Thematische Bibliographien / Photographic distance

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Photographic distance“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 11. Februar 2022

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Zeitschriftenartikel zum Thema "Photographic distance"

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Latto, Richard, und Bernard Harper. „The Non-Realistic Nature of Photography: Further Reasons Why Turner Was Wrong“. Leonardo 40, Nr. 3 (Juni 2007): 243–47. http://dx.doi.org/10.1162/leon.2007.40.3.243.

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The authors discuss the limitations of photography in producing representations that lead to the accurate perception of shapes. In particular, they consider two situations in which the photographic representation, although an accurate reproduction of the geometry of the two-dimensional image in the eye, does not capture the way human vision changes this geometry to produce a three-dimensionally accurate perception. When looking at a photograph, the viewer's uncertainty of the camera-to-subject distance and the fact that, unnaturally, a photograph presents almost exactly the same view of an object to the two eyes result in substantially distorted perceptions. These most commonly result in a perceived flattening and fattening of the 3D shape of the object being photographed.
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Petraitis, Paulius. „Performing Togetherness: Tourist-Like Photography from Abu Ghraib“. Acta Academiae Artium Vilnensis, Nr. 99 (05.07.2021): 99–125. http://dx.doi.org/10.37522/aaav.99.2020.16.

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The article explores the infamous photographs from the Abu Ghraib prison that circulated and were made public in 2004. It specifically looks at how the sense of togetherness was enacted by the U.S. military personnel stationed in the site, and the way cameras were instrumental in this process. It argues that the resultant photographs can be seen as tou- rist-like in several respects. A notable aspect of the photographic images is that the soldiers who took them repeatedly appear in the frame themselves. Appearing in and photographing the abusive acts was not only a form of structuring and reinforcing power relations at the prison, but also an attempt to portray a fun-having personnel group. The visual signifiers – thumbs up, smiles, pointed fingers – authenticate the images, lending them some of the qualities of tourist photography. At Abu Ghraib, the soldiers’ photographic practice also partly served as a sense-making mechanism, allowing a symbolic distance between the camera-wielder and unforeseen emergent events. It promised a wishful alternative to the grim realities of the prison: an overcrowded and undersupplied facility with a lack of on-site leadership. The scars of resultant violence – and the notorious photographs that document it – remain relevant, and continue to resurface in recent so- cial and political contexts.
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Jianming, Chen. „Map of the Mount Gongga Glacier: A Combination of Terrestrial and Aerial Photogrammetry“. Annals of Glaciology 8 (1986): 34–36. http://dx.doi.org/10.1017/s0260305500001099.

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For use in glaciological research, between 1982 and 1984, we succeeded in surveying and mapping the Mount Gongga Glacier, on a scale of 1:25 000, by means of a combination of terrestrial and aerial photogrammetry. This paper describes the method in detail. In the survey area, we set up an independent, triangulation network, with microwave distance measurement, and two, independent, straight-line traverses, for basic control. Control points were observed by intersection. The terrestrial, photogrammetric baselines were projected and corrected into distances on the. plane of the map. Terrestrial photography accounted for the majority of the photographs of the survey area. Surveying and mapping of planimetrie and topographic features were completed on a stereo-autograph, using plates mainly from terrestrial photogrammetry. Where these data were insufficient, they were supplemented by aerial photography, plotted on a photographic plotting instrument. Orientation points of the aerial photographs were established by terrestrial, photogrammetric analysis and located on the map by an optical, mechanical method. The practical result showed that a combination of terrestrial and aerial photogrammetry, in mapping a high, mountain, glacier area, on a large scale, is more feasible and flexible than other methods and more economical as well.
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Jianming, Chen. „Map of the Mount Gongga Glacier: A Combination of Terrestrial and Aerial Photogrammetry“. Annals of Glaciology 8 (1986): 34–36. http://dx.doi.org/10.3189/s0260305500001099.

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For use in glaciological research, between 1982 and 1984, we succeeded in surveying and mapping the Mount Gongga Glacier, on a scale of 1:25 000, by means of a combination of terrestrial and aerial photogrammetry. This paper describes the method in detail.In the survey area, we set up an independent, triangulation network, with microwave distance measurement, and two, independent, straight-line traverses, for basic control. Control points were observed by intersection. The terrestrial, photogrammetric baselines were projected and corrected into distances on the. plane of the map.Terrestrial photography accounted for the majority of the photographs of the survey area. Surveying and mapping of planimetrie and topographic features were completed on a stereo-autograph, using plates mainly from terrestrial photogrammetry. Where these data were insufficient, they were supplemented by aerial photography, plotted on a photographic plotting instrument. Orientation points of the aerial photographs were established by terrestrial, photogrammetric analysis and located on the map by an optical, mechanical method.The practical result showed that a combination of terrestrial and aerial photogrammetry, in mapping a high, mountain, glacier area, on a large scale, is more feasible and flexible than other methods and more economical as well.
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Kraft, Robert N., John F. Patterson und Nancy B. Mitchell. „Distance Perception in Photographic Displays of Natural Settings“. Perceptual and Motor Skills 62, Nr. 1 (Februar 1986): 179–86. http://dx.doi.org/10.2466/pms.1986.62.1.179.

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Fedorowicz-Jackowska, Aleksandra. „‘Through a Microscope from a Telescopic Distance’: Witkacy, Cameron and the Photography of Faces“. Ikonotheka, Nr. 30 (28.05.2021): 31–49. http://dx.doi.org/10.31338/2657-6015ik.30.2.

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Witkacy was a central figure of the Polish art scene in the first half of the twentieth century. A painter, writer, philosopher, art theorist, and playwright, he also imaginatively played with the photographic medium. This article will show that the most significant part of his photographic practice, carried on since his youth, was centered on faces. Debating the prevailing view that tends to see Witkacy as a lone visionary, I will argue that Julia Margaret Cameron’s photographic portraits inspired the artist’s style and approach to the genre of photographic portraiture.
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LIU Bo, 刘波, 贾继强 JIA Ji-Qiang, 丁亚林 DING Ya-Lin und 苏东风 SU Dong-Feng. „Oblique distance defocus compensation for oblique photographic airborne camera“. Optics and Precision Engineering 22, Nr. 5 (2014): 1274–79. http://dx.doi.org/10.3788/ope.20142205.1274.

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Allina, Eric. „“Fallacious Mirrors:” Colonial Anxiety and Images of African Labor in Mozambique, ca. 1929“. History in Africa 24 (Januar 1997): 9–52. http://dx.doi.org/10.2307/3172017.

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African historiography has over the past decade begun to pay increasing attention to photographs as a source for African history. A growing body of work has raised a number of methodological and theoretical questions about how scholars can and should work with images. From their experience with written documents, historians are aware of the ideologically charged conditions under which colonial knowledge was produced. This awareness has armed scholars with a skepticism to look beyond the image itself and examine the physical and technological environment in which photographers worked. Posed studio shots that create “natural” settings and post-event retouching are only some of the practices photographers used to endow their images with a greater semblance of accuracy.Andrew Roberts and David Killingray's “outline” of photography in Africa charts the development of photographic techniques and how their use created specific kinds of images of Africa; Virginia-Lee Webb emphasizes photographers' manipulation of not only their subjects, but also the environment in which they were photographed. What this work has produced is an oft-spoken axiom that photographic images of Africa (or any other place) ought not be taken at face value. This axiom has guided a significant amount of scholarship, although Beatrix Heintze wisely cautions against overinterpretation.Scholars who work with written documentary evidence from the colonial period have well established the ways in which administrators, missionaries, and other Europeans represented Africans as an “other,” as they sought to create cultural and social distance between themselves and Africans. Still other scholars have combined written and oral materials to show how Africans established their own identities and interpreted colonial discourses to create alternative, liberating discursive spaces.
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Freedman, Wendy L., Jeremy R. Mould, Robert C. Kennicutt und Barry F. Madore. „The Hubble Space Telescope Key Project to Measure the Hubble Constant“. Symposium - International Astronomical Union 183 (1999): 17–30. http://dx.doi.org/10.1017/s007418090013205x.

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A Joint Discussion on the extragalactic distance scale and the Hubble constant took place fifteen years ago, at the 1982 XVIIIth General Assembly of the IAU, held in Patras, Greece. At that time, the newest applications of infrared photometers to Tully-Fisher measurements (Aaronson 1983) and Cepheid distances (Madore 1983) were reported. CCDs were just coming into use and had not yet been applied to extragalactic distance determinations; all of the extragalactic Cepheid distances were based on photographic Argelander (eye-estimated) photometry (Tammann and Sandage 1983 and references therein). No Cepheid distances to type Ia supernova-host galaxies were available.
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Xia, Yong, Li Bing Zeng und Kuan Quan Wang. „Photographic Volume Visualization with LH Histogram and Color Distance Gradient“. Applied Mechanics and Materials 333-335 (Juli 2013): 1034–37. http://dx.doi.org/10.4028/www.scientific.net/amm.333-335.1034.

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Volume rendering is an important issue in the field of images visualization, which can display the details of the volume data intuitively. In this paper, we provide an new transfer function for volume visualization of photographic data set. LH histogram and color gradient are used for opacity design. And special organ can be enhanced in 3D view for special mission. We use GLSL (OpenGL Shading Language) for the GPUs accelerate. VHP data set is used for test and the result confirms that our method is effective.
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Dissertationen zum Thema "Photographic distance"

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Olsen, Claire. „Photographic estrangement the measure of distance in photographic relationships : this exegesis is submitted to AUT University for the degree of Master in Art Design (Visual Arts) programme, October 2007 /“. Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1384/.

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Alvernhe, Eric. „Distance au minimum local pour le problème de la stéréovision“. Montpellier 2, 2006. http://www.theses.fr/2006MON20216.

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Von, Brasch Marius. „'Distance, however near it may be' : revisiting 'aura' on the axis between painting and digital technology within a Deleuzian framework of 'becoming'“. Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/346350/.

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This practice-based research sets out to explore new ways of visualizing and conceptualizing the notion of aura in art. It departs from Walter Benjamin’s widely known critique of aura, the thesis of which is that aura as ‘uniqueness’ of an artwork decays with the rise of technological reproducibility. Benjamin affirms with the decay of aura also the loss of the transposition of religious projections of distance onto fascist politics. His thesis had a major influence on contemporary critical theory where aura is still approached with great reservations. These concern a relapse into religious structures, which mirror, so the thesis argues, the fact that aura has been, also in Benjamin’s ambivalent conceptualization, left ‘territorialized’ in a regime of transcendence in art. The main research question has been: What could aura mean for painting in the expanded field, especially in relation to digital imaging? The outcomes of this research are paintings, works on paper (both involving the input of digital sources), digital films and writings. The thesis develops a reading and visual ‘mapping’ of aura in the framework of Gilles Deleuze’s (and Félix Guattari’s) ontology of immanence where difference and its repetition as differentiation replaces the static metaphysics of ‘origin’ or ‘essence’. Splendor Solis, a series of book illuminations from the Northern Renaissance proved to become a major visual source for experimentation. Aura is introduced in this alchemical work as the ‘splendour’ of Becoming, the deframing power of the differential processes that accompany individuation. As a sensation experienced in intuitive art practice, aura affects and is affected by a field of interacting multiplicities and the potentiality of temporal differentiations, which reach beyond any ascertained subjectivity into virtual collective questions and problems. Aura suggests as an ‘echo’ of Becoming an involvement with affects, and the research follows strands between qualitative intense moments that activate a ‘wound’ and extend to what Deleuze calls a ‘wound that existed before me’, an experience related to the synthesis of future, which confronts an individual with its emerging double. Constructing, or ‘mapping’ aura as visuals on an axis that involves media of ‘uniqueness’ and digital technology gives those outcomes an ontological status of ‘simulacra’ or assemblages, far from the traditional associations aura would evoke. Touching both experience and experiment, so the thesis argues, aura in immanence can provide an access to the virtualities of the ‘new’ in art practice. The research introduces a visual scenario or ‘conceptual persona’ for intuition, which as method of this research folds both practice and writing. Friedrich Hölderlin’s unfinished play Empedocles at Etna, provides a metaphor or metamorphosis encompassing aura’s and intuition’s involvement with immediacy and duration. The practice documentation of the thesis reflects the strands of the research as plurality of its differentiations, allowing the dynamics of its method in action to reflect the dynamics of aura.
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Riches, Margaret. „Widening horizons : a study of the role of photographic images in the development of Key Stage 2 children's geographical perceptions of distant places“. Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273513.

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Fouche, Pierre. „The distance between us : strategizing a queer, artistic, personal and social politic“. Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2137.

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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006.
This thesis considers radical and reactionary political strategies for questioning systems of gender/sexuality categorisation and finds both wanting in terms of the cultural insularity and mainstream assimilation each respectively engenders. An alternative is posited in the form of radical assimilation, a theory borrowing the best elements from both approaches. The remainder of the study is focussed on the search for personal and iconographic strategies to pursue a politic of radical assimilation in my creative production. These strategies are finally exemplified and manifested via discussions of the practical corpus of artworks that aided in the formation of this politic. The discursive framework in which this theorization occurs includes considerations of queer theory and photography (especially domestic photography and portraiture) and subjective contextualization (invoking the domestic uses of images), and all should be seen as constituting a personal discursive framework: an attempt to counter the reductive scope an uncontextualised analysis of my work allows. This study is accordingly an explication of the processes that turn the personal into the political; a critical affirmation of difference; and an attempt to narrow the distances between us.
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Souza, Júlio César Conejo de. „Efígies do distante: o \'outro\' e a Amazônia nas fotografias de Christoph Albert Frisch“. Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8161/tde-06082018-164916/.

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O presente estudo trata das fotografias resultantes da expedição realizada pelo bávaro Christoph Albert Frisch (1840 1918), na extensão brasileira do rio Solimões a pedido da Casa de Leuzinger, ativa cidade do Rio de Janeiro durante o início da segunda metade do século XIX e interessada na comercialização de imagens do exótico e do longínquo para a venda, principalmente a viajantes estrangeiros. O objetivo deste trabalho foi a investigação de indícios, nas fotografias, de elementos do discurso colonial que enfatizam a inferioridade racial do outro por meio de estereótipos que fixam identidades e legitimam, apoiam-se e contribuem para a manutenção dessa dominação. Além disso, o presente trabalho pretende dimensionar as fotografias analisadas com o imaginário de hipérboles e riquezas que, desde os primeiros relatos de europeus sobre a Amazônia, direcionaram as representações sobre a ela. Tais representações reverberaram na Exposição Universal de Paris, em 1867, onde o Brasil apresentou-se como de fornecedor de matérias primas visando à atração de investimentos estrangeiros. Em nossa investigação, valemo-nos das fotografias como fonte principal, bem como o catálogo produzido pela Casa Leuzinger para acompanhar as fotografias de Frisch.
The present study deals with the photographs resulting from the expedition carried out by the Bavarian Christoph Albert Frisch (1840-1918) in the Brazilian extension of the Solimões River at the request of the Leuzinger House of photographies, an active city of Rio de Janeiro during the beginning of the second half of the 19th century. interested in commercializing images of the exotic and distant for sale, mainly to foreign travelers. The objective of this work was to investigate evidence in the photographs of elements of colonial discourse that emphasize the racial inferiority of the \"other\" through stereotypes that establish identities and legitimize, support and contribute to the maintenance of domination. In addition, the present work intends to scale the analyzed photographs with the imagery of hyperboles and riches that, since the first reports of Europeans about the Amazon, directed the representations about it. Such representations reverberated at the Universal Exhibition in Paris in 1867, where Brazil presented itself as a supplier of raw materials to attract foreign investment. In our investigation, we use the photographs as the main source, as well as the catalog produced by Leuzinger House of photographies to accompany the photographs of Frisch
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Faria, Nivia Giacomini Fontoura. „Fotografia digital de feridas: desenvolvimento e avaliação de curso online para enfermeiros“. Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/7/7140/tde-14122010-122722/.

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O presente estudo constitui-se de uma pesquisa aplicada de produção tecnológica, que teve como objetivos desenvolver e avaliar um curso online de fotografia digital de feridas para enfermeiros, utilizando o Ambiente Virtual de Aprendizagem (AVA) - Moodle. A metodologia de desenvolvimento do curso baseou-se no modelo Addie (abreviatura em inglês para analysis, design, development, implementation e evaluation análise, design, desenvolvimento, implementação e avaliação) fundamentado no Design Instrucional Contextualizado (DIC). O curso encontra-se hospedado no servidor da Universidade de São Paulo, no Ambiente Virtual de Aprendizagem Moodle redealuno, disponível na categoria de cursos da Escola de Enfermagem da USP. O curso foi organizado em cinco módulos, que abrangem os temas referentes aos aspectos históricos e éticos do uso da imagem em saúde, técnicas de fotografia e arquivamento de imagens de feridas, e estão estruturados com objetos de aprendizagens, imagens, textos para leitura obrigatória e complementar, fóruns, atividades colaborativas, glossário e exercícios de feedback e avaliações. O curso foi avaliado por onze especialistas nas áreas de ensino a distância, fotografia e estomaterapia. Os especialistas utilizaram um formulário com 32 itens que contemplava 344 critérios de avaliação, relacionados aos aspectos educacionais, aos recursos didáticos e a interface do ambiente. De maneira geral o curso foi avaliado pelos especialistas como excelente em 208 (59,1%) e satisfatório em 122 (34,7%) itens, e apresentaram sugestões de melhorias que foram acatadas. Conclui-se que a metodologia adotada propiciou o desenvolvimento de um curso online inovador, interativo e colaborativo, que contribuirá para o ensino, a pesquisa e a assistência em enfermagem, bem como propiciará a disseminação do conhecimento, na área de informática no ensino de enfermagem, agregando mais uma iniciativa aos crescentes esforços para a produção tecnológica em enfermagem.
This study consists of an applied research of production technology, which aimed to develop and evaluate online classes of digital photography of wounds for nurses, using the Virtual Learning Environment (VLE) - Moodle. The development methodology of the classes was based on the model Addie (abbreviation in English for analysis, design, development, Implementation and evaluation) - based on Instructional Design in context (DIC). Classes are hosted on the server of the University of Sao Paulo, in the Moodle Virtual Learning Environment- redealuno, available in the category of classes at the USP-School of Nursing. Classes were organized into five modules, covering topics related to the historical and ethical aspects of the use of the health image, photography´s techniques and filling images of wounds, and are structured by learning objects, images, required and complementary readings texts, forums, collaborative activities, glossary, feedback exercises and evaluations. Classes were evaluated by eleven experts in the areas of distance education, photography and enterostomal terapy. Experts used a form with 32 items that included 344 evaluation criteria related to educational issues, to didactic resources and environment interface. Overall, experts evaluated the classes as excellent 208 (59.1%) and satisfactory 122 (34.7%) and made suggestions for improvements that were accepted. It was concluded that the adopted methodology enabled the development of innovative, interactive and collaborative online classes, which will contribute to the education, research and care in nursing, and it will provide the dissemination of knowledge in computer science in nursing education, adding one more initiative to the growing efforts to produce technology in nursing.
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Gadelha, Denise. „À curta distância : relações entre imagem fotográfica e seu espaço de apresentação“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/11174.

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A presente pesquisa tem como objetivo estabelecer uma reflexão a respeito de parte de minha produção poética intitulada À Curta Distância. A fim de discernir critérios para tal análise parti de uma contextualização desta produção em relação às vivências artísticas que marcaram o início deste projeto, para, a seguir, estabelecer uma articulação com obras de outros artistas – tanto de antecedentes históricos como praticantes contemporâneos. O fio condutor desta investigação será dividido em dois vetores; o primeiro consiste na busca por situar o surgimento de propostas que abordam o contexto de apresentação como conteúdo da obra. A partir de uma breve descrição das conexões históricas deste tema será possível discernir como este é articulado em minha produção artística. O segundo vetor desta pesquisa é referente ao estudo da relação entre a fotografia e as artes visuais, extraindo daí argumentos para proceder uma análise do uso contemporâneo deste meio, hoje em dia tão difundido nas exposições ao redor do planeta. A relação entre o espaço físico de exposição e a fotografia se faz presente em meu trabalho por meio da criação de um paralelismo entre realidade e representação. A fotografia apresentada ao público representa o próprio ambiente em que o espectador se encontra quando está diante da imagem. Assim, com a criação deste artifício, estimula-se a passagem de uma atenção dirigida somente às propriedades formais do objeto artístico para uma apreensão fenomenológica do espaço ao qual a imagem se refere.
The present research has as objective to establish a reflection regarding part of my poetical production titled In a Short Distance. In order to discern criteria for such analysis I started off a contextualization of this production in relation to the artistic experiences that had marked the beginning of this project, then, in the sequence, establishing relation with works of other artists - as much of historical antecedents as contemporaries practitioners. The conducting wire of this inquiry will be divided in two vectors; the first one consists of the search for pointing out the sprouting of proposals that approach the presentation context as content of the work of art. From one soon description of the historical connections of this subject will be possible to discern how it is articulated in my artistic production. The second vector of this research is referring to the study of the relation between photograph and the visual arts, extracting from there arguments to proceed an analysis about the contemporary use of this medium, nowadays so spread out in the exhibitions around the world. The relation between the photograph and the physical space of exhibition is present in my work by means of the creation of a parallelism between reality and representation. The photograph presented to the public represents the proper environment where the spectator is when he sees the image. Thus, with the creation of this artifice, is possible to turn an attention only directed to the formal properties of the artistic object into a phenomenological apprehension of the real space.
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Wu, Shui-Jou. „Le flou : détournement de l'image d'archive chez Gerhard Richter, Christian Boltanski et Thomas Ruff“. Thesis, Paris 1, 2016. https://ecm.univ-paris1.fr/nuxeo/site/esupversions/976f9ecc-8580-4715-a3dc-756130aa037b.

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Le flou, bien qu’étant un effet artistique répandu, reste victime d'une mauvaise réputation, souvent considéré comme un défaut technique ou à l'opposé d'une réflexion rationnelle et rigoureuse. Contre une telle vision réductrice notre recherche essaye de montrer, à travers un choix des œuvres de Gerhard Richter, Christian Boltanski et Thomas Ruff, que le flou est assurément un acte artistique qui engage une réflexion distancée et critique. Nous élaborons une étude comparative des processus de création de chaque artiste, ainsi qu'une analyse des caractéristiques des images d'archives qu'ils s'approprient : photographies amateurs et images de presse. Il apparaît alors que le flou constitue pour ces artistes une méthode efficace d'appropriation et de détournement. Il met d'abord en avant la matière de l'image, aux dépens de la fonction de représentation, et permet ensuite de transgresser les frontières entre peinture et photographie. Le flou est également le signe d'une distance : entre les œuvres et les spectateurs, mais aussi entre les artistes et les images appropriées. Cependant, cette mise en retrait des artistes ne les empêche pas d'exprimer une réflexion critique sur les images qu'ils utilisent. Car c'est en intégrant au sein de leurs œuvres des images d'archives dont les sujets mêlent banalité quotidienne et événements historiques majeurs, que les artistes examinent les usages sociaux et les reproductions médiatiques des images. Mais il s'avère que le flou est surtout une stratégie pour franchir les frontières entre forme et matière, objectivité et subjectivité, ou encore culture de masse et beaux-arts. Il s'agit donc avant tout d'un concept dynamique au service de la transgression
The blur, as a widespread artistic effect, is still victim of a bad reputation, since it is usually considered to be a technical fault or the opposite of a rational and rigorous thinking. Against this reductive vision, this research tries to show, throughout a selection of artworks from Gerhard Richter, Christian Boltanski and Thomas Ruff, that the blur is an artistic act which arouses a distanced and critical reflection. We elaborate a comparative study of each artist's creation process, and an analysis of archival image features appropriated by them : amateur photographs and press images. The blur seems to represent an efficient method of appropriation and détournement. It highlights the image material in spite of its representational function, and it allows to transgress the borders between painting and photography. The blur is also sign of distance : between artworks and spectators, as well as between artists and appropriated images. However, the detachment of artists doesn't prevent them from expressing a critical thinking over images they use. For it is in integrating archival images with topics varying from daily banality and major historic events in their artworks, that the artists examine the social uses and the media reproduction of images. But the blur proved mainly to be a strategy to cross the borders between shape and material, objectivity and subjectivity, or mass culture and fine art. It is above all, a dynamic concept used for transgression
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Almeida, Cláudia Dos Santos. „A fotografia digital no design dos cursos de pedagogia a distância: a abordagem da questão ambiental do rio Tietê“. Universidade Nove de Julho, 2016. http://bibliotecadigital.uninove.br/handle/tede/1408.

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The research aims at digital photography in the educational design of the Pedagogy Course at the University Center. From educational design perspective, our goal is to identify the potential of this means of visual communication in order to discuss the environmental routine of Tiete River, in the state of São Paulo, which is highly polluted and contaminated nowadays. The objective is to recognize the problems, needs and expectations regarding the use of the photography applied in the design of the Communication and Language discipline mentioned above at the Pedagogy course. The collected data will provide basis and consolidate the intervention project, with one Public State Elementary School/Secondary Education, Youth and Adult Education - Supplementary, located in the East Zone of São Paulo city. The possibility is that the dynamic digital photography has dialogic potential. However, it is rarely used to discuss daily situations in distance learning. The theoretical framework of the educational field which supports the study derives from Paulo Freire's work (2014, 2014th, 2011, 2011a, 2010) and his followers: Gadotti Moacir (2010) and Paulo Padilha (2002). Similarly, the theoretical framework of the field of communication is provided by Pierre Lévy (2004, 2011, 2011a, 2014) and researchers who gave it continuity: Andrea Filatro (2008); Francisca Severino (2001); João Mattar (2014) and Margarita Gomez (2004). The methodological procedures of a qualitative approach are the documentary analysis, conversation circle and content analysis, based on Eloiza Szymanski (2004). The research results contributed to the use of digital photography as an educational tool in the educational design, thus being able, under certain conditions, to have their use in the Pedagogy course of distance learning. . The research was developed at Basic School research group , Management and Intervention, under the coordination of Professor Dr. Eleodora Francisca Santos Severino, at the Post - Graduate Program in Management and Educational Practices at UNINOVE which was recommended by CNPQ
A pesquisa tem por objeto a fotografia digital no design educacional do curso de Pedagogia de um Centro Universitário. Na perspectiva do design educacional, o objetivo é identificar o potencial deste meio de comunicação visual ao problematizar o cotidiano ambiental do Rio Tietê, no Estado de São Paulo, hoje altamente poluído e contaminado. Busca-se reconhecer as dificuldades, necessidades e expectativas quanto ao uso da fotografia utilizada no design da disciplina Comunicação e Linguagem no curso de Pedagogia. Os dados obtidos servirão de base para consolidar o projeto de intervenção em Escola Pública Estadual de Ensino Fundamental/Ensino Médio, Educação de Jovens e Adultos – Supletivo, localizada na zona leste da cidade de São Paulo. A hipótese é que a fotografia dinâmica digital tem potencial dialógico, porém pouco utilizada para problematizar situações do cotidiano no ensino a distância. O referencial teórico do campo pedagógico que sustenta a pesquisa deriva da obra de Paulo Freire (2014, 2014a, 2011, 2011a, 2010) e seus continuadores Moacir Gadotti (2010) e Paulo Padilha (2002). De igual modo, o referencial teórico do campo da comunicação é fornecido por Pierre Lévy (2004, 2011, 2011a, 2014) e pesquisadores que lhe deram continuidade: Andrea Filatro (2008); Francisca Severino (2001); João Mattar (2014) e Margarita Gomez (2004). Os procedimentos metodológicos de enfoque qualitativo são a análise documental, a roda de conversa e a análise do conteúdo, com base em Eloiza Szymanski (2004). Os resultados da pesquisa contribuíram para o uso da fotografia digital como instrumento didático no design educacional, podendo, em determinadas condições, ser aplicada nos cursos de Pedagogia a distância. A pesquisa desenvolveu-se no âmbito do grupo de pesquisa Escola Básica, Gestão e Intervenção, sob a coordenação da professora Dra. Francisca Eleodora Santos Severino, no Programa de Pós-Graduação em Gestão e Práticas Educacionais da UNINOVE, recomendado pelo CNPQ.
El propósito de este estudio es la fotografía digital en lo diseño instruccional del Centro Universitario en una facultad de pedagogía. Desde la perspectiva del diseño educativo, nuestro objetivo es identificar el potencial de este medio de comunicación visual para discutir el día a día del Rio Tietê, en Estado de São Paulo, Brasil, hoy altamente contaminado. Buscase reconocer las dificultades, necesidades y expectativas con respecto a la utilización de la fotografía en el diseño educacional de la disciplina Comunicación y Lenguaje, en la facultad de pedagogía. Los datos obtenidos servirán como una base para sustentar y consolidar el proyecto de intervención en una escuela pública primaria, de educación secundaria y educación de jóvenes y adultos, situada en la región este de la ciudad de São Paulo. La hipótesis es que la fotografía digital dinámica tiene potencial del diálogo, pero rara vez se utiliza para analizar las situaciones diarias en el aprendizaje a distancia. El marco teórico del campo educacional que el estudio se deriva viene de la obra de Paulo Freire (2014, 2014a, 2011, 2011a, 2010) y sus seguidores Moacir Gadotti (2010) y Paulo Padilha (2002). De mismo modo, el marco teórico del campo de la comunicación es fornecido por Pierre Lévy (2004, 2011, 2011a, 2014) y algunos investigadores que le dieron continuidad, como Andrea Filatro (2008), Francisca Severino (2001), João Mattar (2014) y Margarita Gomez (2004). Los procedimientos metodológicos de enfoque cualitativo son el análisis documental, lo grupo de conversación y el análisis del contenido, basado en Eloiza Szymanski (2004). Los resultados de la investigación ayudaron a conocer la fotografía digital como herramienta de la didáctica en el diseño educativo. Pueden, bajo ciertas condiciones, ter su uso en clases de enseñanza a distancia. El estudio ocurrió en el grupo de la Escuela Básica, Gestión y Intervención, coordenado por la profesora Francisca Eleodora Santos Severino, en el Programa de Pos-Graduación en Gestión y Practicas de la Educación de la Universidad Nove de Julho, Uninove, recomendado por la institución CNPQ.
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Bücher zum Thema "Photographic distance"

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Lussier, Réal. Tenir l'image à distance. Montréal: Musée d'art contemporain de Montréal, 1989.

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Le regard imparfait: Réalité et distance en photographie. Paris: Harmattan, 2001.

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3

K, Murphy Erin, und Dallas Museum of Art, Hrsg. Willie Doherty: Requisite distance : ghost story and landscape. Dallas, Tex: Dallas Museum of Art, 2009.

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4

Pfahl, John. A distanced land: The photographs of John Pfahl. Albuquerque: Published by the University of New Mexico Press in association with Albright-Knox Art Gallery, 1990.

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5

Estelle, Jussim, Albright-Knox Art Gallery, Art Institute of Chicago und High Museum of Art, Hrsg. A distanced land: The photographs of John Pfahl. Albuquerque: Published by the University of New Mexico Press in association with Albright-Knox Art Gallery, 1990.

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6

Aires sans distance: Germaine Beaulieu ; avec douze photographies de l'auteure. Saint-Lambert, Québec: Editions du Noroît, 1988.

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7

Dierk Maass: Sense° ofʹ distanceʺ. Heidelberg: Kehrer, 2010.

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8

1955-, Pohanka Brian C., Hrsg. Distant thunder: A photographic essay on the American civil war. Charlottesville, Va: Thomasson-Grant, 1988.

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9

Christine, Olsenius, Hrsg. Distant shores: Photographs from Lake Superior and Lake Michigan. Two Harbors, Minn: Bluestem Productions, 1990.

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10

1975-, Gutiérrez Arsenio, und Hernández Jorge Luis 1966-, Hrsg. Cuerpos distantes: Tres fotógrafos en Querétaro : Demián Chávez, Arsenio Gutiérrez, Jorge Luis Hernández. Santiago de Querétaro, Qro. [Mexico]: Fondo Editorial de Querétaro, 2004.

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Buchteile zum Thema "Photographic distance"

1

Thomas, Julia Adeney. „Photographic Calculations: Intimate Trauma and Cool Distance in Postwar Japan“. In Rethinking Historical Distance, 158–79. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137312945_10.

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Hwang, Jooyeon, Dongsup Lim und Doowon Paik. „A Straight Line-Based Distance Measure to Compute Photographic Compositional Dissimilarity“. In Future Generation Information Technology, 69–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-10509-8_9.

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3

Lessard, Bruno. „Shot in the Dark: Nocturnal Philosophy and Night Photography“. In Critical Distance in Documentary Media, 45–67. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96767-7_3.

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Belden-Adams, Kris. „Redefining the “Document”: Social-Media Photographs as Narrative, Performance, Habitude“. In Critical Distance in Documentary Media, 195–208. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96767-7_10.

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5

Belknap, Geoffrey. „Photography at a Distance: Reproducing the 1874 Transit of Venus Enterprise“. In From a Photograph, 167–209. London, UK; New York, NY, USA: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc, 2016.: Routledge, 2020. http://dx.doi.org/10.4324/9781003103530-8.

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Asami, Yasushi. „Introduction: City Planning and New Technology“. In New Frontiers in Regional Science: Asian Perspectives, 261–65. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-8848-8_17.

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AbstractIn Part III, titled “City Planning and New Technology,” we discuss two topics, namely, compact cities and real estate technology in Japan.Promotion of compact cities is regarded as a high priority issue in urban policies in the era of population decrease. The Act on Special Measures concerning Urban Reconstruction in 2014 was revised to institutionalize the framework for the Location Normalization Plan, a plan for local governments to build compact cities to manage population decline and aging urban infrastructure while placing less burden on environment. Three chapters are devoted to issues related to this movement. In Chap.10.1007/978-981-15-8848-8_18, Ishikawa (2020) discusses how urban functions can be guided by residents’ perspectives. To build a compact city, various day-to-day services must be placed proximal to residential areas; however, some services must be placed at a certain distance from residences because of land use restrictions. Therefore, we must determine the uses allowed in residential areas. In Chap.10.1007/978-981-15-8848-8_19, Morimoto (2020) discusses the history of major contributions made by the development of transportation facilities to urban spread, the important role of traffic facilities to guide land use toward desirable purposes, and impact of self-driving vehicles on land use. In Chap.10.1007/978-981-15-8848-8_20, Ogushi (2020) explains how the Location Normalization Plan in Niigata City was formed in detail.Real estate technology refers to real estate business-related services that use new technology. Several new services based on new technology have been introduced in the field of real estate in Japan. Three chapters are devoted to issues related to real estate technology. In Chap.10.1007/978-981-15-8848-8_21, Narimoto (2020) explains the outline of real estate technology services in Japan and identifies legal problems associated with handling of information. In Chap.10.1007/978-981-15-8848-8_22, Nishio and Ito (2020) report on creating a sky view factor calculating system that uses Google Street View. Sky view factor is a term that refers to a configuration factor for the amount of sky in a hypothetical hemisphere. In Chap.10.1007/978-981-15-8848-8_23, Kiyota (2020) explains the transition of neural network research and characteristics of deep learning and introduces a system that detects category inconsistencies in real estate property photographs submitted by real estate companies by using deep learning and a system that detects indexes associated with ease of living based on property photographs.
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Kummels, Ingrid. „Indigenous long-distance runners and the globalisation of sport in the 1930s. The Tarahumara (Rarámuri) in the photography of the sports reporter Arthur E. Grix“. In Exploring the Archive, 339–60. Köln: Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412218423-014.

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„Polar Expeditions: A Photographic Landscape of Sameness?“ In Proximity and Distance in Northern Landscape Photography, 35–56. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839449509-004.

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Faulkner, Simon. „Photography and Protest in Israel/Palestine : The Activestills Online Archive“. In The Aesthetics of Global Protest. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463724913_ch07.

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This chapter will explore two key ways that photography plays a role within the aesthetics of protest. This will be done through a discussion of a small number of photographs of political demonstrations selected from the online archive of the Israel/Palestine-based photographic collective Activestills. The photographs discussed in the first section of the chapter present evidence of people carrying photographic images within demonstrations. While the second section deals with examples of the how photography has been used to document the immediate scene of protest for distant spectators. After these discussions of particular examples from the archive, the chapter concludes with a more speculative discussion of the Activestills archive itself.
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„Distanced visuality, embodied proximity? Literary and photographic images of Finnish travel landscapes from the premodern journey to the railway era“. In Proximity and Distance in Northern Landscape Photography, 81–106. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839449509-006.

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Konferenzberichte zum Thema "Photographic distance"

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Ye, Hanmin, Ziyi Zhong und Shiming Huang. „Research on Insulator Creepage Distance Measurement Based on Different Photographic Equipment“. In ICDMML 2019: 2019 International Conference on Data Mining and Machine Learning. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3335656.3335702.

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Parsons, J. A., und A. K. Jasuja. „Effect of Air Pressure Upon Spray Angle/Width Characteristics of Simplex Pressure Swirl Atomizers“. In ASME 1986 International Gas Turbine Conference and Exhibit. American Society of Mechanical Engineers, 1986. http://dx.doi.org/10.1115/86-gt-176.

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This paper examines the spatial distribution characteristics of fuel sprays emanating from simplex pressure swirl atomizers of the type commonly used in the gas turbine engine. Three different atomizers were tested on kerosine at chamber gas pressures up to 1377 KN/m2 and fuel pressure drops up to 3448 KN/m2. A non-intrusive, still photographic technique was developed for recording the spray profiles over the entire range of test conditions. Analysis of the experimental data shows that the closing in of the spray boundaries due to an increase in air pressure is a result of the aerodynamic interaction between the fuel spray and its gaseous environment — the nozzle hydrodynamics apparently exercising no influence. Experimental data collected in the study reveals the influence of gas pressure (Pa) upon the half width (y) of the spray envelope at a downstream distance of 30mm from the nozzle face to be described adequately by the expression y α Pa-0.26.
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Adams, Juan C., Peter T. Ireland, Martin Cerza und James Oswald. „A Detailed Experimental Investigation of a Perforated Heat Transfer Surface Applied to Gas Turbine Recuperators“. In ASME Turbo Expo 2003, collocated with the 2003 International Joint Power Generation Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/gt2003-38740.

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An effort is made to explain and improve the understanding of the mechanisms behind the thermo-hydraulic performance of perforated extended surfaces used in compact heat exchangers in the laminar flow regime (ReD = 400–2500). A transient liquid crystal technique, which uses Helium as operating fluid, together with digital image photographic processing have been used to provide measurements of local heat transfer coefficients for this geometry. This work has found that through the use of perforated surfaces there exists a local heat transfer enhancement benefit. It has also been found that although perforations cause a partial restart of the thermal boundary layer, a significant overall surface heat transfer enhancement may not be achieved over plain surfaces. It was also found that the distance between the fin’s leading edge and the point of last significant enhancement resulting from a perforation, linearly depends on Reynolds number. Local heat transfer coefficient measurements were validated by single blow experimentation of similar geometries. The transient single blow technique used the curve-matching method to compare predicted and experimental temperatures.
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Diacon, Liliana Daniela, Luminiţa Mirela Lăzărescu, Vasile Efros und Cristian Ciubotaru. „Virtual Tourism during the Pandemic. Comparative Study between Suceava and Maramureş Counties“. In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/47.

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The measures taken by the states of the world to limit the disease with the Sars Cov 2 virus imposed, in the first phase of the pandemic, numerous restrictions on mobility and physical distance, a situation that significantly changed the way tourism is carried out worldwide. In this context, some typologies of tourist activities were highlighted, which before the pandemic represented only a small segment of tourist flows and economic benefits. The natural areas with dispersed tourist objectives, with low population densities, the local villages, have entered the sphere of interest of some social categories of population that access the international tourism or the urban cultural areas. Virtual tourism has gained more and more ground, the circulation of tourist information in the online environment has intensified through photos showing the behavior of tourists in the circumstances of the pandemic. The study aims to measure, through a comparative and diachronic analysis (before and during the pandemic), the perception and representation of tourism through geocoded photography and assess how the attractiveness of tourist resources in two geographical areas (Suceava County and Maramures County) has changed. Among the existing web photo distribution platforms, we analyzed the geocoded photos on the Picasaweb platform, this platform being in direct contact with the web service and Google street viewing services, popular in Romania. The research aims at analyzing the photographic appearances of the localities from the two counties, Suceava and Maramures in the period February - August 2020. Research methods used: analysis of tourist areas, statistical recording of tourist flows during the pandemic, comparison of the two regions with the intensity of tourist traffic reflected in the attached photos online, cartographic method by presenting tourist information on territorial options. In conclusion, it is observed that the hostile period of the pandemic had a positive impact on the sustainability of tourism, especially of those territories that are of great interest and became overcrowded in the same period of previous years.
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Araneo, Lucio, Robert Dondè, Lucio Postrioti und Andrea Cavicchi. „Analysis of PDA measurements in double injection GDI sprays“. In ILASS2017 - 28th European Conference on Liquid Atomization and Spray Systems. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/ilass2017.2017.5007.

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A N-heptane spray from a GDI multi-hole injector operated in ambient air at fixed conditions and with doubleinjection commands is studied with different experimental techniques to better understand the spray behaviors, focusing the analysis on the effect of different dwell times between the two pulses. Results from spray photographic analysis, fuel injected quantity, droplet velocity and sizing by Phase Doppler Anemometry are presented and compared. The peculiarities and usefulness of a complementary application of the different techniques is illustrated. The two spray pulses have the same time length, so that the first spray evolves in a nearly quiescent and clean ambient, while the second, nominally identical to the first one, evolves in its trailing edge. The direct comparison allows an immediate perception of the differences among the two sprays, at the different dwell times, where the shorter tested, 160 microseconds, was chosen as the one that shows the first appreciable effect with at least one of the used techniques; the differences are clearly evident in the PDA results, sufficiently visible from the injection rate, not appreciable in the imaging at short distance. The effect of the longerdwell times becomes more evident and is illustrated.DOI: http://dx.doi.org/10.4995/ILASS2017.2017.5007
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Zhou, Z. F., W. T. Wu, B. Chen, L. J. Guo, Y. S. Wang und G. X. Wang. „Visualization and Characterization of the Flashing Spray of Cryogen R404a“. In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-65037.

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Flashing spray of volatile liquids is a common phenomenon observed in many industrial applications such as fuel injection of engines, accidental release of flammable and toxic pressure-liquefied gases, failure of a vessel or pipe in the form of a small hole in chemical industry, and cryogenic spray cooling in laser dermatology. In flashing spray, the volatile liquid is depressurized rapidly at the exit of a nozzle (or a hole in a vessel) and becomes superheated. Such superheated liquid (in the form of either a jet or droplets) leads to explosive atomization, leading to fine droplet sizes and a short spray distance. This paper presents an experimental investigation of flashing spray of cryogen R404a. A photographic study of the spray is first conducted, providing visualization of spray formation and showing the dynamic characteristics of the spray. Then the R404a short spray is characterized by the phase Doppler particle analyzer (PDPA). The PDPA measurements provide the distributions of the diameter and velocities of liquid droplets in the spray., showing the dramatic dynamic variation of the liquid droplets due to explosive atomization of large droplets in the region near the exit of nozzle. The data finds that the average droplet axial velocity increases first to a maximum, followed by a gradual decrease, a typical variation expected for flashing spray. During the same time period, the average droplet diameter shows a quick decrease, from early large droplets of about 30 microns in diameter to fine droplet with about 10 microns within about 40 mm spray distance. This study provides quantitative data on droplet velocity and diameter in flashing spray, useful for model validation. The qualitative results help to have a better understanding of the flashing spray atomization mechanisms for volatile cryogens.
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Esmaeelpanah, J., A. Dalili, S. Chandra, J. Mostaghimi, H. C. Fan und H. Kuo. „Interactions Between High-Viscosity Droplets Deposited on a Surface: Experiments and Simulations“. In ASME 2012 Fluids Engineering Division Summer Meeting collocated with the ASME 2012 Heat Transfer Summer Conference and the ASME 2012 10th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/fedsm2012-72068.

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A combined numerical and experimental investigation of coalescence of droplets of highly viscous liquids dropped on a surface has been carried out. Droplets of 87 wt% glycerin-in-water solutions with viscosity 110 centistokes were deposited sequentially in straight lines onto a flat, solid steel plate and droplet impact photographed. Impacting droplets spread on the surface until liquid surface tension and viscosity overcame inertial forces and the droplets recoiled, eventually reaching equilibrium. Droplet center-to-center distance was varied and droplet line length was measured from photographs. As droplet spacing was increased there was less interaction between the droplets. A three dimensional parallel code has been developed to simulate fluid flow and free surface interaction by solving the continuity, momentum and volume-of-fluid (VOF) equations. The two-step projection method was employed to solve the governing equations for the whole domain including both liquid and air phases. The continuum-surface-force (CSF) scheme was applied to model surface tension and the piecewise-linear-interface-construction (PLIC) technique used to reconstruct the free surface. Computer generated images of impacting droplets modeled droplet shape evolution correctly and compared well with photographs taken during experiments. Accurate predictions were obtained for droplet line length during spreading and at equilibrium.
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Hahne, Christopher, Amar Aggoun und Vladan Velisavljevic. „The refocusing distance of a standard plenoptic photograph“. In 2015 3DTV-Conference: The True Vision - Capture, Transmission and Display of 3D Video (3DTV-CON 2015). IEEE, 2015. http://dx.doi.org/10.1109/3dtv.2015.7169363.

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Yano, Sumio, Akira Hasegawa und Min-Chul Park. „Reproducibility of depth distance by one-dimensional integral photography“. In Three-Dimensional Imaging, Visualization, and Display 2019, herausgegeben von Jung-Young Son, Bahram Javidi und Osamu Matoba. SPIE, 2019. http://dx.doi.org/10.1117/12.2518588.

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Nagashetty, K., K. Syed Saifuddin, S. Saravanan, K. S. Gurumurthy und K. P. J. Reddy. „Shock stand-off distance visualization in hypersonic shock tunnel using electrical discharge technique“. In 24th International Congress on High-Speed Photography and Photonics, herausgegeben von Kazuyoshi Takayama, Tsutomo Saito, Harald Kleine und Eugene V. Timofeev. SPIE, 2001. http://dx.doi.org/10.1117/12.424341.

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