Thematische Bibliographien / Humanities -> art -> photography

Auswahl der wissenschaftlichen Literatur zum Thema „Humanities -> art -> photography“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Humanities -> art -> photography"

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Vellanki, Vivek. „Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research“. Cultural Studies ↔ Critical Methodologies 22, Nr. 2 (28.12.2021): 132–42. http://dx.doi.org/10.1177/15327086211045976.

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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.
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Rissanen, Mari-Jatta. „Entangled photographers: Agents and actants in preschoolers’ photography talk“. International Journal of Education Through Art 16, Nr. 2 (01.06.2020): 271–86. http://dx.doi.org/10.1386/eta_00031_1.

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Photographs taken by young children have engendered a growing amount of research across diverse academic disciplines. Photographs have been used as visual data for analysing for example children’s social relations and well-being. However, only a few studies have addressed the photographic practices of young children as means for them to explore, imagine and coexist with the surrounding world. In this article, I introduce a case study that draws on research from art education and sociology of childhood. The data were gathered in a photography workshop in a Finnish early childhood education and care centre, where fourteen preschoolers discussed their photographs inspired by contemporary Finnish art photography. In order to expose diverse human and material actors and their interactions in preschoolers’ photography talk, I applied Bruno Latour’s actor-network-theory. Thus, preschoolers’ photography is seen as a practice of visual meaning-making wherein agency is distributed among several actors.
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Okpoko, Chinwe, und Mpho Chaka. „Exploratory view of the synergy between photojournalism and fine-art photography“. IKENGA International Journal of Institute of African Studies 23, Nr. 2 (30.06.2022): 1–23. http://dx.doi.org/10.53836/ijia/2022/23/2/003.

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Photojournalism uses images to tell stories and report events, while fine-art photography aims to express creative ideas and messages also through images. Although both fields express socio-political and religious ideas and reflect the past through pictures, they differ in approach. Photojournalism portrays events as they are using pictorial representations, without imputing the opinion of the journalist; fine art projects such events also pictorially, but from the vision of the artist. Thus both photojournalism and fine-art photography use photographs as a medium of expression. However, while photojournalism fosters a deep appreciation of works of art by projecting artistic images via communication media, which ultimately informs the psyche of the audience, fine-art photography expresses the emotions and viewpoints of the artist through photographs. This study, therefore, uses documentary evidence to determine the interface between photojournalism and fine-art photography.
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Glebova, Aglaya. „Elements of Photography“. Representations 142, Nr. 1 (2018): 56–90. http://dx.doi.org/10.1525/rep.2018.142.1.56.

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This essay traces the evolution of landscape imagery in Aleksandr Rodchenko’s photographic oeuvre, focusing especially on images produced during his journalistic trip to the White Sea-Baltic Canal, one of the first Soviet forced labor camps. Through close reading of photographs, it argues that Rodchenko’s abandonment of avant-garde aesthetics, in particular the emphasis on photography’s transformative powers and its medium-specificity, in these images did not represent a shift toward socialist realism but, rather, held critical potential in the face of contemporaneous official censure of formalism and “contemplation” in both science and art.
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Sarsby, Jacqueline. „Exmoor Village Revisited: Mass-Observation's ‘Anthropology of Ourselves’, the ‘Feel Good Factor’ in Wartime Colour Photography and the Photograph as Art or Social Document“. Rural History 9, Nr. 1 (April 1998): 99–115. http://dx.doi.org/10.1017/s0956793300001461.

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In 1988, HTV made a series of programmes about a Somerset village called Luccombe. Their starting point was the Mass-Observation survey carried out over forty years before and described in Exmoor Village. No mention was made of the larger project - the ‘wholesome’ British export, for which the survey and perhaps even more importantly, the photographs, were commissioned. The difficulties of producing and reproducing fine-quality colour photographs at that time, however, suggest that the social investigators and the photographer were pursuing widely differing goals. The different approaches of social documentary photography and pictorial photography may not be obvious in a beautiful print, embedded in an anthropological text, but the use of photographs, which were essentially reconstructions of idealised village life disguised as documents, indicates how much importance the Ministry of Information attached to exporting the image of the wholesome, ‘traditional', English rural community.
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Fox, Paul. „An unprecedented wartime practice: Kodaking the Egyptian Sudan“. Media, War & Conflict 11, Nr. 3 (13.07.2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.

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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Mountfort, Paul. „Dérives: Street photography as post-/Situationist practice“. Australasian Journal of Popular Culture 10, Nr. 1 (01.12.2021): 21–38. http://dx.doi.org/10.1386/ajpc_00036_1.

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Street photography has hardly lacked for popular cultural currency, as attested by those ubiquitous black framed prints and coffee table tomes. However, it has long been a relatively marginalized genre within photography that has seen relative critical neglect even compared to other demotic forms concerned with the everyday, such as the family portrait (Bourdieu) and snapshot (Barthes). This article seeks to sketch a series of potential intersections between street photography’s antecedent, formative and breakout phases on both sides of the Atlantic and the Situationist International’s (1957‐72) embodied practices surrounding the dérive, détournement and psychogeography more generally. Arguably, remediating street photographic practice and composition in relation to these disruptive strategies can provide a kind of corrective to the more formalistic conception of the former, as exemplified in the reification of Henri Cartier-Bresson’s famous dictum of the ‘decisive moment’. I will argue that Situationist discourse helps reframe these moments of the street as ‘situations’ in the Situationist sense, lines of flight that became explicit when the development of street photography in Europe is overlaid with that of the United States, Paris with New York. Such détournement arguably brings into view vectors between street photography and revolutionary art practices often neglected in discussions of these Dérives of the street, and gestures towards ‐ at least in potentia ‐ a kind of afterlife of post-/Situationist praxis in the practices of street photographers.
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Massarente, Martina. „The Digital Platform of D.I.R.A.A.S. (UNIGE)“. Studies in Digital Heritage 3, Nr. 2 (13.06.2020): 156–69. http://dx.doi.org/10.14434/sdh.v3i2.27441.

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This project studies photography as an instrument for artistic and historical teaching in relation to the didactic traditions of the Humanities at the University of Genoa. This research was initially based on an analysis of the corpus of glass diapositives and phototypes mostly owned by Giusta Nicco Fasola, Genoa’s first art history professor, and currently stored by D.I.R.A.A.S. (Dipartimento di Italianistica, Romanistica, Antichistica, arti e spettacolo). The corpus contextualizes Fasola's scientific and didactic interests in relation to her complex biography as a woman, professor, and political combatant in the Resistance in Fiesole and Florence. The central element of this analysis is the project for a prototype of a digital art history photo library, intended as a place of study and research and as a virtual communication platform. The overall goal of this work is to investigate the relationship between photography, history, and art critique.
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Miller, Melissa. „British Theatre Collections in the Harry Ransom Humanities Research Center“. Theatre Survey 39, Nr. 1 (Mai 1998): 63–72. http://dx.doi.org/10.1017/s0040557400003021.

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The Harry Ransom Humanities Research Center at the University of Texas at Austin has become, since the 1950s, well-known for its holdings in twentieth century literature. I offer here a brief description of the holdings in British theatre in the Theatre Arts Collection and the Manuscripts and Archives division of the Ransom Center. My secondary purpose is to suggest: and encourage corollary research in other Ransom Center holdings, such as its Art Collection and Photography and Film Collection. A listing of selected holdings follows this overview below, together with information on fellowships for researchers.
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Zambenedetti, Alberto. „Emplacing Time: Photography, Location, and the Cinematic Pilgrimage“. Space and Culture 23, Nr. 4 (15.10.2018): 548–60. http://dx.doi.org/10.1177/1206331218805381.

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Cinema, arguably the time-based medium most synonymous with modernity, is also an art form of place: cinema records place in time and, in the best circumstances, stores it through time. If, as Michel de Certeau remarked, “space is a practiced place,” then cinema is the memory of that practice; it is the archive of that transformation. Cinema, in other words, “emplaces time.” Moreover, because of its physical properties, film is also an archival object whose very existence is challenged by the passing of time. In recent years, the ways in which cinema emplaces time have become the subject of a dual contemplation on the part of a generation of photographers whose projects re-photograph cinema’s loci, from movie palaces to film locations. This article investigates the relationship between film the work of three “cinematic pilgrims”: British artist Michael Lightborne, whose 2012 installation Interval (After Intervals) included photographs of the locations for Peter Greenaway’s 1969 short film Intervals alongside the original film; Christopher Moloney’s ongoing project FILMography, in which the Canadian photographer travels the world bringing printed reproductions of film stills to the sites where they were originally shot and then re-photographs them in situ; and the travel blog Fangirl Quest by the Finnish Tiia Öhman and Satu Walden, a photographer and a travel expert, respectively, who re-photograph a location while displaying the related movie scene on a tablet practice (a practice they call “sceneframing”). These projects underscore cinema’s innate relationship with place, while they also highlight the changes that occurred in the time that intervened since production, revealing the instability of the filmic object as one of time as well as in time.
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Dissertationen zum Thema "Humanities -> art -> photography"

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Ferguson, Elizabeth. „Humans“. Pitzer College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,58.

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Kato, Miwako. „Views from Daily Life: A Supporting Paper for a Graduate Exhibition“. [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0330101-110959/restricted/katoM0501.pdf.

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Mercure, Tammy. „Big Rock Candy Mountain: Photographs of the Great Smoky Mountain Tourist Towns“. Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1815.

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The photographer discusses the work in Big Rock Candy Mountain: Photographs from the Great Smoky Mountain Tourist Towns, her Master of Fine Arts exhibition held at the Reece Museum, Johnson City, Tennessee from September 22 to December 18, 2009. The exhibition consists of 17 large-scale color Archival Inkjet Prints edited from a large body of work done in the tourist towns surrounding the Great Smoky Mountains. Topics include the historical and contemporary artistic influences on the work, examining the work of Jacques-Henri Lartigue, Weegee, Martin Parr, and Joel Sternfeld. A short history of the area, the subject of tourism pertaining to the work, and works from the exhibition are also discussed. Included is the complete catalogue of the Big Rock Candy Mountain exhibit.
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Torres, Alessandra Lee Michelle. „OUT OF BODY“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/793.

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This thesis explores the evolution of Alessandra Torres's work, from her early performances and installations, to her latest work with surrogate bodies, as she challenges the relationship between artist and their creation, body and object, and audience and art. Examining the work of artists such as Cindy Sherman, Rebecca Horn and Marina Abramovic, Torres explores the transformative capabilities of interactive sculpture and live performance. Join Ms. Torres as she transforms herself into everything from a paintbrush to a serpent, in her ongoing exploration of the body's ability to adapt and evolve.
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Sauer, Amanda. „Invisible Green“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1387.

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How is nature conceived today, a generation into the environmental movement? Many contemporary artists grapple with how to reconcile our inheritance of both a precarious natural world and the culture that created it. My work investigates the subtle intricacies of our relationship with nature. I use photography to develop a way of seeing that points to the often-unnoticed nature in front of us. In particular, my work recognizes and re-imagines nature's deep connections in the context of our ecologically changed world.
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Ferguson, Elizabeth. „It's important for me to get good light. or "things which are happening"“. Pitzer College, 2008. http://ccdl.libraries.claremont.edu/u?/stc,59.

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Turner, Julia J. „Processing Nature“. VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4697.

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In my artwork, I merge nature with typography. I use macro-level photography to capture details of nature, such as the pistils of a flower or the sensory hairs of an insect. I print enlargements and transfer these photos onto pages of poetic text about nature, or collage them onto canvas. Once transferred, I use multiple media to alter and enhance features of the photos. I intentionally obscure much of the text which allows me to place focus on the overall layout and design. The arrangement of lines of text and spacing of words is used to create a visual rhythm. The poetic script acts as a foundation or platform for presenting the often unnoticed elements of nature. In developing a piece, I use a wet transfer which allows me to obtain subtle textures and imperfections that occur from the process. To add visual interest and complexity, I continue to manipulate the surfaces with various media and marks. This approach helps to create a blending of text and image. Similar to reading a poem or observing nature, I want to engage the viewer in an experience of visual poetry.
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Baden, Eric. „The image of the body in the works of Frederick Sommer“. [Johnson City, Tenn. : East Tennessee State University], 2003. https://dc.etsu.edu/etd/838.

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Thesis (M.F.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-1109103-152208. Includes bibliographical references. Also available via Internet at the UMI web site.
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Dorn, Joseph. „On The Road with the VanLife Community: The Art of Storytelling in the Age of Instagram“. Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1087.

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This thesis analyzes the countercultural community known as VanLife. Foster Huntington coined the term VanLife in 2011, when he decided to leave his comfortable job at Ralph Lauren and detach from society. Foster and many other individuals have moved into their vans to gain more freedom and live simply. For this thesis I studied the stories about life on the road, written by VanLife participants. I examined their blogs, photographs, and Instagram accounts. I did a literary analysis of Kerouac’s famous Beat novel, On The Road, as well as Steinbeck’s travel memoir, Travels with Charley. I wanted to understand the common threads between the people who engage in this unique way of life known as VanLife. Also, I wanted find the motivation and inspiration for the community as a whole. Finally, I was fascinated in the role of social media, and how it could be problematic for a group that was determined to detach from mainstream society. I learned that the desire to connect with nature, explore unseen places, detach from societal pressures, and tell stories, are all important values to people in the VanLife community. Story telling is at the heart of their experiences, and it appears in many forms: photography, blogs, and websites. Social media can present problems for the group, but overall it is a tool that is positively utilized to connect with other like-minded individuals. The growth of VanLife illustrates the increasing desire for individuals to detach from the pressures of society and regain connection to simpler times and activities.
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Gustina, Charles F. „Escape Artist“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1494.

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This thesis reviews the background, influences, and evolution of the body of work entitled Folia, which forms the basis for the candidate's thesis exhibition. It traces the development of the candidate's artistic inclinations from drawing to photography. Directorial and Pictorialist photography are discussed as forebears in the Influences chapter. Evolution of the Body of Work details how the current work grew from both the candidate's background and influences. A Brief Anthology of Quotations references Susan Sontag's influential work, On Photography, with quotations that have either influenced the candidate's work or reflect his perceptions of art and life. The balance of the thesis describes the candidate's working process in creating the work, and the installation at VCU's Anderson Gallery.
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Bücher zum Thema "Humanities -> art -> photography"

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Dave, Oliphant, Hrsg. Conservation and preservation of humanities research collections: Essays on treatment and care of rare books, manuscripts, photography, and art on paper and canvas. Austin: Harry Ransom Humanities Research Center, University of Texas at Austin, 1989.

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Deal, Joe. Between nature and culture: Photographs of the Getty Center. Los Angeles: J. Paul Getty Museum, 1999.

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Rigney, Ann, und Thomas Smits. The Visual Memory of Protest. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463723275.

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Social movements are not only remembered in personal experience, but also through cultural carriers that shape how later movements see themselves and are seen by others. The present collection zooms in on the role of photography in this memory-activism nexus. How do iconographic conventions shape images of protest? Why do some images keep movements in the public eye, while others are quickly forgotten? What role do images play in linking different protests, movements, and generations of activists? Have the affordances of digital media made it easier for activists to use images in their memory politics, or has the digital production and massive online exchange of images made it harder to identify and remember a movement via a single powerful image? Bringing together experts in visual culture, cultural memory, social movements, and digital humanities, this collection presents new empirical, theoretical, and methodological insights into the visual memory of protest.
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Oliphant, Dave. Conservation and Preservation of Humanities Research Collections Essays on Treatment and Care of Rare Books, Manuscripts, Photography, and Art on pape. Harry Ransom Humanities, 1989.

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Hall, Alice. Contemporary Literature and the Body. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350180239.

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Surveying the history of criticism about literature and the body, this introduction also charts trends and examines new theoretical developments in literary criticism and provides an entry point into the medical humanities, studies of affect, ageing, ecocriticism, and digital humanities. The book offers an intersectional approach to understanding identity and bodily experience and draws on a range of forms of writing from different geographical areas and disciplines, including poetry, novels, blogs, memoirs, political activism and scientific case studies. Exploring the fundamental importance of the body in the histories of feminism, gender, sexuality, disability, race and postcolonial studies, this book proves that contemporary literature provides a rich cultural history of hopes, fears, and fantasies about the body across the ages and, moreover, that criticism offers a valuable way of interpreting how certain bodies are marginalised, celebrated, exploited, spoken about or spoken for in contemporary culture. Chapters incorporate a strong activist element, arguing that the intersecting politics, ethics and aesthetics of bodily representation are important for all of us in the era of the #MeToo, Black Lives Matter and Transgender Rights movements, where bodies are photographed, tracked, manipulated and scrutinised as never before.
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Buchteile zum Thema "Humanities -> art -> photography"

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Delgado-Fernandez-Baca, Amara Tais, María Chávez-Chuquimango und Eliana Gallardo-Echenique. „Photography as a Therapeutic Art Medium According to the Perspective of Peruvian Art-Therapy Specialists“. In Atlantis Highlights in Social Sciences, Education and Humanities, 122–31. Dordrecht: Atlantis Press International BV, 2023. http://dx.doi.org/10.2991/978-94-6463-254-5_13.

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Dias, Yara Toledo. „The Verbal Language of the Visual Arts: A Multidimensional Analysis of the Discourse Around Sally Mann’s Photography“. In Digital Humanities Looking at the World, 95–113. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-48941-9_8.

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Jones, Therese. „Moving Pictures“. In Teaching Health Humanities, herausgegeben von Olivia Banner, Nathan Carlin und Thomas R. Cole, 283–307. Oxford University Press, 2019. http://dx.doi.org/10.1093/med/9780190636890.003.0017.

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In health humanities classrooms, visual materials such as documentary films, photographs, and even YouTube videos often serve as accessible texts for the analysis and discussion of individual experiences of illness and disability or as evocative illustrations of issues such as access to care or end of life. Such works can foster empathic responses, sharpen critical thinking, and develop communication skills in health professions students. Visual materials can also serve as openings for students to critique the culture of healthcare itself and as opportunities for them to identify disparities, confront stigma and discrimination, and envision change. Thus, the visual arts not only encourage our students to see but also reveal to them how, what, and why they see what they see—sometimes prompting their action and often provoking their transformation. This chapter describes and defines visual culture and visual activism in the context of three health and human rights movements of the twentieth century—breast cancer, AIDS, and disability rights—that have all foregrounded the critical practice and political strategy of producing visibility and deploying testimony in forms such as documentary, video, photography, and poster art. It then describes health humanities methodologies and materials in three content areas—mental illness, trauma of war, and disability—used in a variety of classroom settings to enable critical analysis and explore advocacy and intervention. For example, students consider the difference between looking and witnessing, how visual images influence attitudes toward patients and impact health policy, and the balance between inciting moral outrage from exposure to images and inducing compassion fatigue from overexposure to them.
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Wang, Orrin N. C. „Chthonic Michael“. In Techno-Magism, 175–95. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9780823298471.003.0008.

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Land art like Robert Smithson’s Spiral Jetty asserts an auto-chthonic existence whereby sexual difference is erased and beings come from an earth that is one, never two. Land art also asks to be photographed, creating an archive of images that secures a totalizing identity out of such photography, much like the structuralism theorized by Lévi-Strauss promised, and arguments for big data in the humanities claim to realize. Wordsworth’s poem, Michael, contains a ruined sheepfold that like the auto-chthonic character of land art gestures toward a unitary sense of being unriven by sexual difference as the contract of patriarchal entailment while also functioning as a cutting wound that testifies to that contract’s failure. The poem also images the sheepfold not through a digital archiving but as a film close-up, where the image contains the whole of its viewing encounter. Wordsworth’s sheepfold is the split between nature and culture that resists Lévi-Strauss’s wish to make transparent the unconscious deposit of memory and difference in Freud; it is also the fissure that belies contemporary triumphalist arguments for big data in the humanities.
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Morton, Christopher. „Photographs are to think with“. In The Anthropological Lens, 1–35. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198812913.003.0001.

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Chapter 1 sets out the main arguments and contexts of the book. It begins with a discussion of why using the photographic archive to explore the fieldwork on which Evans-Pritchard’s celebrated writings was based is so transformative. It discusses the relationship between anthropology and colonialism in the 1920s and 1930s, and Evans-Pritchard’s equivocal positioning within this as someone directly funded by the colonial administration and yet having a critical relationship to it. It explores the way in which Evans-Pritchard sought to move anthropology away from the natural sciences and towards history and the humanities. It compares his fieldwork photography to other anthropologists of the period and challenges the assumption that anthropology in the period was not a visual endeavour.
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Ribeiro, Daniela Maria. „O recenseamento dos documentos fotográficos do Fundo José Mesquita e Herdeiros como contributo para a sua conservação preventiva“. In Ensaios e práticas de museologia, 19–47. FLUP-DCTP-MMUS, 2022. http://dx.doi.org/10.21747/978-989-9082-16-8/112022a2.

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This text describes the census process of photographic documents from the José Mesquita e Herdeiros Fund, which is under the protection of the Portuguese Centre of Photography. This was one of the tasks developed during the internship carried out within the framework of the Master in Museology at the Faculty of Arts and Humanities of the University of Porto. The methodology adopted for the development of the census is presented and the results are shared in terms of information regarding the constitution of the photographic species of the fund, identifying the support materials, formats and photographic processes, in addition to evidence of alteration and damage. The changes to the census methodology proposed and assumed in the process, specifically in the recording of this information, are also shared. The results obtained are presented systematically in graphs and tables and provide general information regarding the constitution and state of conservation of the fund. These data can contribute to the management of the fund, in the sense of its more informed accessibility and preventive conservation, supporting more strictly the decision-making regarding the intervention strategies to be adopted
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Levy, Thomas E., Connor Smith, Kristin Agcaoili, Anish Kannan, Avner Goren, Jürgen P. Schulze und Glenn Yago. „At-Risk World Heritage and Virtual Reality Visualization for Cyber-Archaeology“. In Digital Cities, 151–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190498900.003.0008.

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In this chapter, the issue of at-risk cultural heritage in the Middle East is addressed through the application of cyber-archaeology tools for data capture and dissemination. Working with an economic model to create a Heritage Asset District in the environs of Jerusalem, virtual reality for personal head-mounted devices and immersive CAVE platforms are used to help create high-value cultural heritage attractions designed to attract visitors to the district, thereby generating economic benefits. In the case study presented here, the district focuses on the Kidron Valley, which has its origin near the Temple Mount in the Old City of Jerusalem, and follows the river flowing eastward through the Judean Desert, where it empties into the Dead Sea. The most prominent cultural heritage site along the wadi (riverbed) is the Mar Saba Greek Orthodox monastery, dating to the fifth century CE. A helium-balloon photographic platform with high-definition photography and Structure from Motion (SfM) processing was used to create a 3D model of this impressive site that could be used for VR demonstrations. The demo is then made available over the MedArchNet (http://medarchnet.calit2.net/) online digital atlas to enable public engagement with Middle Eastern cultural heritage. This research is part of a University of California Office of the President Catalyst Grant concerning “At-Risk Cultural Heritage and the Digital Humanities.”
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Kammen, Michael. „Culture and the State in America“. In In the Past Lane, 75–98. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195111118.003.0002.

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Abstract During 1989-90 the National Endowment for the Arts (NEA) underwent a fierce attack because it indirectly funded allegedly anti-Christian work by Andres Serrano and a Robert Mapplethorpe photographic exhibition considered pornographic by some.* In 1991 a revisionist, didactic display of Western art at the National Museum of American Art (part of the Smithsonian Institution) aroused congressional ire, yet that latter episode now seems, in retrospect, a fairly calm fracas compared with the controversy generated in 1994-95 by “The Last Act, “ a long-planned exhibition concerning the end of World War II in the Pacific that was canceled by the Secretary of the Smithsonian because of immense political pressure and adverse publicity emanating from veterans ‘ organizations and from Capitol Hill. Throughout 1995 those who hoped to eliminate entirely the National Endowment for the Humanities (NEH) and NEA, the Institute of Museum Services, and the Corporation for Public Broadcasting, and to reduce.
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Halegoua, Germaine R. „The Social City“. In The Digital City, 147–80. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479839216.003.0005.

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Chapter 4 examines how digital traces produced through locative media and geo-location technologies can be read as performative rather than precise and highlights some of the ways that cultural studies and humanities scholars can add value and insight to discussions of locative and location-based social media. Several of the projects discussed in this chapter surface personal, and/or collective memories and ontologies, and incorporate digital stories and situated knowledges into the practice of moving through the city. These examples evidence re-placeing the city by urban residents or travelers at the scale of the street. The chapter begins with a brief examination of the ways in which people utilized early (and now defunct) locative media projects and continues with an analysis of more recent incarnations of location-based social media to examine shifts in digital storytelling and performances of place evident in these projects. Check-in and location-announcement services such as Foursquare and photographic social media such as Instagram are analyzed through participatory observation and textual and discourse analysis to understand how people imagine and express their sense of place through these services.
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Vitale, Valeria. „Ceci n’est pas un temple. Visual secondary sources between representation and documentation“. In Can’t Touch This: Digital Approaches to Materiality in Cultural Heritage, 9–28. Ubiquity Press, 2023. http://dx.doi.org/10.5334/bcv.b.

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As 3D models appear more and more often in scholarly and scientific contexts, the need to document the study of the numerous and diverse sources that supports these digital research outputs has become more apparent. The quest for fragments of information disseminated in various kinds of secondary sources, from travel memoirs to sketches to historical photographs, is of a peculiar nature, though. In many cases these documents become invaluable first-hand accounts of something that may not exist anymore. On the other hand, anyone who has ever worked with secondary sources will be familiar with their inaccuracies, poetic licences and even outright fabrications. Combining tools from digital humanities, art history and semiotics, and looking at examples from the most represented—and misrepresented—archaeological site in modern history, the buried city of Pompeii, this chapter invites the reader to look at secondary sources describing ancient buildings not simply as resources to be mined to extract nuggets of more or less reliable information, but as representations in their own right that deserve to be investigated beyond their literal value. The challenge then becomes to contextualise these historical representations, and to try to retro-engineer the semiotic processes that went into their creation. We claim that researchers applying 3D modelling to the study of ancient buildings find themselves in the privileged position of analysing these earlier representations through the lens of the act of making, thus untapping further layers of meaning. Finally, we will show how this approach helps to unravel the rich relationship between disappeared artefacts and their past and present representations, ultimately promoting a view of documentation as a dialogue between the artists and scholars of the past and present, as well as those of the future.
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Konferenzberichte zum Thema "Humanities -> art -> photography"

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Safronova, Anna. „FEATURES OF THE VISUAL LANGUAGE OF DOCUMENTARY PHOTOGRAPHY IN UKRAINIAN PHOTO BOOKS DEDICATED TO REVOLUTIONARY EVENTS IN UKRAINE“. In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.09.

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The purpose of the article is to analyze the features of the visual language of documentary photography and the actual ways of its presentation in the media space on the example of Ukrainian photo books dedicated to revolutionary events in Ukraine. The main problems of modern photojournalism connected with the development of digital technologies are presented, the value of a photo book as an independent project of a photographer is argued, since commercial photojournalism is largely determined by the narratives of its customer. The issues of the transformation of the language of photography both in modern journalism and in the photo project are considered, the main methods of creating the content of a photo story or photo series in photo books are substantiated. Traditional reportage documentary photography, intended for use primarily for commercial purposes in illustrated magazines, is also an important means of creating independent documentary projects or photo books. Such an approach is especially valuable if it reproduces important historical events, as in the Ukrainian photo books under consideration. Ukrainian photo books are distinguished by a variety of techniques for creating content and post-processing methods that appeal to the aesthetics of postmodernism. The use of filmy contrast black and white photography, grainy or blurry images, disruption of the composition, introduce a unique and original form of expressiveness into the photo book. Due to the documentary photography, direct nature of non-staged shootings and the original style of representation, Ukrainian photo books, which are both a document of history and a reflection of the subjective vision of the author, continue to arouse interest and resonate with the viewer.
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Song, Xia. „The Application of Computer Post-Processing Technique in the Abstract Photography Art Expression“. In 2015 International Conference on Education Technology, Management and Humanities Science (ETMHS 2015). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/etmhs-15.2015.296.

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Susanto, Eko, Yasraf Piliang und Setiawan Sabana. „A New Discourse about Moving Photography as a Static Visual Narration“. In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294887.

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Ramirez-Figueroa, Carolina, Emma Cheatle und Luis Hernan. „Climate Health/care: A Low Carbon-points Pedagogy“. In 2021 ACSA Teachers Conference. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.teach.2021.11.

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Positionality. As three creative and humanities practitioners, teachers and theorists, we propose a climate health/ care pedagogy to engage with the intersections of design and health. Our approaches range from creative-biological methods, to narrative, creative writing, photography, micro-histories and instrument making as means to speculate on the existence of different people, animals and places of health, the biosocial, and the way that technology configures contemporary health anxieties. We use these tools to reflect on the state of the thesis “curriculum” at the UK institutions where we collectively teach, the Sheffield School of Architecture, University of Sheffield, the Royal College of Art, and the Bartlett School of Architecture, UCL.
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Mehmetali, Bekir. „Examples of the wonderful poetic image in ancient Arabic poetry“. In VII. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress7-7.

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Arabic poetry, ancient and modern, remains a feature distinguished by the Arabs, and a distinguishing mark for which they were known, as it flows on the tongues of their poets the flow of water in the river, and flows from their mouths the flow of fresh water from the spring, as it is twittering on their tongues, and hymns that delight the speaker, the listener, the narrator, the reader, and the student Alike, he is the flame that ignited in their world hundreds of years ago, and is still glowing in every country of theirs, and in every age. The Arabic poetry that we are talking about is nothing but words organized into sentences, and not sentences organized into verses only. The contemplator of ancient Arabic poetry stands on wonderful poetic images that the poets installed in whatever form they were, and formulated them in whatever form, so that some of them, or even most of them, were unique in producing these poetic images without others, so this wonderful poetic image became specific to his wonderful poetic experience. I chose to write on this topic because of its importance in the world of poetry and the production of the poem, as a poem devoid of a poetic image is not considered a complete poem. In this research, I will present, study, and analyze some of the wonderful poetic images of some ancient poets, hoping to write another research in which I will deal with examples of the poetic image in modern Arabic poetry. The objective of the research is evident in its importance, and in the research I will approach the methods of description, induction, and analysis. And I wrote a research on the wonderful poetic image in ancient Arabic poetry, so I wanted this research to be a continuation of that research, and a complement to it. To provide a clear picture of the art of beautiful photography in ancient and modern Arabic poetry. And since this research follows the pattern of that research, and completes it, I adopted the same approach to avoid fallacy, affectation, and concavity
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Petenji Arbutina, Sibila, und Ivana S. Mišković. „PERSONAL PHOTOGRAPHY AS A MEDIUM OF COMMUNICATION IN VISUAL TRAVEL PROPAGANDA“. In Arts & Humanities Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/ahc.2016.001.012.

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Rouska, Vasiliki. „The Human Traumas in Fazal Sheikh’s Photography“. In The IAFOR International Conference on Arts & Humanities – Hawaii 2024. The International Academic Forum(IAFOR), 2024. http://dx.doi.org/10.22492/issn.2432-4604.2024.34.

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Bing, Hao. „To investigate the impact of technological development on photographic art“. In 2014 2nd International Conference on Advances in Social Science, Humanities, and Management. Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/asshm-14.2014.84.

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He, Xinliang, Yifei Qiu und Yunxin Bai. „Evaluating Entrepreneurial Opportunity in the New Photography Market“. In 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.206.

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„Photography Expression of Architecture of Qiang Nationality from the Perspective of Mobile Phone“. In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.18.

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