History and photojournalism: reflections on the concept and research in the area

AbstractThis article aims to think through historical research with press photography and photojournalism in the 1970-80s in Brazil by means of some reflection axes: the photographic image statute, the concept of photojournalism, the construction of a specific photojournalistic language on the pages of the media, the temporality of production and consumption of the various types of press photography, the forms of image circulation and reception. Keywords: Photojournalism; Photography; History and press. Original title: História e Fotojornalismo: reflexões sobre o conceito e a pesquisa na área

Dynamical instability in kicked Bose-Einstein condensates

Bose-Einstein condensates subject to short pulses (kicks) from standing waves of light represent a nonlinear analog of the well-known chaos paradigm, the quantum kicked rotor. Previous studies of the onset of dynamical instability (i.e., exponential proliferation of noncondensate particles) suggested that the transition to instability might be associated with a transition to chaos. Here we conclude instead that instability is due to resonant driving of Bogoliubov modes. We investigate the Bogoliubov spectrum for both the quantum kicked rotor (QKR) and a variant, the double kicked rotor (QKR-2). We present an analytical model, valid in the limit of weak impulses which correctly gives the scaling properties of the resonances and yields good agreement with mean-field numerics

A paisagem da fotografia : a série “Paisagem sobre Paisagem" (1977) de Clóvis Dariano

O objetivo desta pesquisa é refletir sobre a série fotográfica “Paisagem sobre Paisagem” (1977) de Clóvis Dariano (1950) como experiência de fotografia conceitual sobre a paisagem no contexto de experimentações artísticas do grupo Nervo Óptico relacionadas à emergência da arte contemporânea em Porto Alegre nos anos 1970.The aim of this research is to reflect on the photographic series "Landscape on Landscape" (1977) by Clovis Dariano (1950) as a conceptual photography experience about the landscape in the context of artistic experimentation of the Nervo Óptico group related to emergence of contemporary art in Porto Alegre in the 1970s.L'objectif de cette recherche est de réfléchir sur la série photographique "Paysage sur le paysage" (1977) de Clovis Dariano (1950) comme une expérience de photographie conceptuelle sur le paysage dans le contexte de l'expérimentation artistique du groupe Nervo Óptico liés à l'émergence de l'art contemporain à Porto Alegre dans les années 1970

AS MOSTRAS DA GALERIA DE FOTOGRAFIA DA FUNARTE

Nos anos 1970, no Brasil, o campo da fotografia passava por um processo de reorganização e institucionalização com a criação de novos espaços de trabalho na grande imprensa, formação de agências de fotógrafos, bem como o ingresso da fotografia no campo artístico através de mostras, exposições em museus e em galerias especializadas. Processo que culminou na criação do Núcleo de Fotografia em 1979 e, posteriormente, em sua transformação no Instituto Nacional de Fotografia da FUNARTE (em 1984) para debater e estabelecer políticas públicas para o setor.  Neste contexto, pretende-se pensar três das primeiras mostras da Galeria de Fotografia da FUNARTE: Nossa Gente (1979), Classe Média Brasileira (1980) e Visita do Papa ao Brasil (1980)

História e Fotojornalismo: reflexões sobre o conceito e a pesquisa na área

O objetivo deste artigo é refletir sobre a pesquisa histórica com a fotografia de imprensa e o fotojornalismo nos anos 1970-80 no Brasil a partir de alguns eixos de reflexão: o estatuto da imagem fotográfica, o conceito de fotojornalismo, a construção de uma linguagem fotojornalística própria nas páginas dos veículos, a temporalidade de produção e consumo dos diferentes tipos de fotografia de imprensa, as formas de circulação e de recepção das imagens

El campo de la fotografía y las imágenes del Brasil en los años 1970-80: entre el fotoperiodismo y la fotografía documental

El campo de la fotografía en Brasil en los años 1970 se caracterizó por un proceso de expansión, profesionalización, al mismo tiempo que se hizo más complejo, tanto en el campo periodístico como en el campo artístico. La investigación busca problematizar la reorganización del campo fotográfico en Brasil, en los años 1970, en especial, la producción de imágenes situadas entre los campos del fotoperiodismo y de la fotografía documental, en el contexto sociopolítico de un país en transformación, debido a la lucha por la abertura política y los movimientos sociales. Los fotógrafos se comprometieron en la construcción de una nueva visión para la nación. En este proceso, la prensa, y en especial, el fotoperiodismo tuvo un papel fundamental en la denuncia de la represión, de la censura y de las desigualdades sociales. El artículo está dividido en cinco partes. Primero tratar de trazar un panorama del campo profesional de la fotografía en los años 1970 y 80. Luego, se aborda el cambio en la formación de fotógrafos cuando la fotografía se enseña en cursos universitarios y se crean las primeras escuelas de fotografía. Más tarde, se analizan los conceptos y prácticas de fotoperiodismo y fotografía documentalista. Finalmente, presentase dos estudios de caso sobre la obra fotográfica de Luiz Carlos Felizardo y de Marcos Santilli.The field of photography in Brazil in the 1970s was characterized by a process of expansion, professionalization, at the same time that became more complex, both in the journalistic field and in the artistic field. Research seeks to problematize the reorganization of the photographic field in Brazil, in the 1970s, in particular, the production of images within the fields of photojournalism and documentary photography, in the socio-political context of a country in transformation, due to the struggle for the political opening and social movements. The photographers committed in the construction of a new vision for the nation. In this process, the press, and especially photojournalism had a fundamental role in the denunciation of repression, censorship and social inequalities. The article is divided into five parts. First try to draw a picture of the professional field of photography in the 1970 and 1980s. Then, the change in the formation of photographers when photography is taught in University courses and created the first schools of photography. Later, discussed the concepts and practices of photojournalism and documentary photography. Finally, submit two case studies on the photographic work of Luiz Carlos Felizardo and Marcos Santilli

CADet: Fully Self-Supervised Anomaly Detection With Contrastive Learning

Handling out-of-distribution (OOD) samples has become a major stake in the real-world deployment of machine learning systems. This work explores the application of self-supervised contrastive learning to the simultaneous detection of two types of OOD samples: unseen classes and adversarial perturbations. Since in practice the distribution of such samples is not known in advance, we do not assume access to OOD examples. We show that similarity functions trained with contrastive learning can be leveraged with the maximum mean discrepancy (MMD) two-sample test to verify whether two independent sets of samples are drawn from the same distribution. Inspired by this approach, we introduce CADet (Contrastive Anomaly Detection), a method based on image augmentations to perform anomaly detection on single samples. CADet compares favorably to adversarial detection methods to detect adversarially perturbed samples on ImageNet. Simultaneously, it achieves comparable performance to unseen label detection methods on two challenging benchmarks: ImageNet-O and iNaturalist. CADet is fully self-supervised and requires neither labels for in-distribution samples nor access to OOD examples

Expecting The Unexpected: Towards Broad Out-Of-Distribution Detection

Improving the reliability of deployed machine learning systems often involves developing methods to detect out-of-distribution (OOD) inputs. However, existing research often narrowly focuses on samples from classes that are absent from the training set, neglecting other types of plausible distribution shifts. This limitation reduces the applicability of these methods in real-world scenarios, where systems encounter a wide variety of anomalous inputs. In this study, we categorize five distinct types of distribution shifts and critically evaluate the performance of recent OOD detection methods on each of them. We publicly release our benchmark under the name BROAD (Benchmarking Resilience Over Anomaly Diversity). Our findings reveal that while these methods excel in detecting unknown classes, their performance is inconsistent when encountering other types of distribution shifts. In other words, they only reliably detect unexpected inputs that they have been specifically designed to expect. As a first step toward broad OOD detection, we learn a generative model of existing detection scores with a Gaussian mixture. By doing so, we present an ensemble approach that offers a more consistent and comprehensive solution for broad OOD detection, demonstrating superior performance compared to existing methods. Our code to download BROAD and reproduce our experiments is publicly available

Photography agencies and documentary photography in Rio Grande do Sul: a case study on the photo book Santa Soja (1979)

Este artigo tem por objetivo problematizar as fotografias do fotolivro Santa Soja, organizado por Jacqueline Joner e Luiz Abreu, publicado em 1979, com fotografias de Luiz Abreu, Eneida Serrano, Jacqueline Joner e Genaro Joner. Tais fotografias enfocam as mudanças que a introdução da soja, nova cultura agrícola comercial voltada para a exportação, estava causando no campo. A pequena agricultura familiar é posta à prova com a modificação na forma de plantio e de comercialização, ocasionando também mudanças nas relações de trabalho e na vida cotidiana. O livro é fruto de trabalhos anteriores realizados entre os anos de 1976 e 1979, quando os fotógrafos faziam pautas para a Cooperativa de Jornalistas de Porto Alegre (1973-83), que editava a revista Agricultura & Cooperativismo. Os fotógrafos percorreram a região durante cerca de três anos fotografando as famílias, as casas e o trabalho nas lavouras. Em 1979, Jaqueline Joner, Eneida Serrano, Genaro Joner e Luiz Abreu criaram a Agência Ponto de Vista, que editou naquele ano dois livros a partir das imagens presentes em seus arquivos fotográficos: Santa Soja (1979) e Ponto de Vista (1979).This article aims to problematize the photographs of the photo book titled SantaSoja, edited by Jacqueline Joner and Luiz Abreu and published in 1979, with photographsby Luiz Abreu, Eneida Serrano, Jacqueline Joner and Genaro Joner. The photographsfocus on the changes that the introduction of soybeans, a new commercial, export-orientedagricultural crop, was causing in the countryside. The small family farming was beingput to test by the change in the way of planting and selling, also causing changes in workrelations and daily life. The book is the result of previous work carried out between 1976and 1979, when the photographers prepared materialfor the Cooperativa de Jornalistas dePorto Alegre (1973-83), which edited the magazine Agricultura & Cooperativismo. Theytoured the region for about three years photographing families, homes and work in thefields. In 1979, Jaqueline Joner, Eneida Serrano, Genaro Joner and Luiz Abreu createdthe Ponto de Vista Agency, which edited in that year two books from the images in theirphotographic archives: Santa Soja (1979) and Ponto de Vista (1979)