Thematische Bibliographien / Photographic space

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Auswahl der wissenschaftlichen Literatur zum Thema „Photographic space“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 19. Februar 2022

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Zeitschriftenartikel zum Thema "Photographic space"

Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, no. 5 (December 2, 2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.

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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two photographic projects by photographers/mothers that document their ill and dying daughters – Lesley McIntyre’s photographic essay The Time of Her Life (2004) and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light (2009). Illness in these projects is not experienced in isolation. Instead, the photographs and accompanying texts provide a space to engage in a dialogue which is built on the interdependency of all the participants of the photographic act – the photographer, the subject of the photograph and the viewer. My aim is to question how these projects construct experiences and articulate private expressions of illness and how the photographs enhance and/or challenge the mother–daughter bond. Alan Radley’s critical analysis of representations of illness, Emmanuel Lévinas’s and Maurice Blanchot’s perspectives on ethical philosophy and visual social semiotics approach developed by Kress and Van Leeuwen provide a guiding framework for this study.

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Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.

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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.

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Tee, Sim-Hui. "Transparency, Photography, and the A-Theory of Time." Problemos 93 (October 22, 2018): 177–92. http://dx.doi.org/10.15388/problemos.2018.93.11761.

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 [full article, abstract in English; only abstract in Lithuanian] Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the depicted object situated from the space in which the viewer of the photograph resides that renders the photograph spatially agnostic. It is the timeless photographic world rather than the photographic object that renders egocentric spatial information inert. With this new formulation of spatial agnosticism, I propose that spatial agnosticism needs to be coupled with the temporal dimension (the A-theory of time) in the efforts to refute the thesis of transparency of photographs.

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Cronin, Anne M. "Researching Urban Space, Reflecting on Advertising." Space and Culture 14, no. 4 (September 19, 2011): 356–66. http://dx.doi.org/10.1177/1206331211412278.

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This photo essay places into dialogue practices of photographing urban space and the market research practices of the U.K. outdoor advertising industry. It explores photography as a method for accessing understandings of cities, and it examines ways of analyzing the interplay between photographic practices and data gathered through ethnography. Through personal reflections on the research process, the essay considers the spatial practices of the outdoor advertising industry and how its billboards and panels act to space out cities and city imaginaries.

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Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (October 2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.

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This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory theory, the article shifts these debates forward by adopting the concept of ‘assemblage’. The article concentrates on the aesthetics of photographs produced by Armenian photographic studios in Istanbul during the late nineteenth century and their relationship to the present through the work of contemporary artists Klitsa Antoniou, Joanna Hadjithomas, Khalil Joreige and Etel Adnan as well as photographic exhibitions organised by the Centre for Asia Minor Studies, Athens, Greece.

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Sile, Agnese. "Mental illness within family context: Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty." Arts and Humanities in Higher Education 17, no. 1 (January 12, 2018): 84–103. http://dx.doi.org/10.1177/1474022216684635.

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The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the process how it challenges representation itself, on which it is dependent. The focus of the analysis is on identifying and illuminating the intimate space that opens between the photographer and the photographed person and that provides new forms of communication as well as uncovers existing forms of knowledge that is shared between them. This paper will also assess the political and cultural significance of such representation.

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Watanabe, Toshio. "Geometrical Structures of Photographic and Stereoscopic Spaces." Spanish Journal of Psychology 9, no. 2 (November 2006): 263–72. http://dx.doi.org/10.1017/s1138741600006168.

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Two experiments were conducted to investigate the geometrical structures of photographic and stereoscopic spaces. In Experiment 1, it was investigated how accurately photographic space reproduces real physical space, and the geometrical structure of photographic space was compared with that of visual space. As a result, the mapping function of distance between photographic and physical spaces (δ = adb) shows that a and b range from 0.96–1.1 and 0.69–0.78. The mapping function of angle between photographic and physical spaces (Φ = gϕh) shows that g and h range from 2.37–5.29 and 0.74–0.97. Further, photographic space has larger anisotropic property than visual space and photographic space may be hyperbolic. In Experiment 2, the geometrical structure of stereoscopic space was compared with that of visual space. It was found that stereoscopic space was almost the same as visual space.

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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing

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Kanicki, Witold. "Wundercamera Obscura." Cabinet, Vol. 2, no. 2 (2017): 70–73. http://dx.doi.org/10.47659/m3.070.art.

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Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in mind, this article confronts the popular habits of photographing peculiarities in the 19th century, with museum practice and the Wunderkammers tradition. The space of a photograph may substitute exhibition space, while a desire to watch all kinds of abnormalities and the culture of curiosity determines the connection between former museum visitors and recipients of photographs. Keywords: 19ct museum, collecting, curios, photographic archive, wundecamera

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Tavakol, Reza. "The time(s) of the photographed." Philosophy of Photography 10, no. 2 (October 1, 2019): 195–206. http://dx.doi.org/10.1386/pop_00015_1.

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The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver, whether mechanical (the camera), biological (the eye‐brain as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe, concerning space and time, impact on the way we perceive photographic and optical images. Viewed from this perspective, photographs can be treated as light projections of sections of the four-dimensional observable world onto two-dimensional spatial photographic or viewing surfaces. I shall show that despite the severe reduction that such projections imply, these modern considerations have the important consequence of bestowing a complex temporality upon optical images, including photographs. This realization dramatically changes the way we view photographs. I give examples of this rich temporality through considerations of terrestrial images ‐ and more significantly images of the Sky, where these temporal effects are far more pronounced.

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Dissertationen zum Thema "Photographic space"

Stead, Sarah. "PLACE, SPACE, AND FORM CAPTURED THROUGH PHOTOGRAPHIC MEDITATION." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4193.

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Inspired by Buddhist philosophy, the photographic series Architectural Zen attempts to beautify banal and pragmatic architecture through limiting and preexisting artificial light conditions. The selective illumination of artificial light eliminates the non-essential details and enhances the pure forms and saturated color presented by the camera lens. This encourages the photographer and the viewer to enter a state of meditation. The resulting process is similar to a Zen approach to image making. The ancient Zen artistÂ s compositions are strengthened by a meditation on form and subsequent elimination of the non-essential elements of the subject. Through embracing this Zen mentality and mindfulness,aspects of Eastern aesthetic and balance also appear through the work. The warm glow of artificial lights, long recessed shadows, and surreal colors contribute to the feeling of rest, contemplation, isolation, and solitude. Although the work in Architectural Zen is not directly about Buddhist doctrines, the process of creating the art parallels the ideas and practices of Zen Buddhism and meditation, finding the Buddha nature of typically unappealing architectural forms during a different time of day. M.F.A. Department of Art Arts and Humanities Studio Art and the Computer MFA

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Schoenwandt, Jeanne Marie. "Toward a feminist 'third space' : photographic 'sites' of cultural transformation." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37725.

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This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.

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Sile, Agnese. "The space of love in photographic essays of illness narratives." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=231012.

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Santamas, Mihalis. "The space between : time, memory and transcendence in audio-photographic art." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/29144/.

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This portfolio and commentary documents an approach to audiovisual composition that utilises sound and photographic images in an effort to create immersive, affective art which I call audio-photographic art. When presented in an immersive context, I contend that the temporal dissonance between still image and sound opens up a space between the materials. I draw upon Gernot Böhme's writings on the aesthetic of 'atmosphere', as well as the the theoretical writings of Roland Barthes, Paul Ricoeur and Eleni Ikoniadou among others to illustrate how this experience is constituted. This space between is an affective conceptual space in which the participant enters into a relationship with the materials of the piece, transcending their usual perception of time as they are immersed in the internal times of the artwork, their own memories and atmosphere. Through the use of maximal aesthetics and atmosphere as compositional tool, these themes are explored and developed throughout the creative portfolio. In the written submission I study the practical and theoretical concerns of the space between from three perspectives: 'The Temporal Space', 'The Memorial Space' and 'The Atmospheric Space'.

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Naude, Elmarie. "Embodying space : Capture Image Gallery." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/30248.

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The city of Pretoria has a diverse mix of people moving in and around it. This dynamic, ever-changing movement, combined with the city’s cultural diversity, renders it ideal for an investigation into the relationship (or lack thereof) that exists between the moving body and architectural space. The city and its architectural spaces are viewed as static. The human body and its movement is dynamic. These static spaces cannot always accommodate the dynamic movement taking place within and around them. This leads to a lack of dialogue or interaction between the two, causing a tension which is further aggravated by the fact that they are situated within a constantly changing environment. The aim of this thesis is not only to examine the relationship between the city and the human body moving through its architectural spaces, but also to provide the platform for an investigation into the establishment of an active dialogue between the two. CAPTURE is envisaged as an experimental laboratory in the city of Pretoria. It aims to rejuvenate the city’s CBD, as well as to develop and promote arts and culture through the creation of a public exhibition space. It is a design intervention intended to create a space which captures and navigates its users through it, by exposing them to the different functions facilitated within it, as well as to the space and to each other. The introduction of this spatial intervention, informed by the existing pedestrian movement through an identified public thoroughfare, will encourage an active dialogue between the user and the space. Public art, in the form of the photographic image, has been identified as a possible means of communicating the user’s surroundings to him/her. This, in turn, may encourage interaction with, and interpretation of the space. Dissertation (MInt(Prof))--University of Pretoria, 2009. Architecture unrestricted

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Baek, Juyeon. "A Piece of Space : Exploring photographic space as a visualized form of spatial experience and thinking about how a designer can position it in reality." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7274.

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This project recognizes photographic space as a visualized form of spatial experience and tries to read unspecified spatial information in photos shared in social media. By exploring a photograph, I research how photography, which is a framing activity, has affected spatial experience and cognition. I try to re-build a space with photographs and compare the different characters of original space and photographic space by juxtaposition. The combination of original space and photographic space through a mechanism tool makes designers understand people’s experiential space over spatial hierarchy planned by designers. The project shows three-dimensional space made with photos using a photogrammetry method. It places original space and photographic space within a tool that mechanized the principle of Filippo Brunelleschi’s linear perspective. It highlights the multiple identities of space and visual form of photographic space. Also, by applying Henri Lefebvre’s theory to two different spaces and spatial practices, it gives a clue how designers can understand a photograph as a social product of spatial identity, an independent element from real space. A piece of space is an experiment spatial tool that draws people into multiple experienced spaces. It is tightly connected with spatial contexts; original space, photographic space and spatial practice by people. The whole process in the project consists of experiments that can explore the meaning of photographic space and how it can be positioned in reality. Some images have been removed for copyright reason.

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Mountain, Michelle Fiona. ""The secret rapport between photography and philosophy" considering the South African photographic apparatus through Veleko, Rose, Goldblatt, Ractliffe and Mofokeng." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002211.

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This thesis is an attempt at understanding South African photography through the lens of Nontsikelelo “Lolo” Veleko, Tracy Rose, David Goldblatt, Jo Ractliffe and Santu Mofokeng. Through the works discussed this thesis intends to unpack photography as a complex medium similar to that of language and text, as well as attempt to understand how exploring South African experiences and spaces through the lens of photography shapes and mediates them. Furthermore it also attempts to understand how these experiences and spaces conversely affect the discourse of photography or at the very least our perception of it. Through these photographers and their works it is hoped that ultimately the interconnected relationship of exchanging codes that takes place between photography and society will be highlighted. The example of connectivity or dialogue I believe exists between the medium of photography and the physical/social and psychological spaces it photographs will be mediated through Deleuze and Guattari‟s conception of “the wasp and the orchid” where “the wasp becomes the orchid, just as the orchid becomes the wasp...an exchanging or capturing of each other‟s codes”. Other theorists I will be looking at include Vilém Flusser, focusing in particular on his book Towards a Philosophy of Photography, as well as Susan Sontag, Roland Barthes and others. The main aims and objectives of this thesis are to understand the veracity of the documentary image and whether or not the image harbours any objective truth, as well as whether truth, if it can truly be said to exist in the world, resides between the camera and the seen world. This dichotomy is further complicated by the matter of subject-hood and technical and philosophical understandings of the camera as an apparatus. At no point do I aim to be conclusive, rather it is hoped that by developing the dynamic tension between the theory and the image world that I will be able to bring fresh insight into the reading of a changing South African condition and the subject position of the photographer in relation to this condition.

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Mota, João. "Beyond visibility and monumentality : photographic images in the public space : a study for two cases, Terreiro do Paço-Lisbon, Times Square-New York." Doctoral thesis, Universidade de Aveiro, 2001. http://hdl.handle.net/10773/15329.

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Doutoramento em Design This thesis seeks to address the issue of retrieving / adapting the tradition of site-specific large-scale images, (other than images commercially motivated) to contemporary architectural spaces. To achieve this we discussed a conceptual framework to introduce the constitutive and operative concepts of visual public art and spatial politics. Then we made a historical overview of former uses of images in the public arena with special emphasis in the public visual art produced after 1960. Based on those operative concepts, historical framework and on the analytical tools developed during this study, we developed a methodology for designing sitespecific large-scale images in the public space. This methodology is aimed at guiding the production of largescale visual art sensible to the different contexts playing an important role in the becoming of the project, and to incite a sense of placeness on the sites for which large-scale images were proposed. In this study we produced and discussed a group of projects for large-scale images for the squares: Terreiro do Paço – Lisbon and Times Square – New York City. Those projects were guided by the same design method and with the objective of making visible the memory and the contemporaneity of the squares in study. The choice of sites with such different cultural and historical background, was instrumental for understanding the feasibility of a method intended to help the production of large-scale images set in urban environments, sensible and related to complex contexts. The choice of these squares is based on the fact that both squares are unavoidable representations of power (governmental, financial, commercial), a condition that was instrumental in our study for making clear the implications that the history, the public sphere and the public space have on the context and on the actors that have a decisive role in the production of visual art in the public space. The images proposed for the two squares were not confined to photographic images, yet they played a central role. Beyond their instrumental value for the discussion of the method proposed, those projects were concerned with the production of informed commentaries pertinent to the squares in study. To achieve this, the proposed projects made use of their size, monumentally and visibility for the creation of places that stimulate a dwelling experience sensible to the specificity of the place. As a result some projects unveiled new paths/uses for the design of largescale images in the contemporary public space. Esta tese pretende debater a questão de reaver a tradição do uso de imagens de grandes dimensões (outras que as imagens com motivação comercial) para os espaços arquitectónicos contemporâneos. Para alcançar estes objectivos, foi necessário entender a estrutura conceptual dos conceitos constitutivos e operativos da arte visual pública e da política do espaço. Seguidamente fizemos uma abordagem histórica dos usos de imagens no espaço público, com especial ênfase na arte pública produzida depois de 1960. Consequentemente, baseados nesses conceitos operativos, referências históricas e nos instrumentos analíticos desenvolvidos neste estudo, formulámos uma metodologia projectual para a criação de imagens de grandes dimensões no espaço público. Esta metodologia pretendeu ser um princípio orientador para a produção de arte visual de grandes dimensões, sensível aos diferentes contextos que têm um papel importante no devir do projecto, e se possível estimular um sentido de lugar nos locais para os quais as imagens de grandes dimensões foram criadas. Neste estudo, produzimos e discutimos um conjunto de projectos de imagens de grandes dimensões para as praças: Terreiro do Paço – Lisboa e Times Square – Nova Iorque. Estes projectos tiveram como princípio orientador o mesmo método projectual e foram planeados para tornar visível as questões significantes da memória e da contemporaneidade das praças em estudo. A escolha de locais com um contexto histórico tão diferente, foi instrumental para verificar a viabilidade de um método que tem a intenção de possibilitar a produção de imagens de grandes dimensões sensíveis à complexidade do contexto sobre o qual a sua existência depende. Além disso a escolha destas praças foi fundamentada no facto de ambas as praças serem inevitáveis representações do poder (governamental, financeiro, comercial). Uma condição que no nosso estudo foi instrumental para tornar claras as implicações que a história, a esfera pública e o espaço público têm no contexto e nos actores que têm um papel decisivo para o devir da arte visual nos espaços públicos. As imagens propostas para estas duas praças não foram restritas às imagens fotográficas, contudo estas tiveram um papel decisivo. Esses projectos, para além do seu valor instrumental na discussão do método proposto, visaram a produção de comentários esclarecidos sobre as praças em estudo, servindo-se da escala, monumentalidade e visibilidade inerente à natureza destes projectos, para a criação de lugares que estimulassem uma experiência de habitar sensível à especificidade do lugar. Consequentemente, alguns projectos revelaram novos rumos/usos para o design de imagens de grandes dimensões no espaço público contemporâneo.

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Adams, Bradley Jay. "Space Use and Annual Survival of Hybridized Mouflon Sheep in Hawaii and Comparing Estimates of Population Size through Instantaneous Sampling and Photographic Capture-Recapture." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/8260.

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Significant efforts in conservation are devoted to the management and study of ungulates, due to their significant roles in ecosystems as well as their potential economic value. This is especially true for species considered exotic, such as mouflon sheep (Ovis musimon) in Hawaii. Effective management of an exotic species requires an understanding of ecological metrics such as space use, survival, and population size. We provided these metrics for a population of mouflon that have hybridized with feral sheep (Ovis aries) on the island of Hawaii. In Chapter 1, we quantified space use and annual survival of sheep in an area where sheep are managed for hunting opportunity. We determined that sheep have relatively small home-ranges and high rates of annual survival (>90%). In Chapter 2, we provided the first estimate of population size for the same study area while simultaneously testing the viability of a novel method of estimating population size, currently known as Instantaneous Sampling. Using photographic capture recapture as a comparison method, we compared estimates derived from both techniques and provided support for Instantaneous Sampling as an alternative method for estimating population size.

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Bucksdricker, Luciane Silva. "Sometimes the same sky : construção de uma cartografia." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/135381.

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Sometimes the same sky: construção de uma cartografia trata do processo de realização de três séries fotográficas produzidas desde 2008. Partindo do processo de criação, questões sobre errâncias urbanas, espaço e lugar, ficção e realidade na elaboração da imagem fotográfica são abordadas nesse estudo. O texto carrega a vontade de montar uma cartografia própria que inicia com impressões sobre encontros no espaço público até chegar a exploração de objetos no espaço doméstico. A pesquisa teve início com a série de fotografias Salas de[não] estar, onde concentrei a reflexão nas errâncias urbanas e nas aproximações e distinções entre espaço e lugar, na série Zé, abordei o termo “deriva parada”, os tempos da vida e da fotografia e a tipologia como possibilidade de construção de imagem, e, por fim, na série Sometimes the same sky, o foco foi olhar para dentro do espaço privado e para as camadas sobrepostas das imagens produzidas. Sometimes the same sky: construction of a cartography discusses the process of making three photographic series since 2008. Starting from the process of creation, issues of urban wanderings, space and place, fiction and reality and the development of the photographic image are addressed in this study. The text carries a desire to build my own cartography that starts with impressions about meetings on public space until the exploration of objects in the domestic space. The research started with the photographs serie Salas de [não] estar where I focused the reflection in urban wanderings and in the similarities and distinctions between space and place, in the serie Zé, I discussed the term “drifting stop”, times of life and photography and typology as a possibility of construction the image, and lastly, in the serie Sometimes the same sky, the focus was looking into the private place and the overlapping layers of the produced images.

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Bücher zum Thema "Photographic space"

The peripheral space of photography. Københaven [Copenhagen]: Green Integer, 2003.

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Ulrike, Jehle-Schulte Strathaus, and Schweizerisches Architekturmuseum, eds. Christian Vogt: Photographic essays on space. Basel: Merian, 2006.

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Harrington, Philip S. The space shuttle: A photographic history. San Francisco, CA: Browntrout Publishers, 2003.

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Michael, Parker. United space: Photographic works of Michael Parker. United States?]: M. Parker, 2004.

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The photograph--a strange confined space. Stanford, Calif: Stanford University Press, 1994.

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O'Neal, Robert L. Photographic survey of the LDEF mission. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1996.

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O'Neal, Robert L. Photographic survey of the LDEF mission. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1996.

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Holy places of Celtic Britain: A photographic portrait of sacred Albion. London: Blandford, 1999.

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Zhigui, Hu. Robust estimation applied to SPACE - M. Mississauga, Ont: University of Toronto, Erindale Campus, Survey Science, 1989.

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Smithsonian Institution. Guide to photographic collections at the Smithsonian Institution. Washington: Smithsonian Institution Press, 1989.

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Buchteile zum Thema "Photographic space"

Sterken, Chr, and J. Manfroid. "Photographic photometry." In Astrophysics and Space Science Library, 211–17. Dordrecht: Springer Netherlands, 1992. http://dx.doi.org/10.1007/978-94-011-2476-8_14.

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Thiel, Walter. "Retroperitoneal Space 1." In Photographic Atlas of Practical Anatomy I, 142–43. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-642-60435-5_72.

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Thiel, Walter. "Retroperitoneal Space 2." In Photographic Atlas of Practical Anatomy I, 144–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-642-60435-5_73.

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Thiel, Walter. "Retroperitoneal Space 4." In Photographic Atlas of Practical Anatomy I, 150–51. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-642-60435-5_76.

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Thiel, Walter. "Retroperitoneal Space 5." In Photographic Atlas of Practical Anatomy I, 152–53. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-642-60435-5_77.

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Loeb, Arthur L. "Coda: Unwrapping the Cube: A Photographic Essay (With technical assistance of C. Todd Stuart and photography by Bruce Anderson)." In Space Structures, 147–62. Boston, MA: Birkhäuser Boston, 1991. http://dx.doi.org/10.1007/978-1-4612-0437-4_19.

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Thiel, Walter. "Retroperitoneal Space 3 Renal Fasciae." In Photographic Atlas of Practical Anatomy I, 146–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-642-60435-5_74.

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Liu, Z., C. Sterken, H. Hensberge, and J. P. De Cuyper. "Calibration of Large Batches of Photographic Images." In Astrophysics and Space Science Library, 193–98. Dordrecht: Springer Netherlands, 1992. http://dx.doi.org/10.1007/978-94-011-2472-0_25.

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Bienaymé, O., and C. Soubiran. "Proper Motions of M.A.S./Year Accuracy with Photographic Schmidt Plates." In Astrophysics and Space Science Library, 177–83. Dordrecht: Springer Netherlands, 1992. http://dx.doi.org/10.1007/978-94-011-2472-0_23.

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Gendler, Robert, and R. Jay GaBany. "The Photographic Exploration of Deep Space and the Realm of the Nebulae." In Breakthrough!, 31–48. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20973-9_3.

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Konferenzberichte zum Thema "Photographic space"

Endelman, Lincoln L. "The Use Of Photographic Instrumentation And Motion Picture Photography In Nasa Space Programs." In 17th Int'l Conference on High Speed Photography and Photonics, edited by Donald Hollingworth and Maurice W. McDowell. SPIE, 1987. http://dx.doi.org/10.1117/12.975577.

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Liu, Haoting, Wei Wang, Feng Gao, Zhaoyang Liu, Yuan Sun, and Zhenlin Liu. "Development of Space Photographic Robotic Arm based on binocular vision servo." In 2013 Sixth International Conference on Advanced Computational Intelligence (ICACI). IEEE, 2013. http://dx.doi.org/10.1109/icaci.2013.6748528.

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Nekrasov, Victor V. "Use of space photographic survey for exploration of the earth's natural resources." In The Hague '90, 12-16 April, edited by Hans O. Nielsen. SPIE, 1990. http://dx.doi.org/10.1117/12.20357.

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Gaunce, Mike, Robert A. Scharf, Nicholas L. Johnson, and Eric L. Christiansen. "Photographic surveys of the Mir space station and the detection of orbital debris and meteoroid impacts." In Optical Science, Engineering and Instrumentation '97, edited by Firooz A. Allahdadi, E. Kane Casani, and Timothy D. Maclay. SPIE, 1997. http://dx.doi.org/10.1117/12.293332.

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Brukhanova, E., and O. Chekryzhova. "The problems of the Siberian urban space reconstruction at the turn of the XIX–XX centuries (on the example of Tobolsk city)." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1818.978-5-317-06529-4/257-264.

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The aim of the study is the Siberian cities’ social space reconstructiong in the late 19th – early 20th centuries based on the various sources and their comprehensive analysis, as well as the historical data representation in the interactive geoinformation system. As part of the project, the web-GIS of social topography of Tobolsk province’s cities at the turn of the XIX–XX centuries was created, including the reconstruction of more than 50% of Tobolsk’s urban development based on the study of historical maps, materials of the 1897 Census, photographic documents and other sources.

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Winfield, Darrell, Russell Graves, Eric Christiansen, and Mike Gaunce. "Meteoroid and orbital debris risk mitigation planning for the International Space Station - Photographic damage assessment of Russian Mir station." In 34th Aerospace Sciences Meeting and Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1996. http://dx.doi.org/10.2514/6.1996-630.

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Lestari, Endang Sri. "Visual Character of the Area Support Corridor: Case Study of the Great Mosque of Palembang." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021151n3.

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The aim of this study is to understand what was changed in a Levantine mansion in the Buca district of Izmir, from its construction date to now. Since the construction date is 1876, the study is scoped into a 150 years period in time. The data collection method includes photographic documentation and laser measurements. The evaluation method is comparative analysis to relate the common properties of Levantine houses with the plan typology and the traces in the building. A short periodization and descriptions of each space have been made. The mansion had not experienced radical changes, even if there were handovers in the property ownership. However, it can be analysed by considering small differences. In conclusion, the building is periodized in three-time slices as the 1. Period in the years between 1876 – 1890 / 1895, the 2. Period between 1895 – 1960's and the 3. Period from the 1960s to now.

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Ergül, Emre, and Beste Demircan. "A Levantine Mansion: Buca Guidance Centre for Disabled Students." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021137n2.

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Takamatsu, Misao, Kazuyuki Imaizumi, Akinori Nagai, Takashi Sekine, and Yukimoto Maeda. "Development of Observation Techniques in Reactor Vessel of Experimental Fast Reactor Joyo." In 17th International Conference on Nuclear Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/icone17-75088.

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During the investigation of an incident that occurred with the experimental fast reactor Joyo, In-Vessel Observations (IVO) using a standard Video Camera (VC) and a Radiation-Resistant Fiberscope (RRF) took place at (1) the top of the Sub-Assemblies (S/As) and the In-Vessel Storage rack (IVS), (2) the bottom face of the Upper Core Structure (UCS) under the condition with the level of sodium at −50 mm below the top of the S/As. A simple 6 m overhead view of each S/A, through the fuel handling or inspection holes etc, was photographed using a VC fixed to the Rotating-Plug (R/P) with the acrylic panel for making observations of the top of S/As and IVS. About 650 photographs were required to create a composite photograph of the top of the entire S/As and IVS, and a resolution was estimated to be approximately 1mm. In order to observe the bottom face of the UCS, a Remote Handling Device (RHD) equipped with RRFs (approximately 13 m long) was specifically developed for Joyo with a tip that could be bent into an L-shape and inserted into the 70 mm gap between the top of the S/As and the bottom of the UCS. A total of about 35,000 photographs were needed for the full investigation. Regarding the resolution, the sodium flow regulating grid of 0.8mm in thickness could be discriminated, and the base of thermocouple sleeves 6 mm in diameter located 450 mm above the top of S/As were also clearly observed. In both types of observations, it was confirmed that lighting adjustments play a critical role. Particularly in narrow space observations, scattered lighting with automatic dimming controlled light source was available for achieving close observations of the in-vessel structures. In addition to the successful result of the incident investigation, these experiments provided valuable insights for use in further improving and verifying in-vessel observation techniques in Sodium cooled Fast Reactors (SFRs).

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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.

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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.

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Berichte der Organisationen zum Thema "Photographic space"

Costa, Pedro, and Ricardo Lopes. Urban design, public space and the dynamics of creative milieus: a photographic approach to Bairro Alto (Lisboa), Gracia (Barcelona) and Vila Madalena (São Paulo). DINÂMIA'CET-IUL, 2012. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2012.18.

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Sutton, Kevin Matthew, and Brent Scott Budden. Space and Atmospheric Burst Reporting System Flight Unit 3 (SABRS-3) Official Photographs. Office of Scientific and Technical Information (OSTI), March 2019. http://dx.doi.org/10.2172/1504635.

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Sutton, Kevin Matthew, Sandra M. Valdez, and Brent Scott Budden. Space and Endo-Atmospheric NuDet Surveillance Experimentation and Risk-Reduction (SENSER) Official Photographs. Office of Scientific and Technical Information (OSTI), March 2019. http://dx.doi.org/10.2172/1504636.

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Wren, James. Photographs of Gunsmoke-J Satellites and Integration with Launch Vehicle at VOX Space, Inc., in Long Beach California [Slides]. Office of Scientific and Technical Information (OSTI), June 2021. http://dx.doi.org/10.2172/1805704.

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Tabinskyy, Yaroslav. VISUAL CONCEPTS OF PHOTO IN THE MEDIA (ON THE EXAMPLE OF «UKRAINER» AND «REPORTERS»). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11099.

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The article is devoted to the analysis of the main forms of visualization in the media related to photo. The thematic visual concepts are described in accordance with the content of electronic media, which consider the impact of modern technologies on the development of media space. The researches of the Ukrainian and foreign educational institutions concerning the main features of modern photo is classificate. Modifications and new visual forms in the media are singled out. The main objective of the article is to study the visual concepts of modern photo and identify ideological and thematic priorities in photo projects. To achieve the main objective in the article a certain methodology were used. Due to the historical-theoretical description it was possible to substantiate the study of visual concepts. The conceptual-system method was used to study the subject of media photo projects. The main results of the research are the definition of visual concepts of photo on the example of electronic media and the identification of the main thematic features in the process of visual filling of the media space. Based on the study, we can conclude that today the information field needs quality visual content. For successful creation of visual concepts it is necessary to single out thematic features of modern photo and to carry out classifications on ideological and semantic signs. Given the rapid development of digital technologies, the topic of the scientific article we offer is relevant for scientists, journalists, media researchers, visual journalism experts and photojournalists. Modern space is filled with a large number of pictorial materials, which in most cases form specific images, patterns or stereotypes in the mind of the reader (viewer). Also important is the classification of photo used in journalistic publications. That is why there is a need to explore the content and principles of distribution of ideological priorities of photo in the media. The substantiation of scientists about the important place of photography in the modern media space and the future development of visual technologies, which already use artificial intelligence, is relevant.

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