Auswahl der wissenschaftlichen Literatur zum Thema „Cameria Lucidas“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Inhaltsverzeichnis
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Cameria Lucidas" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "Cameria Lucidas"
Olin, Margaret. „Touching Photographs: Roland Barthes's ''Mistaken'' Identification“. Representations 80, Nr. 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.
Der volle Inhalt der QuelleGreenslade, Thomas B. „The camera lucida“. Physics Teacher 27, Nr. 1 (Januar 1989): 48–49. http://dx.doi.org/10.1119/1.2342659.
Der volle Inhalt der QuelleBell, Natalie. „Re-Rereading Camera Lucida“. Afterimage 35, Nr. 1 (01.07.2007): 8–10. http://dx.doi.org/10.1525/aft.2007.35.1.8.
Der volle Inhalt der QuelleGratton, Johnnie. „Camera Lucida : Obscured in Translation“. Mosaic: an interdisciplinary critical journal 53, Nr. 4 (Dezember 2020): 49–74. http://dx.doi.org/10.1353/mos.2020.0037.
Der volle Inhalt der QuelleShurkus, Marie. „Camera Lucida and Affect: Beyond representation“. Photographies 7, Nr. 1 (02.01.2014): 67–83. http://dx.doi.org/10.1080/17540763.2014.896276.
Der volle Inhalt der QuelleWilson, Harry Robert. „The Theatricality of the Punctum: Re-Viewing Camera Lucida“. Performance Philosophy 3, Nr. 1 (25.06.2017): 266. http://dx.doi.org/10.21476/pp.2017.31126.
Der volle Inhalt der QuelleDomnitch, Evelina, und Dmitry Gelfand. „Camera Lucida: A Three-Dimensional Sonochemical Observatory“. Leonardo 37, Nr. 5 (Oktober 2004): 391–96. http://dx.doi.org/10.1162/0024094041955962.
Der volle Inhalt der QuelleSchaaf, L. J. „JOHN HERSCHEL, PHOTOGRAPHY AND THE CAMERA LUCIDA“. Transactions of the Royal Society of South Africa 49, Nr. 1 (Januar 1994): 87–102. http://dx.doi.org/10.1080/00359199409520294.
Der volle Inhalt der QuelleBloor, C. E. „The camera lucida in art and science“. Endeavour 12, Nr. 2 (Januar 1988): 97. http://dx.doi.org/10.1016/0160-9327(88)90124-x.
Der volle Inhalt der QuelleGee, Brian. „The Camera Lucida in Art and Science“. Physics Bulletin 38, Nr. 12 (Dezember 1987): 466. http://dx.doi.org/10.1088/0031-9112/38/12/033.
Der volle Inhalt der QuelleDissertationen zum Thema "Cameria Lucidas"
FAUSTINO, DOS SANTOS JOÂO PEDRO. „Estudio teórico-práctico de la Cameroa Obscura y de la Camera Lucida. Una nueva propuesta de máquina de dibujo digital“. Doctoral thesis, Universitat Politècnica de València, 2012. http://hdl.handle.net/10251/17867.
Der volle Inhalt der QuelleFaustino Dos Santos, JP. (2012). Estudio teórico-práctico de la Cameroa Obscura y de la Camera Lucida. Una nueva propuesta de máquina de dibujo digital [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/17867
Palancia
Heppell, Chris. „Real spectres of Barthes : Camera Lucida as dark ecology“. Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230038.
Der volle Inhalt der QuelleWilson, Harry Robert. „Affective intentionalities : practising performance with Roland Barthes's Camera Lucida“. Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30998/.
Der volle Inhalt der QuelleMaree, Christine Fae. „That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph“. Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.
Der volle Inhalt der QuelleLjunggren, Rhonda L. „Camera lucida : the moving image as evocative document : film form, film meaning and the grammatology of archival selection“. Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/25714.
Der volle Inhalt der QuelleArts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate
Counter, Annie. „Photography, text, and the limits of representation in Marcel Proust's 'In Search of Lost Time' and Roland Barthes's 'Camera Lucida'“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.18 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435857.
Der volle Inhalt der QuelleMerli, Vanessa. „L'esperimento di Grimaldi e la storia della diffrazione“. Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16771/.
Der volle Inhalt der QuelleHsu, Shao-Yun, und 許韶芸. „From “Camera Obscura” to “Camera Lucida”: “Body like a receptacle” and The Feminine Tone of Tatsumi Hijikata’s Ankoku Butoh“. Thesis, 2015. http://ndltd.ncl.edu.tw/handle/qdyy64.
Der volle Inhalt der QuelleTAI, WEI-HSUAN, und 戴瑋萱. „A Study in the Perspective of Photography via "Camera Lucida"─A Case Study of Japanese Contemporary Female Photographers and their works“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/36hcqz.
Der volle Inhalt der Quelle國立高雄師範大學
美術學系
104
My thesis will begin with the perspective from the book Camera Lucida, I want to use professional terms that appear in the book to analysis the works of Japanese contemporary female photographers. Even though Roland Barthes’ ideas was introduced earlier than contemporary photography almost a hundred year ago, his point of views keep influencing ideas of how people see photography nowadays and its contemplation. In the conclusion of Camera Lucida, all the questions about viewing could be traced back to viewers. Viewers use to interpret images based on their own past experiences, therefore, the results created by viewers can only be terms that help viewers categorize their emotions and relationships with images. Through studies of images of Japanese contemporary female photographers, it reflects my own mental processes which I had while I was creating imageries. Take Roland Barthes’ photography perspective feel Mika Ninagawa's work, which was turned into a sensible mark, after aesthetic rationalization and ease gradually integrated in society. Rinko Kawauchi’s works take viewers into a crazy imagination, watching these photo has been "non-real" representatives of objects, wishing to enter the photo in life is running out of touch objects. These pass with the real images, Roland Barthes named it "crazy." Finally, from photography experience Ume Kayo’s works make me have "ça-a-été " feelings, "ça-a-été " through the book Camera Lucida full text, photography presented in this a reality common in the real: Photo indeed exudes past years the reflected light, meaning watch not focus on the memory of the past, but the current findings confirm everything the photographer did exist. Take photography as an expressive art form, techniques are no longer the only standard of judging, however, the connection between viewers’ emotions and photo become a way to wake new ideas; ideas become actions, and actions have chances to become inception of building a better world. Photography that took ideas from real life and fit in the notion of human society is the meaning of its existence. The merit of how to create images that reach social expectations is not only defined for contemporary photography. The more difference levels of how we get the knowledge, the more variety we have in viewing arts. Through photography, I hope to take a deeper look from the trace of things that moved my heart.
Marcelino, Américo. „Da semelhança no desenho“. Doctoral thesis, 2012. http://hdl.handle.net/10451/8412.
Der volle Inhalt der QuellePartindo da ideia enraizada da semelhança como critério de figuração, recupera-se o debate entre o que há de convencional, de natural, de inato e de cultural nas representações tendo como eixo director o desenho enquanto disciplina primordial nas artes visuais. O estudo centra-se nos paradigmas da figuração e de semelhança que têm vigorado na tradição pictórica ocidental, sobretudo balizados entre dois marcos históricos fundamentais: da invenção da perspectiva à invenção da fotografia. O enfoque explora com particular relevância as relações entre a praxis do desenho e os modelos de representação assentes na ideia seminal de projecção. Destaca-se o arquétipo da imagem projectada, consubstanciada nas visões da perspectiva e da óptica, pela sua relevância enquanto paradigma de representação que acabaria por vigorar na nossa cultura visual. Neste contexto, elege-se a relação entre desenho e dispositivos ópticos, nomeadamente a câmara obscura e a câmara lúcida, enquanto modelo paradigmático do desejo de verosimilhança, legitimada pela ideia neutral de “olho artificial”. A investigação das ligações entre arte e óptica passa em revista certos aspectos do debate levantado por David Hockney (2001), discutindo e sublinhando pontos ainda não explorados. Abordando as questões da vista e do retratar, os dois casos de estudo de fundo, centrados nos desenhos de Antonio Canaletto e de Jean-Auguste-Dominique Ingres, são sintomáticos das flutuações da semelhança entre aquilo que designamos por “visão objectiva” e “olhar subjectivo”. Do confronto entre conceitos de ponto de vista, conformidade, precisão ou invenção, consequentes da relação entre imagem óptica e desenho de observação, a tese procura demonstrar a relatividade e os paradoxos da semelhança na representação, nas suas dimensões de verdade, credibilidade, fidelidade, ilusão, imitação, informação ou inculcação. Este confronto é explorado com o complemento de trabalho prático aplicado no desenho com dispositivos ópticos, disponibilizando dados de pesquisa originais e material de reflexão inédito
Starting from the deep-rooted idea of resemblance as a criterion for the figure, we recall the debate between what is conventional, natural, innate and cultural in representations, taking drawing as a primary discipline in the visual arts. The study focuses on the paradigms of figuration and likeness that have prevailed in the Western pictorial tradition, particularly marked out between two key milestones: from the invention of perspective to the invention of photography. The approach exploits with particular relevance the relations between the praxis of drawing and the models of depiction based on the seminal idea of projection. We emphasize the archetype of the projected image, embodied in the views of perspective and optics, as a relevant paradigm of representation witch becomes a standard in our visual culture. In this frame view, we elect the relationship between drawing and optical devices, specifically the camera obscura and the camera lucida, as paradigmatic models for the ambition of verisimilitude, legitimized by the idea of a neutral "artificial eye". Research on the basis of art and optics review certain aspects of the debate raised by David Hockney (2001), discussing and highlighting some cases that have not yet been explored. Putting in question the subject of view and portraiture, the two main case studies, focused on the drawings of Antonio Canaletto and Jean-Auguste-Dominique Ingres, are symptomatic of the balance on the similarity between what we call "objective view" and "subjective look." From the confrontation between the possible concepts of conformity, point of view, accuracy or invention, arising from the relationship between optical image and drawing from observation, the thesis seeks to demonstrate the paradoxes and the relativity of similarity in depiction, in its dimensions of truth, credibility, fidelity, imitation, illusion, information or inculcation. This confrontation is explored with the complement of a practical fieldwork applied in the drawing with optical devices, providing original research data and new material for reflection
Fundação para a Ciência e a Tecnologia (FCT)
Bücher zum Thema "Cameria Lucidas"
Ludwig, Museum, Hrsg. Ich sehe was, was du nicht siehst!: Sehmaschinen und Bilderwelten : die Sammlung Werner Nekes. Göttingen: Steidl, 2002.
Den vollen Inhalt der Quelle findenTracings of light: Sir John Herschel & the camera lucida : drawings from the Graham Nash collection. San Francisco: The Friends of Photography, 1989.
Den vollen Inhalt der Quelle findenElizondo, Salvador. Camera lucida. México, D.F: Vuelta, 1992.
Den vollen Inhalt der Quelle findenBarthes, Roland. Camera lucida: Reflections on photography. New York: Hill and Wang, 2010.
Den vollen Inhalt der Quelle findenMattner, Jakob. Jakob Mattner: Camera Lucinda. Halle: Staatliche Galerie Moritzburg, 2001.
Den vollen Inhalt der Quelle findenAnnette, Michelson, Allen Richard 1959- und Turvey Malcolm 1969-, Hrsg. Camera obscura, camera lucida: Essays in honor of Annette Michelson. Amsterdam: Amsterdam University Press, 2003.
Den vollen Inhalt der Quelle findenname, No. Camera obscura, camera lucida: Essays in honor of Annette Michelson. Amsterdam: Amsterdam University Press, 2002.
Den vollen Inhalt der Quelle findenDucharme, Thierry. Camera lucida: Entretien avec Hugo Latulippe : entretien. St-Fulgence, Québec: La Peuplade, 2009.
Den vollen Inhalt der Quelle findenHugo, Latulippe, Hrsg. Camera lucida: Entretien avec Hugo Latulippe : entretien. St-Fulgence, Québec: La Peuplade, 2009.
Den vollen Inhalt der Quelle findenJill, Austin, Hrsg. The camera lucida in art and science. Bristol: IOP, 1987.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Cameria Lucidas"
Avellar, José Carlos. „Camera lucida“. In New Argentine and Brazilian Cinema, 11–30. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137304834_2.
Der volle Inhalt der QuelleBurgin, Victor. „Re-reading Camera Lucida“. In The End of Art Theory, 71–95. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-18202-2_4.
Der volle Inhalt der QuelleBarthes, Roland. „Camera Lucida: Reflections on Photography“. In Reading Images, 54–61. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-08886-4_6.
Der volle Inhalt der QuelleBate, David. „Roland Barthes and Camera Lucida“. In Photography after Postmodernism, 30–51. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003086284-3.
Der volle Inhalt der QuelleÅker, Patrik. „Roland Barthes (1980) Camera Lucida“. In Classics in Media Theory, 268–83. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003432272-20.
Der volle Inhalt der QuelleBlais, Joann. „Negation and the Evil Eye: A Reading of Camera Lucida“. In Negation, Critical Theory, and Postmodern Textuality, 227–39. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-015-8291-9_11.
Der volle Inhalt der QuelleCamargo Molano, Jessica, und Alfonso Amendola. „Women Behind the Camera: How Lucia Schulz and Hortense Ribbentrop-Leudesdorff Changed the History of Photography and Cinematography“. In Cinematic Representations of Women in Modern Celebrity Culture, 1900–1950, 40–59. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003174134-4.
Der volle Inhalt der Quelle„Acknowledgements“. In Camera Obscura, Camera Lucida, 7–8. Amsterdam University Press, 2003. http://dx.doi.org/10.1515/9789048505067-001.
Der volle Inhalt der Quelle„Preface“. In Camera Obscura, Camera Lucida, 9–12. Amsterdam University Press, 2003. http://dx.doi.org/10.1515/9789048505067-002.
Der volle Inhalt der Quelle„Introduction“. In Camera Obscura, Camera Lucida, 13–34. Amsterdam University Press, 2003. http://dx.doi.org/10.1515/9789048505067-003.
Der volle Inhalt der Quelle