in the Digital Age. I examine two works—The Jinx and The Imposter—that deal with evidence in formally similar but ideologically opposite ways. Logic in the Digital Age prioritizes an ever-widening collection of increasingly more precise artifacts and details, which supposedly paint a more complete picture but end up highlighting what is unknown more often. Key to this examination is the adoption of classic Hollywood thriller techniques (e.g., non-traditional narrative structures that emphasize subjectivity, twist endings that create uncertainty and doubt, etc.) which indicate a shift away from the traditional “cool” rhetorical control of social realist documentaries towards the emotionally charged manipulation of the thriller. This shift cannot be sufficiently explained by the overarching progression of the documentary towards more reflexive and performative modes. Rather, at the center of this shift is the use of stylized reenactments that share both the thriller’s preoccupation with subjectivity and uncertainty and digital logic’s pervading heterogeneous makeup. This shift troubles the mastery true crime docs implicitly claim to offer through evidence and the authority of the American criminal justice system in a different way than the more self-reflexive modes of documentary. To resolve the trouble, these films appeal less to evidence and more to emotional certainty and pathos as a way of judging guilt and innocence, shifting the way concrete evidence is understood.

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Haon, Françoise. "Travail photographique documentaire des Becher et évolution de quatre de leurs élèves de l'Académie des Beaux-Arts de Düsseldorf : lien avec la peinture et Gerhard Richter". Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2047.

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Étude de la notion documentaire et artistique dans l’oeuvre des Becher. Évolution de leurs élèves, Thomas Ruff, Andreas Gursky, Thomas Struth, Candida Höfer vers une photographie picturale et abstraite. Influence de la peinture, liée à l’enseignement de Gerhard Richter. La photo comme source d’information pour créer des images picturales chez Ruff et Richter. Utilisation du travail numérique pour s’orienter vers desimages picturales et abstraites chez Ruff et Gursky. Dimension sociologique du rapport photographie/peinture dans l’oeuvre de Thomas Struth, travail sur notre façon d’être dans le monde. Entre documentation et abstraction également, le travail de Candida Höfer sur l’espace vital, sur la structure de l’objet, évolution vers le détail, l’abstraction. Abstraction, experimentation, tendance de l’archive, axes essentiels en photographie
Study of documentary and artistic notion in the work of the Becher. Evolution of of their students, Thomas Ruff, Andreas Gursky, Thomas Strth, Candida Höfer towards a picturial and abstract photography. Pictorial influence, linked with Gerhard Richter’s teaching. Photography as source of information to create pictorial pictures by Ruff and Richter. Use of digital work by Ruff and Gursky to go towards picturealand abstract pictures. Sociological aspect in the link photography/painting in Struth’s work, on our way to exist in the world. Between documentation and abstraction too, the photographic work of Candida Höfer on vital space. Evolution on the structure of the object, on the detail, towards abstraction. Abstraction, experimentation, archival tendance, essential directions in photography

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Sfreddo, Josiane Ayres. "POLÍTICA DE SEGURANÇA DA INFORMAÇÃO: UMA ESTRATÉGIA PARA GARANTIR A PROTEÇÃO E A INTEGRIDADE DAS INFORMAÇÕES ARQUIVÍSTICAS NO DEPARTAMENTO DE ARQUIVO GERAL DA UFSM". Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/11004.

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Presents a study on information security in order to propose an Information Security Policy for the Department of General Archives (DAG), Federal University of Santa Maria (UFSM) as a way of enabling the protection, availability and secure access to archival information (not digital), in the university context. It is characterized as an exploratory qualitative approach, assuming a case study form, because it involves the study of a certain subject allowing its wide and detailed knowledge. It was first conducted a more detailed study of the Standard ISO/IEC 27002 which is a code of practice for information security, providing guidelines for the implementation of an Information Security Policy, based on regulations according to the institutional purposes. The study aimed, at first, to adapt the requirements and controls present in this standard archival context, focusing on the protection of not digital information, a research in the Heritage Documentary line. Thus, the adaptation of the standard for archival followed the structure of the original standard, seeking to provide for the archival institutions a tool to subsidize the development of an Information Security Policy, providing a more secure and reliable protection. In order to compose this policy a data collection was carried out through interviews, structured within questions about security information, based on the standard ISO/IEC 27002, on the previous study and the Adaptation of the Standard for the archival context. With the data collected and analyzed, along with the DAG, it can be verified that the problems causer of threats to the security of not digital archives in the department are directly related to the lack of security to the perimeter and to the absence of a physical control, including entries and exits. These security actions made it possible, together with the adaption of the standard, to propose control in order to prevent further incidents. This way it was possible to structure the Document of the Security Policy representing the materialization of the Security Policy according to the needs presented by DAG. This document will serve as an instrument to support and guide employees, users and third parties in the conduct of institutional activities. However, it is up to the department to approve it and implement it for the purpose of preventing incidents, thereby providing safe reliable and continuous access to not digital information by him guarded.
Apresenta um estudo sobre a segurança da informação a fim de propor uma Política de Segurança da Informação para o Departamento de Arquivo Geral (DAG) da Universidade Federal de Santa Maria (UFSM), possibilitando a proteção, a disponibilidade e o acesso seguro às informações arquivísticas (não digitais), no contexto universitário. Caracteriza-se como uma pesquisa exploratória com abordagem qualitativa, assumindo a forma de estudo de caso, pois envolve o estudo sobre um determinado assunto permitindo o seu amplo e detalhado conhecimento. Primeiramente foi realizado um estudo mais aprofundado da Norma ABNT NBR ISO/IEC 27002 que é um código de prática para a segurança da informação, apresentando diretrizes para a aplicação de uma Política de Segurança da Informação, baseada em regulamentos de acordo com os propósitos institucionais. O estudo objetivou, em um primeiro momento, adaptar os requisitos e controles presentes nessa norma ao contexto arquivístico, tendo como foco a proteção de informação não digital, caracterizando, deste modo, uma pesquisa na linha do Patrimônio Documental. Assim, a Adaptação da Norma para a arquivologia seguiu a estrutura da Norma original, buscando proporcionar às instituições arquivísticas um instrumento que subsidiasse a elaboração de uma Política de Segurança da Informação, possibilitando a proteção de informações não digitais de uma forma mais segura e confiável. Para a composição dessa Política, foi realizada a coleta de dados por meio de entrevista estruturada com questões sobre a segurança da informação, fundamentada na Norma ABNT NBR ISO/IEC 27002, tendo como base o estudo anterior e a Adaptação da Norma para o contexto arquivístico. Com a análise dos dados coletados junto ao DAG, podese verificar que os problemas que causam ameaças à segurança da informação não digital no departamento estão relacionados diretamente à deficiência dos perímetros de segurança e à inexistência de um controle de acesso físico incluindo entradas e saídas. A partir dessas ações de segurança, foi possível, juntamente com a Adaptação da Norma, propor controles a serem aplicados a fim de evitar a ocorrência de novos incidentes. Dessa forma, foi possível estruturar o Documento da Política de Segurança da Informação representando a materialização da Política de Segurança de acordo com as necessidades apresentadas pelo DAG. Esse documento servirá com um instrumento de apoio fundamental para instruir funcionários, usuários e terceiros na realização das atividades institucionais. No entanto, cabe ao departamento aprová-lo e implementá-lo, a fim de prevenir incidentes proporcionando, assim, acesso seguro, confiável e contínuo às informações não digitais por ele custodiadas.

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barajas, salvador. "Doing Memory Work in the Third Space Between Self and Community: An Auto-Ethnography". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3665.

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This thesis explores social memory, migration, place and belonging and cultural citizenship in Pulaski, Virginia, after the North American Free Trade Agreement (1994). Through the lens of autoethnography, a participant-researcher model, I look closely at the affects that globalization has had on the economic and cultural life of this semi-rural community. The Autoethnographic approach has allowed me to reflect on my role as the co-author of oral and written narratives, a communal archive of historical images and a collection of collaborative photography. The impact of this thesis is, in part, a deeper understanding of collective social memory and the research we do on this subject exists in the border space between the self and community. As such, participant based modes of inquiry can help us help address the needs of academic institutions and expectation of community partners with a greater degree of success.

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Michet, Florence. "Du CDI physique au CDI numérique : articulation des espaces documentaires réels et de l'offre numérique aux usagers". Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30016.

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Ce travail de réflexion a pour objectif d’appréhender les pratiques managériales, pédagogiques et communicationnelles mises en place par les professeurs documentalistes afin de créer des liens entre CDI physique et CDI numérique. Pour cela, nous avons procédé à une enquête de terrain, sur la Région PACA, auprès de 41 professeurs documentalistes, soit 39 CDI de collège ou lycée général. Notre investigation est structurée en deux phases successives : un questionnaire exploratoire suivi d’un entretien semi-directif. Le matériau ainsi constitué a été analysé « épisode par épisode », relatant les moments importants pour les acteurs : ceux qui relèvent de la routine et ceux qui apparaissent inhabituels. Nous avons comparé le sens des paroles relavant les logiques récurrentes pour isoler les tendances conjoncturelles spécifiques à certains établissements procédant donc à un double niveau. Les professeurs documentalistes s’approprient le numérique en fonction de leurs envies, leurs possibilités et les moyens à leur disposition en l’absence de réelles prescriptions. Ils sont aussi contraints par le CDI, espace physique dont ils dépendent. Les études actuelles s’intéressent à l’espace documentaire scolaire dans ses aspects purement pédagogiques ou numériques mais peu relient directement les deux. Par conséquent, comment le professeur documentaliste tiraillé entre injonctions institutionnelles et besoins professionnels spécifiques peut-il proposer un service qui réponde réellement et efficacement aux usagers dans son organisation globale ?
This thinking process aims at perceiving the managerial, pedagogical and communication practices introduced by the school librarians in order to create links between the material and the digital school libraries. To the end, we have proceeded with a field survey in the south east of France : 41 school librarians (39 secondary school librarians and 2 high school librarians). Our investigation is organized in two successive periods : an exporatory study followed by a semi-structured interview. The established data has been analysed « step by step », relating the important moments of the participants : those which prove the routine and those which seem unusual. We have compared the words meaning, selecting the reccuring rationales in order to define the conjonctural and particular trends in some schools, leading to a double level. The school librarians appropriate digital tools according to their needs, possibilities and resources in absence of regulatory requirements. They are also constrainted by the school libraries, real documentary spaces they depend on. The current studies are interested in the purely pedagogical or digital aspects but they rarely connect the two facets. Therefore, how may the school librarian, torn between the institutional ordinances and the particular professional necessity, offer a service that could really and efficiently respond to the needs of the users considering its general management ?

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Warncke, Nicole. "Eggplant Emoji". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011844/.

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Eggplant Emoji is a documentary film that reveals a range of feminist perspectives on dick pics, sexting and online sexual harassment. Through intimate and hilarious interviews with women between the ages of 22 and 35, the film harnesses a collective voice that speaks back to the large and small ways patriarchy wields power in modern spaces, especially through sending unsolicited dick pics. By intertwining the testimonies of a dynamic group of female storytellers sitting amongst their close friends, the film provides candid and diverse commentary on this unique moment we are in, where the lines between private and public, online and offline are increasingly blurred. Until there are greater consequences, whether legal, social or otherwise, for men disrespecting women's choices and personal space, the domain of sexting is in a self-policing state and women are left to expend emotional labor to let men know why what they sent is unwanted or violating. Ultimately, the subjects' testimonials coalesce to provide suggestions for respectful, consensual sexting practices and fill in the gaps where sex education often neglects the importance of consent and communication altogether.

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Tassius, Denise. "Formation et pratiques documentaires numériques dans les bibliothèques universitaires en France". Thesis, Antilles-Guyane, 2014. http://www.theses.fr/2014AGUY0844/document.

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Avec l’arrivée des technologies de l’information, l’explosion de l’information et la recrudescence des supports ont modifié les pratiques des usagers des bibliothèques qui utilisent de plus en plus le numérique et les nouveaux outils de communication. Ces évolutions placées dans le cadre de la formation à l’université nous interrogent sur l’enjeu que peut représenter la formation documentaire dans les besoins et les attentes des utilisateurs pour une meilleure utilisation de l’information. Notre recherche se précise autour des médias socionumériques qui ponctuent le quotidien des étudiants et qui suscitent des interrogations sur leurs impacts dans l’accès à la documentation universitaire. On observe que les compétences à maîtriser par les usagers sont encore occultées dans les formations classiques proposées dans les bibliothèques universitaires alors qu’elles sont nécessaires pour provoquer une meilleure réception des savoirs informationnels et documentaires afin d’interagir sur un enfermement consumériste de l’information.En nous appuyant sur une méthodologie avec des entretiens exploratoires à un questionnaire auprès de professionnels de l’information, de la communication et de la documentation, notre étude montre que c’est dans le cadre d’une convergence numérique qu’un changement peut s’opérer chez les étudiants. Cette convergence s’inscrit dans le cadre de formations qui s’orientent vers les cultures numériques qui allient à la fois l’éducation aux médias déclinant l’esprit critique, l’apprentissage centré apprenant et la culture technique qui doit prendre en compte à la fois la connaissance des outils mais aussi la formation par les outils. C’est cette vision de l’écologie de la formation qui préfigure dans notre analyse et qui s’annonce pour les bibliothèques universitaires comme un axe fort d’ancrage dans l’enseignement supérieur, autour d’une dynamique axée vers une convergence info-documentaire numérique. Ces préconisations sont envisagées dans le cadre d’actions collectives au sein de l’université avec une réelle médiation entre les différents acteurs de l’éducation et de la formation et une place centrale pour la bibliothèque universitaire comme le lieu des transversalités de la formation numérique
With the advent of information technology, the information explosion and the resurgence of media changed the practices of users of libraries that use more digital and new communication tools. These developments within the University training interrogate us on the issue that may represent the documentary training in the needs and expectations of users for a better use of the information. Our research says around digital social media that punctuate the lives of students and which raise questions on their impacts in access to academic literature. Observed that skills to master by users are still obscured in conventional formations proposed in academic libraries that are necessary to produce a better reception of documentary and informational knowledge to interact a consumerist confinement of information. Based on a methodology with exploratory talks to a questionnaire with information, communication and documentation professionals, our study shows that this is in digital convergence that a change may occur among students. This convergence is part of formations that are moving towards digital cultures combining both education media declining the critical spirit, centered learning and technical culture which must take into account both the knowledge of the tools, but also the training tools. It is this vision of the ecology of the training that foreshadowed in our analysis and looming for academic libraries as a strong axis of anchoring in higher education around a dynamic oriented towards a digital documentary convergence. These recommendations are considered in the context of collective action within the University with real mediation between the different actors of education and training, and a central place for the University Library as the place of training for digital transversalities

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Dieye, Mor. "Valorisation et médiation numérique du patrimoine documentaire colonial et de l'esclavage". Phd thesis, Université Paul Valéry - Montpellier III, 2013. http://tel.archives-ouvertes.fr/tel-00942980.

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La question de la préservation et de la pérennisation du patrimoine documentaire des archives et des bibliothèques a toujours été au centre des préoccupations et des débats des professionnels en information-documention et intéresse maintenant de plus en plus les usagers. Ceci est lié à l'importance que nos sociétés attachent à l'histoire et à la mémoire. Ce retour vers le passé n'est souvent possible que si la preuve qui l'incarne (en l'occurrence les archives) est bien conservée et valorisée. La numérisation a ouvert de nouvelles perspectives pour la sauvegarde du patrimoine, surtout dans le contexte des pays du Sud où les conditions de conservation font défaut en raison d'un climat tropical défavorable et de moyens infrastructurels et matériels qui manquent souvent. Les solutions offertes par la numérisation pour la sauvegarde, la pérennisation et l'accès au patrimoine documentaire sont certes satisfaisantes, mais ne donnent pas toutes les garanties surtout quand il s'agit des documents historiques fragiles et précieux comme les fonds d'archives de l'esclavage et de la colonisation. [etc.]

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Renaud, Juliette. "Processus de conception d’un outil didactique d’enseignement de la lecture documentaire numérique au cycle 3". Thesis, Université Clermont Auvergne‎ (2017-2020), 2020. http://www.theses.fr/2020CLFAL014.

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Les résultats des élèves français aux évaluations nationales et internationales mettent en évidence leurs difficultés à lire des documentaires en fin d’école élémentaire (9-11 ans). Nous avons cherché à améliorer les pratiques enseignantes dans ce domaine. Tandis que l’enquête internationale PIRLS 2016 livrait ses conclusions quant aux compétences qui faisaient particulièrement défaut aux élèves français pour lire et comprendre les documentaires, nous avons défini nos intentions : suppléer à un déficit d'enseignement en raison de la difficulté à définir les stratégies à enseigner, mais aussi, compenser les inégalités sociales en enseignant à tous les élèves ce que les plus favorisés d’entre eux construisent dans leur famille. Pour cela, nous avions plusieurs possibilités : transmettre des connaissances aux enseignants pour modifier leurs pratiques ou, à l’inverse, modifier leurs pratiques pour infléchir leurs connaissances. À la suite de Goigoux et Cèbe, nous avons opté pour la seconde solution. Nous avons choisi, en nous appuyant sur les résultats de la recherche, de concevoir un dispositif d’enseignement de la lecture documentaire numérique en mettant à l’épreuve la démarche de conception continuée dans l’usage adaptée par ces chercheurs en concevant un outil didactique, #LectureDoc, pour le cycle 3. Dans notre recherche doctorale, nous avons voulu savoir si leur démarche nous permettrait de mener notre projet à bien. Par conséquent, nous nous sommes posée trois questions : - En quoi la première étape de la démarche de conception continuée dans l’usage développée par Goigoux et Cèbe est-elle valide pour concevoir un premier prototype ? - Comment suppléer à la faiblesse de la deuxième étape de la conception continuée dans l’usage et affiner la méthodologie de traitement des retours des utilisateurs pour améliorer l’outil ? - Dans quelle mesure la réalisation de la troisième étape de la démarche de conception continuée dans l’usage permet-elle de tester l’efficacité de notre outil ? Afin de répondre à ces questions, nous avons retracé l’anamnèse de chacune des étapes de conception continuée dans l’usage de #LectureDoc. L’étude empirique 1 met en évidence la nécessité de recourir à des revues de littérature dans trois domaines de connaissances pour concevoir un premier prototype de l’outil. Elles ne nous ont cependant pas exonérée de recourir à des études complémentaires pour y parvenir. L’étude empirique 2 propose un apport méthodologique concernant des indicateurs d’utilité, d’utilisabilité et d’acceptabilité pour aider à l’amélioration de chacun des deux prototypes testés et co-conçus avec des enseignants volontaires. L’étude empirique 3, perturbée par l’épidémie de Covid 19, ne nous a pas permis de tester les effets de notre outil sur les élèves. Toutefois, notre test, LDN v3, constitue un apport. Nous concluons notre travail de recherche, mêlant didactique et ergonomie de conception, en l’apparentant à un courant de didactique de conception
The results of French students in national and international assessments highlight their difficulties in reading documentaries at the end of elementary school (9-11 years old). We sought to improve teaching practices in this area. While the PIRLS 2016 international survey provided its conclusions regarding the skills that French students were particularly lacking in reading and understanding documentaries, we defined our intentions: to make up for a teaching deficit due to the difficulty in defining the strategies to be taught, but also to compensate for social inequalities by teaching all students what the most advantaged among them build in their families. To do this, we had several possibilities: to transmit knowledge to teachers in order to modify their practices or, conversely, to modify their practices in order to influence their knowledge. Following Goigoux and Cèbe, we opted for the second solution. Based on the results of the research, we chose to design a device for teaching digital document reading by testing the continuous design approach in the use adapted by these researchers by designing a didactic tool, #LectureDoc, for cycle 3. In our doctoral research, we wanted to know if their approach would allow us to carry out our project successfully. Consequently, we asked ourselves three questions: - In what way is the first step of the Continuous Design in Use approach developed by Goigoux and Cèbe valid for designing a first prototype? - How can we make up for the weakness of the second stage of continuous design in use and refine the methodology for processing user feedback to improve the tool? - To what extent does the completion of the third stage of the continuous design in use approach allow us to test the effectiveness of our tool? In order to answer these questions, we have retraced the anamnesis of each of the steps of the continuous design in use of #LectureDoc. Empirical study 1 highlights the need to use literature reviews in three areas of knowledge to design a first prototype of the tool. They did not, however, exempt us from the need to resort to additional studies to achieve this. Empirical study 2 proposes a methodological contribution concerning indicators of usefulness, usability and acceptability to help improve each of the two prototypes tested and co-designed with volunteer teachers. Empirical study 3, disrupted by the Covid 19 epidemic, did not allow us to test the effects of our tool on students. However, our test, LDN v3, is a contribution. We conclude our research work, mixing didactics and design ergonomics, by likening it to a current of design didactics

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Hyde, Sophie-Louise. "'We should be united' : deploying verbatim methods in poetry to (re)present expressions of identity and ideas of imagined community in the 2011 Birmingham riots". Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/25516.

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Despite the upsurge in fact-based and verbatim theatre in recent years (Fogarth and Megson 2009: 1), engagement with the form as a technique equally suitable for poetry has been especially limited. This thesis examines the deployment of verbatim methods in a series of poems which constitute the creative element, written in order to (re)present expressions of identity and ideas of imagined community during the 2011 riots in Birmingham. Located in the context of this particular disorder, United We Stand explores both individual and group experiences of the events that took place in Birmingham. The series of verbatim poems draws on data extracted from 25 semi-structured, life-story interviews with participants who lived or worked in the city during these incidents. In doing so, both the thesis and the creative practice that informs it critique Benedict Anderson s earlier model of the nation as an imagined community (1983; 1991; 2006). While quantitative network analysis is deployed to establish the ties between media channels and ordinary citizens that were maintained online through social networking, creative and reported responses published by these same media sources are analysed in relation to national narrative conventions (Billig 2001; Mihelj 2011). This demonstrates that new and popular media played a significant role in (re)presenting imagined communities in this setting. By providing evidence for the existence of these shifting imagined communities across various geographical, social and cultural scales, the thesis suggests that Anderson s decision to focus on the nation is problematic. It argues that his framework is partial and that a new definition of imagined community as both fluid and emergent is necessary. Literary context for the thesis is found in the origins and developments of verbatim; exploring early documentary theatre practice and contemporary verbatim productions by Richard Norton-Taylor, Alecky Blythe, and Gillian Slovo. Through an analysis of Bhanu Kapil Rider s The Vertical Interrogation of Strangers (2001), the thesis illustrates how existing poets have organised comparable methods in their own work. This culminates in a demonstration of practice as research by producing a ground-breaking body of work: United We Stand is a series of poems crafted through the deployment of verbatim methods. The thesis demonstrates that deploying verbatim methods in poetry is suitable for (re)presenting expressions of identity and ideas of imagined community in this context. By transforming the voices of ordinary people of Birmingham, United We Stand reflects the media narratives that precede it: the poems are a direct engagement with the same fluid and emergent imagined communities that they argue existed. More importantly, though, this thesis goes beyond contemporary techniques of verbatim and establishes the evolutionary nature of it as a poetic practice. The combination of verbatim methods and visual-digital tools that I deploy throughout United We Stand results in a new creative process which I have termed Digital Poetic Mimesis.

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Gantier, Samuel. "Contribution au design du documentaire interactif : jonction et disjonction des figures de l'utilisateur de B4, fenêtres sur tour, coproduit par France Télévisions". Thesis, Valenciennes, 2014. http://www.theses.fr/2014VALE0031.

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Ces dix dernières années, plusieurs centaines de web-documentaires ont été publiés sur Internet. Si ce format émergent connaît un succès d’estime important auprès des professionnels des médias, son design ne va pas de soi. Dès lors, comment les théories du cinéma documentaire et des médias informatisés éclairent-elles les métamorphoses médiatiques caractéristiques de ces « nouvelles écritures » ? Quels sont les enjeux ontologico-esthétiques et communicationnels d’un documentaire interactif ? Quel rôle et quel pouvoir l’instance d’énonciation doit-elle octroyer à un « spectateur-actant » ? Afin de répondre à ces questions, un état des lieux de la production francophone permet tout d’abord d’établir une typologie des différents modes d’interaction. Ensuite, une approche ethnographique, fondée sur une observation participante du design de B4, fenêtres sur tour, au sein de France Télévisions, interroge l’ensemble des controverses socio-techniques et sémio-pragmatiques qui jalonnent les six mois de conception. Une analyse par théorisation ancrée met en exergue les différentes dimensions d’un Utilisateur Modèle négociées, de manière plus ou moins implicite, par l’ensemble des acteurs. Enfin, les usages supposés du web-documentaire sont confrontés à une évaluation de l’expérience utilisateur. Les jonctions et disjonctions entre les figures d’un Utilisateur Modèle, Statistique et Empirique contribuent in fine à mieux appréhender le design de ce format hybride et non stabilisé
In the last few years, several hundred interactive documentaries (i-docs) have been published on the Internet. If many media professionals prize the i-doc format, its design remains a challenging feat. Given this, what light do film documentary theories and digital media shed on the mediated metamorphoses that typify the “New Writings” movement? What are the communicational and ontologico-aesthetic issues of i-docs? What role and what power should an instance of enunciation accord to the “actant-spectator”?In response to these questions, our study of the current state of the French-speaking production scene brought to the fore a typology of interaction modes. Following this observation, an ethnographic approach, based on a participant observation method, questioned the overall sociotechnical and semio-graphic issues that marked the six-month design process of an i-doc called B4, fenêtres sur tour for the State-run France Télévisions. A Grounded Theory analysis of the data highlighted the different dimensions of a more or less implicit negotiated Model User used by the actors. Finally, the purported uses of i-docs were questioned in evaluating users’ experience. The junctions and disjunctions involving the interaction of the User, Statistical and Empirical Models contributed to a better grasp of the designing of the hybrid and non-stabilised i-doc format

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Bourdenet, Philippe. "L'espace documentaire en restructuration : l'évolution des services des bibliothèques universitaires". Phd thesis, Conservatoire national des arts et metiers - CNAM, 2013. http://tel.archives-ouvertes.fr/tel-00932683.

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Le catalogue occupe une place privilégiée dans l'offre de service des bibliothèques universitaires, pivot de l'intermédiation. Depuis 10 ans, il traverse une crise grave, voyant les usagers le délaisser à la faveur des moteurs de recherche généralistes. Le web, plus qu'un sérieux concurrent, devance aujourd'hui les systèmes d'information documentaires, et devient le point d'entrée principal pour la recherche d'information. Les bibliothèques tentent de structurer un espace documentaire qui soit habité par les usagers, au sein duquel se développe l'offre de service, mais celle-ci se présente encore comme une série de silos inertes, sans grande possibilité de navigation, malgré de considérables efforts d'ingénierie et des pistes d'évolution vers les outils de découverte. La profession, consciente de cette crise profonde, après avoir accusé les remous occasionnés par la dimension disruptive du numérique, cherche des moyens pour adapter et diversifier son offre, fluidifier la diffusion de l'information, et se réinvente un rôle d'intermédiation en cherchant à tirer profit des nouvelles pratiques des usagers, de leurs nouvelles attentes, et de nouvelles perspectives. Les bibliothèques placent leur espoir dans de nouveaux modèles de données, tentent d'y ajouter un niveau d'abstraction favorisant les liaisons avec l'univers de la connaissance. L'évolution vers le web sémantique semble une opportunité à saisir pour valoriser les collections et les rendre exploitables dans un autre contexte, au prix d'importants efforts que cette analyse tente de mesurer. Une approche constructiviste fondée sur l'observation participante et le recueil de données offre une vision issue de l'intérieur de la communauté des bibliothèques sur l'évolution des catalogues et des outils d'intermédiation, et ouvre des perspectives sur leurs enjeux.

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Rodrigues, Mateus de Moura. "REPOSITÓRIO ARQUIVÍSTICO DIGITAL CONFIÁVEL PARA O PATRIMÔNIO DOCUMENTAL ORIUNDO DO PROCESSO JUDICIAL ELETRÔNICO". Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/11050.

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This paper presents an approach on the preservation of digital archival documents the activity of legal advice institutions, in other words, digital dossiers for electronic court proceedings. About this documentation, it is clear that it is part of the potential Documentary Heritage of these companies, demanding the adoption of conservation activities that provide the preservation and access of documents produced in this context. Therefore, this research aims to formalize recommendations for implementing a convenient digital environment in order to ensure the preservation of these documents and the maintenance of their authenticity. Permeate this purpose their identification as digital archival documents, the research about the adoption of document management practices in these institutions, the identification of the best Archival Digital Repository Digital to cater these companies and the development of recommendations for the implementation and use of it.As theoretical basis were approached Cultural Heritage and Documentary Heritage,Archivology and the archival document as their object of study, the archival management of digital documents and Digital Preservation. This research is classified as applied, qualitative and exploratory purposes, having a theoretical basis and is a case study. The data collection instruments were the bibliographic records and systematic observation to visualize the document management interventions in the legal advisory companies. As results, the research defined that digital documents produced in legal proceedings as archival documents, also a diagnosis based on systematic observation in law firms to illustrate the reality of them about the adoption of records management and the instruments used to Documentary Heritage definition. Was also analysed the attributes and features of the Archival Digital Repositories Archivematica and RODA in accordance with the OAIS model and the indication of Archivematica as the best suited repository to the research domain.Finally, the implementation and use recommendations for the Archivematica were prepared, passing to the preservation planning, ingest, archival storage, file formats normalization and the interoperability possibilities with archival description software to the digital Documentary Heritage dissemination. As conclusions, we could give as consolidated the main objective of the research, and the Archivematica proved to be able to comply with the demands of a digital environment capable to provide the preservation and the maintenance of the authenticity of archival documents digital stored, in accordance with the international reference standards. Key-words: Digital Preservation. Archival Digital Repository. Archival Digital Document. Archivology. Electronic Judicial Procedure. Documental Heritage
O presente trabalho apresenta uma abordagem acerca da preservação de documentos arquivísticos digitais oriundos da atividade fim das instituições de assessoria jurídica, ou seja, dossiês digitais relativos a processos judiciais eletrônicos. Sobre esta documentação, é possível afirmar que a mesma representa parte do potencial Patrimônio Documental destas empresas, fato que demanda a adoção de atividades que venham ao encontro da preservação com vistas ao acesso contínuo dos documentos produzidos neste contexto. Para tanto, a presente pesquisa tem como objetivo a formalização de recomendações para a implementação um ambiente digital com vistas a garantir a preservação destes documentos e a manutenção de sua autenticidade. Perpassam este objetivo a identificação dos mesmos como documentos arquivísticos digitais, a investigação acerca da adoção de práticas de gestão documental nestas instituições, a identificação do Repositório Arquivístico Digital que mais se adapta às necessidades destas organizações e a consolidação de recomendações para a implementação e uso do mesmo. Como preceitos teóricos foram abordados o Patrimônio Cultural e Patrimônio Documental, a Arquivologia e o documento arquivístico como seu objeto de estudo, a gestão arquivística de documentos digitais e a Preservação Digital. Esta pesquisa é um estudo de natureza aplicada, de abordagem qualitativa e objetivos exploratórios. Conta com levantamento bibliográfico e configura-se com estudo de caso. Como instrumentos de coleta de dados, listam-se o fichamento bibliográfico e a observação sistemática para a visualização das intervenções de gestão nas instituições de assessoria jurídica. Como resultados, teve a identificação dos documentos digitais produzidos com fins processuais como documentos arquivísticos, a realização de um diagnóstico baseado em observação sistemática em escritórios de advocacia para ilustrar a realidade dos mesmos quanto à adoção da gestão arquivística de documentos e instrumentos utilizados com fins de definição do Patrimônio Documental das mesmas, a análise dos atributos e funcionalidades dos Repositórios Arquivísticos Digitais Archivematica e RODA em consonância com o modelo OAIS, e a indicação do Archivematica como o repositório que melhor se adapta às necessidades do universo da pesquisa. Por fim, foram elaboradas as recomendações de implementação e uso do Archivematica, perpassando as etapas de planejamento da preservação, admissão, armazenamento, normalização de formatos de arquivo e possibilidades de interoperabilidade com softwares de descrição arquivística para fins de difusão do Patrimônio Documental em meio digital. Como conclusões, pôde-se dar como consolidado o objetivo geral da pesquisa, tendo o Archivematica demonstrado ser capaz de atender a demanda de um ambiente digital capaz de prover a preservação para acesso contínuo ao mesmo tempo em que provê a manutenção da autenticidade dos documentos arquivísticos digitais nele armazenado em conformidade com os padrões de referência internacionais.

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Tarqui, Capcha Rina Lourdes. "El archivo electrónico: una nueva forma de gestión documental". Universidad Mayor de San Andrés. Programa Cybertesis BOLIVIA, 2010. http://www.cybertesis.umsa.bo:8080/umsa/2010/tarqui_cr/html/index-frames.html.

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En el presente trabajo se pretende mostrar que mediante la implementación del Archivo Electrónico se puede aportar de gran manera a una exitosa y eficiente administración y recuperación de información en un archivo o centro de documentación, además de facilitar y agilizar los procedimientos con la aplicación de los adelantos tecnológicos. Es importante considerar al archivo de forma integrada con la tramitación de los documentos de modo que la función archivística sea tomada en cuenta desde el propio diseño de los procedimientos administrativos. En la fase de diseño hay que identificar, los documentos necesarios en cada procedimiento y disponer su normalización, ya que ello haría más sencilla no solo la tramitación de los documentos sino también la organización del archivo. Esto es válido tanto para el archivo tradicional como para el electrónico: no obstante, adquiere mayor relevancia en este último, ya que la posibilidad de integrar el archivo electrónico con la tramitación de algún proceso puede otorgar un valor agregado al archivo y mejorar su funcionamiento mediante la implementación de procesos automáticos. De este modo se satisfaría además la necesidad de tener un acceso único a toda la información de la empresa, organismo o institución, para poder utilizarla en todo momento en los asuntos en curso, o revisar la información de los trámites concluidos. El desarrollo de la administración electrónica ofrece una buena oportunidad para sacar el archivo del sótano de las organizaciones, integrando la función archivística junto con las otras funciones que intervienen en el diseño y la gestión de los sistemas de información. Finalmente, tanto las organizaciones como los profesionales de archivo tendrán ante sí el reto de crear e implementar este nuevo tipo de repositorio de información que garantice la seguridad de conservación a largo plazo, en cumplimiento de exigencias legales, técnicas, administrativas, contables, históricas, etc.

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Mateo, Montes Jaqueline Katia. "Implementación del Sistema de Gestión Documental en la Autoridad Nacional del Servicio Civil (Servir)". Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2021. https://hdl.handle.net/20.500.12672/17919.

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Aborda la implementación de un Sistema de Gestión Documental (SGD) que responde a la necesidad de modernizar el Estado peruano, haciendo uso de las TIC y en busca de mejorar la relación Estado – ciudadanía. En ese sentido, la Autoridad Nacional del Servicio Civil (SERVIR) llevó a cabo el proyecto de implementación del SGD, alineado a los objetivos estratégicos y en cumplimiento de la normativa peruana del Modelo de Gestión Documental (MGD). El proyecto fue implementado por la Subjefatura de Tecnologías de la Información (SJTI) que utiliza la Norma Técnica Peruana 12207:2006 como metodología de desarrollo de software. Además, se puede decir que este proyecto se implementó en un momento crítico para el normal desarrollo de las actividades de la institución, debido a la pandemia, permitiendo a los funcionarios públicos trabajar de forma remota, haciendo uso de las firmas y certificados digitales. Como resultado, entre los beneficios obtenidos se puede mencionar la reducción de costos, anteriormente se imprimían y firmaban mensualmente un promedio de 3096 documentos, dicha cantidad se reduce a cero debido al uso de la firma digital y la digitalización de los documentos, de otro lado el flujo documental se vuelve más transparente y trazable.

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Lampert, Sérgio Renato. "REPOSITÓRIO DIGITAL PARA O PATRIMÔNIO ARQUIVÍSTICO DOCUMENTAL: SUBSÍDIO PARA ACESSO E PRESERVAÇÃO DO DIÁRIO DE CLASSE". Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/11025.

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This research addresses issues related to the implications of the implementation of a digital repository for the digital diary of class of Centro Universitário Franciscano, member of archival documental heritage of the institution, and his involvement with the principles and concepts of archival science and digital preservation. The Diary of class is the document that contains the information concerning the registration of frequency, student assessment and ministered content, serving as a source of evidence of teacher activity. This study is justified by the understanding that the implementation of a digital repository, coupled with digital preservation initiatives, provides grants for access, storage and preservation of documentary heritage of UNIFRA. In this context, the purposes of this study consist in propose archival policies that permeate the lifecycle of class diary, set the diary class while record, implement a digital repository for class diary and define functional requirements for trusted digital archival repositories. It is understood that the research objectives are identified as guiding elements that intertwine and complement each other to evaluate the implementation of a digital repository, with a views the storage of the collection Institutional and to ensure access for long term. For both, carried out an applied research with a qualitative approach, exploratory, classified as bibliographic and case study. Data collection was obtained through book report bibliographic, observation, form and document analysis, and the data were analyzed using the theoretical framework of the research. The results of the study pointed for permanent custody destination to the Diary Class, the classification structure and temporality documental class related to production diary class. Similarly, we observed the generation a document with archival prerogatives, integrate and reliable, produced in format open standard presented in its manifested form, with stable content and fixed form. Furthermore, we obtained the implementation of a repository in accordance with the OAIS Reference Model. also, performed elaboration the document entitled "Recommendations for a trusted digital archival repositories for the digital class diary", identified as result product of the Professional Masters. This document presents requirements and core technologies to preserve and store digital documents, as well as to ensure authenticity and access continued to digital objects stored. Finally, we conclude that any intervention to be made into digital documents, must imperatively be preceded by archival policies to ensure access for long-term archival documental heritage.
A presente pesquisa aborda aspectos relacionados às implicações da implementação de um Repositório Digital para o Diário de Classe Digital do Centro Universitário Franciscano, integrante do patrimônio arquivístico documental da Instituição, e seu envolvimento com princípios e conceitos da arquivística, bem como da preservação digital. O Diário de Classe é o documento que contém as informações referentes ao registro de frequência escolar, avaliação dos alunos e conteúdo ministrado, servindo como fonte de prova da atividade docente. Este estudo justifica-se por entender que a implementação de um Repositório Digital, conjugada com iniciativas de preservação digital, oferece subsídios para acesso, armazenamento e preservação do patrimônio documental da UNIFRA. Sob este prisma, os objetivos do trabalho consistem em propor políticas arquivísticas que perpassem o ciclo de vida para o Diário de Classe, definir o Diário de Classe enquanto documento arquivístico, implementar um repositório digital para os Diários de Classe, bem como definir requisitos funcionais para repositórios digitais arquivísticos confiáveis. Compreende-se que os objetivos da pesquisa são identificados como elementos norteadores que se entrelaçam e se complementam para avaliar a implementação de um repositório digital, com vistas ao armazenamento do acervo Institucional e à garantia de acesso continuado ao mesmo. Para tanto, realizou-se uma pesquisa aplicada, com abordagem qualitativa, de cunho exploratório, classificada como bibliográfica e estudo de caso. A coleta de dados foi obtida por meio de fichamento bibliográfico, da observação, de um formulário para levantamento de tipologia documental e da análise documental, sendo que os dados foram analisados à luz do marco teórico da pesquisa. Os resultados do trabalho permitiram apontar a destinação de guarda permanente para o Diário de Classe, a estrutura de classificação documental e a temporalidade da classe documental relacionada à produção do Diário de Classe. Da mesma forma, observou-se a geração de um documento com prerrogativas arquivísticas, íntegro e confiável, o que resultou na produção do Diário de Classe em formato de padrão aberto, apresentado na forma manifestada, com conteúdo estável e forma fixa. Ademais, obteve-se a implementação de um repositório em conformidade com o Modelo de Referência OAIS/SAAI, bem como o documento intitulado Recomendações para um repositório digital arquivístico confiável para o Diário de Classe Digital , identificado como Produto resultante do Mestrado Profissional. Este documento apresenta requisitos e tecnologias essenciais para preservar e armazenar documentos digitais, assim como para garantir autenticidade e acesso continuado aos objetos digitais armazenados. Por fim, conclui-se que toda e qualquer intervenção a ser feita em documentos digitais, deve impreterivelmente ser precedida de políticas arquivísticas para garantir o acesso por longo prazo ao patrimônio arquivístico documental.

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Ramos, Elsa Margarida Abreu Coutinho da Silveira. "A representação de conteúdos documentais no contexto dos novos sistemas de gestão de arquivos audiovisuais digitais: o caso do “Digital Asset Management”". Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2012. http://hdl.handle.net/10362/9344.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Informação e da Documentação na variante Arquivística
A presente Dissertação de Mestrado tem como tema de investigação a problemática da representação de conteúdos documentais no contexto dos novos sistemas de gestão de arquivos audiovisuais digitais, nomeadamente o caso concreto do “Digital Asset Management”(DAM). Pretende aferir o impacto e as consequências que a implementação destes novos sistemas vai ter na representação de conteúdos de documentos audiovisuais. A análise desta problemática tem como estudo de casos, os arquivos audiovisuais da SIC e da RTP, arquivos audiovisuais de referência a nível nacional.

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Garcia, Luciara Bruno [UNESP]. "Barroco paulista: novas possibilidades de documentação". Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/132596.

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Esta pesquisa trata do trabalho do fotógrafo Germano Graeser, que juntamente com Mário de Andrade e Luiz Saia iniciaram as atividades do Serviço do Patrimô- nio Histórico e Artístico Nacional - SPHAN em São Paulo. Foram levantados, identificados e registrados com documentação fotográfica os patrimônios arquitetônicos do Estado de São Paulo pesquisados pelo Serviço, entre os anos de 1937 - 1966. A pesquisa também propõe uma atualização documental dos registros criados durante aqueles anos, com a utilização da tecnologia da fotografia digital e da técnica da fotografia panorâmica 360 graus, com as quais criaram-se tour virtuais pelos lugares fotografados.
This research is about the work of photographer Germano Graeser who along with Mario de Andrade and Luiz Saia started the activities of the National Historical and Artistic Heritage Service - SPHAN in Sao Paulo. It was collected, identified and recorded with photographic documentation the architectural heritage of the State of Sao Paulo surveyed by SPHAN between the years 1937 - 1966. The research also proposes a documentary update of records created during those years, with the use of photography digital technology and technique of photography panoramic 360 degrees, used to create a virtual tour of the places photographed.

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Garcia, Luciara Bruno 1978. "Barroco paulista : novas possibilidades de documentação /". São Paulo, 2015. http://hdl.handle.net/11449/132596.

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Orientador: Percival Tirapeli.
Banca: Pelópidas Cypriano de Oliveira
Banca: Maria Eliza Cezaretti
Resumo: Esta pesquisa trata do trabalho do fotógrafo Germano Graeser, que juntamente com Mário de Andrade e Luiz Saia iniciaram as atividades do Serviço do Patrimô- nio Histórico e Artístico Nacional - SPHAN em São Paulo. Foram levantados, identificados e registrados com documentação fotográfica os patrimônios arquitetônicos do Estado de São Paulo pesquisados pelo Serviço, entre os anos de 1937 - 1966. A pesquisa também propõe uma atualização documental dos registros criados durante aqueles anos, com a utilização da tecnologia da fotografia digital e da técnica da fotografia panorâmica 360 graus, com as quais criaram-se tour virtuais pelos lugares fotografados.
Abstract: This research is about the work of photographer Germano Graeser who along with Mario de Andrade and Luiz Saia started the activities of the National Historical and Artistic Heritage Service - SPHAN in Sao Paulo. It was collected, identified and recorded with photographic documentation the architectural heritage of the State of Sao Paulo surveyed by SPHAN between the years 1937 - 1966. The research also proposes a documentary update of records created during those years, with the use of photography digital technology and technique of photography panoramic 360 degrees, used to create a virtual tour of the places photographed.
Mestre

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Ricciardi, Marina Stempniewski [UNESP]. "Documentários e redes sociais na televisão digital". Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/89532.

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Universidade Estadual Paulista (UNESP)
Ao abordar o tripé TV Digital, documentários e relacionamento em rede, apresentam-se diretrizes para explorar as possibilidade da convergência tecnológica num ponto fundamental de implantação da tecnologia digital no país e de discussão das políticas públicas envolvidas. Com a convergência do acesso à internet para a TV, é possível que os relacionamentos em rede também sejam construídos na televisão como são na tela do computador. A junção dos relacionamentos virtuais com a interatividade poderá gerar produtos coletivos e dar voz a muitos personagens envolvidos no processo de comunicação. Concentra-se na investigação de como será a aplicabilidade das redes sociais na TVD e na possibilidade de um repositório ideal de documentários longas e curtas-metragens para a televisão digital através da interação em rede. O repositório proposto será um protótipo que concentre vídeos produzidos pelo público e inter-editados, mostrando as possibilidades interativas e a participação dentro do vídeo. Norteiam o estudo a evolução da Televisão Digital no Brasil, as características de consumo do documentário no país e o comportamento do sujeito conectado
In adressing the tripod Digital TV, documentaries and network relationship, we present guidelines for exploring the possibilities of technological convergence on a fundamental point of deployment of digital technology in the country and discussion of public policy involved. With the transfer of Internet acess to TV, it is possible that relationships are also built in network television as they are on the computer screen. The combination of virtual relationship with the interactivity can generate collective products and give voice to many characters involved in the communication process. It focuses on research on how will the applicability of social networks in the DTV and the possibility of of an ideal repository of documentary films for digital television through the interaction network. The proposed repository is a prototype that focuses videos produced by the public and inter-edited, showing the possibilities of interactive and participation in the video. The study is guide for the evolution of digital television in Brazil, the consumption characteristics of the documentary in the country and the behavior of the subject connected

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