Inhaltsverzeichnis
Auswahl der wissenschaftlichen Literatur zum Thema „Photographie – Psychologie“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Photographie – Psychologie" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "Photographie – Psychologie"
1
Guyot, Adrien. „Âges d’or et fausses nostalgies : Entre imaginaire vintage et déjà vu. Une analyse du discours nostalgique dans la culture populaire contemporaine“. Convergences francophones 6, Nr. 2 (23.05.2020): 123–30. http://dx.doi.org/10.29173/cf564.
Der volle Inhalt der QuelleAnnotation:
Le concept de faux souvenir n’est en rien nouveau; son existence remonte aux balbutiements de la psychanalyse et de la psychologie clinique. La photographie de famille présente à cet égard une situation d’énonciation toute particulière. En effet, même lorsque le référent (la personne photographiée) n’a guère de souvenirs de l’occasion en soi, la codification, le sens de l’image, le lien de connaissance, la réappropriation mémorielle de l’événement, aussi artificiels soient-ils, peuvent être établis par le biais d’un récit externe.
Une manipulation du même acabit est à l’origine du succès des séries Stranger Things, Riverdale et Chilling Adventures of Sabrina qui usent d’un imaginaire vintage et déjà vu pour bercer dans une douce nostalgie toute une génération de téléspectateurs bien trop jeunes pour en saisir pleinement les références.
2
Muzzarelli, Federica. „Voyeurism and erotic stereotypes in fashion photography: Modernity and postmodernity from the Countess of Castiglione to Helmut Newton“. Fashion, Style & Popular Culture 8, Nr. 2 (01.05.2021): 189–204. http://dx.doi.org/10.1386/fspc_00078_1.
Der volle Inhalt der QuelleAnnotation:
Voyeurism and desire are drives linked ontologically to the identity of the photographic and fashion system. Photographing someone is always an act of voyeuristic possession of something that belongs to another, or at least to the surrounding reality that one seeks to ‐ fetishistically ‐ appropriate. But the voyeuristic exercise of photography lives and is nourished by stimulating the exhibitionism of what is in front of the machine’s lens, thus completing and giving meaning to each other. When the context being photographed is fashion, the conditions of insistent voyeurism and intense desire (of emulation, projection, appropriation) become one with the very meaning of the image. In fact, moving from behaviour to the object, most of fashion’s photographic tradition can be traced back to an atmosphere of soft winking and erotic fantasy of the look. In this article, we take into consideration two well-known events that are generically associated with voyeurism and eroticism of the photographic image and fashion, reading them as a parable of the history of the male gaze of women’s bodies: from the triumph of the stereotype in the modern age to its sudden upheaval in the postmodern age. The first case is that of the Countess of Castiglione, who from the mid-nineteenth century was already able to demonstrate how photography could solidify male erotic imagery and, in so doing, present fashion as the style and attitude of an era. In contrast, we find Helmut Newton, famous and acclaimed fashion photographer and exceptional interpreter of the excesses of the eighties, able to bring that male erotic imagery to such exaggerations in the use of codes to make it almost harmless, cooling it.
3
Vissers, Nathalie, Pieter Moors, Dominique Genin und Johan Wagemans. „Exploring the Role of Complexity, Content and Individual Differences in Aesthetic Reactions to Semi-Abstract Art Photographs“. Art and Perception 8, Nr. 1 (04.03.2020): 89–119. http://dx.doi.org/10.1163/22134913-20191139.
Der volle Inhalt der QuelleAnnotation:
Artistic photography is an interesting, but often overlooked, medium within the field of empirical aesthetics. Grounded in an art–science collaboration with art photographer Dominique Genin, this project focused on the relationship between the complexity of a photograph and its aesthetic appeal (beauty, pleasantness, interest). An artistic series of 24 semi-abstract photographs that play with multiple layers, recognisability vs unrecognizability and complexity was specifically created and selected for the project. A large-scale online study with a broad range of individuals (n = 453, varying in age, gender and art expertise) was set up. Exploratory data-driven analyses revealed two clusters of individuals, who responded differently to the photographs. Despite the semi-abstract nature of the photographs, differences seemed to be driven more consistently by the ‘content’ of the photograph than by its complexity levels. No consistent differences were found between clusters in age, gender or art expertise. Together, these results highlight the importance of exploratory, data-driven work in empirical aesthetics to complement and nuance findings from hypotheses-driven studies, as they allow to go further than a priori assumptions, to explore underlying clusters of participants with different response patterns, and to point towards new venues for future research. Data and code for the analyses reported in this article can be found at https://osf.io/2fws6/.
4
Koureas, Gabriel. „Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East“. Memory Studies 12, Nr. 5 (Oktober 2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.
Der volle Inhalt der QuelleAnnotation:
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.
5
Molnar, Michael. „Freud & Co.“ Psychoanalysis and History 8, Nr. 2 (Juli 2006): 255–66. http://dx.doi.org/10.3366/pah.2006.8.2.255.
Der volle Inhalt der QuelleAnnotation:
A previously unknown photograph of the old Emanuel Freud with his youngest daughter Bertha inspires an attempt to salvage what can be rescued of these lost lives and reminds us that history is always incomplete. Emanuel's appearances in Freud's dreams exemplify the dream-like aspects of the photographic image, which momentarily highlights particular aspects of the sitter while neglecting others. Examining photographs for documentation involves a reappraisal of the language of historical evidence.
6
Cartwright, Lisa. „On the Face of the Photograph, and the Moving Image: Geopolitical Affect in the Speculative Landscapes of Connie Samaras“. Journal of Visual Culture 17, Nr. 2 (August 2018): 238–52. http://dx.doi.org/10.1177/1470412918783833.
Der volle Inhalt der QuelleAnnotation:
This article introduces the concept of geopolitical affect in landscape photography and video, focusing on two series by the US artist Connie Samaras: V.A.L.I.S. (2004-5) and Edge of Twilight (2011–2018). The article draws on the cybernetic affect theory of the mid-century US psychologist Silvan S Tomkins as well as the artist’s own concept of speculative landscape and critique of identity politics to consider surface, movement, and the face in landscape photography. As well, a photographic and audiovisual theory of geopolitical drive and affect, based on the work of Tomkins, is proposed.
7
Kimle, Patricia Anne, und Ann Marie Fiore. „Fashion Advertisements: A Comparison of Viewers' Perceptual and Affective Responses to Illustrated and Photographed Stimuli“. Perceptual and Motor Skills 75, Nr. 3_suppl (Dezember 1992): 1083–91. http://dx.doi.org/10.2466/pms.1992.75.3f.1083.
Der volle Inhalt der QuelleAnnotation:
The perceptual and affective responses of 44 women to actual illustrated and photographed fashion advertisements during focused interviews were explored. Content analysis methods identified categories of response; frequency of response categories for the two media were compared using Fisher's z tests. Significant differences in perceptual responses included greater visual interest created by the use of color in photographs, greater interest in layout and design features of the illustrations, and interest in characteristics of the models in the photographs. Affective response differences included greater preference for photographic advertisements and the garments in them. Contrary to suggestions from professionals in fashion advertising, no significant differences were found in viewers' perceptions of information about the products in the advertisements or perceptions of meaning and aesthetic response.
8
Alley, Thomas R. „Visual Detection of Body Weight Change in Young Women“. Perceptual and Motor Skills 73, Nr. 3 (Dezember 1991): 904–6. http://dx.doi.org/10.2466/pms.1991.73.3.904.
Der volle Inhalt der QuelleAnnotation:
To assess whether small changes in body weight can be visually detected, college students (58 women and 42 men) were asked to select the less heavy person shown in two photographs for each of 33 young women. All of these women had been photographed twice in a standardized pose and attire, separated by an 8-wk. interval during which most of them lost weight. These pairs were presented in varying orders to control for the order and side of presentation. One photograph was reliably selected as the lighter person for 64% of the pairs, but the picture selected was in fact lighter only 57% of the time. The accuracy of selecting the lighter photograph was not correlated with the percent weight change for the person shown in the pairs of photographs. The results suggest that small changes in women's weight may not have a significant perceptual effect, particularly for male perceivers.
9
Fawns, Tim. „Blended memory: A framework for understanding distributed autobiographical remembering with photography“. Memory Studies 13, Nr. 6 (13.02.2019): 901–16. http://dx.doi.org/10.1177/1750698019829891.
Der volle Inhalt der QuelleAnnotation:
This article offers a framework for understanding how different kinds of memory work together in interaction with people, photographs and other resources. Drawing on evidence from two qualitative studies of photography and memory, as well as literature from cognitive psychology, distributed cognition and media studies, I highlight complexities that have seldom been taken into account in cognitive psychology research. I then develop a ‘blended memory’ framework in which memory and photography can be interdependent, blending together as part of a wider activity of distributed remembering that is structured by interaction and phenomenology. In contrast to studies of cued recall, which commonly feature isolated categories or single instances of recall, this framework takes account of people’s histories of photographic practices and beliefs to explain the long-term convergence of episodic, semantic and inferential memory. Finally, I discuss implications for understanding and designing future memory research.
10
Bohm-Duchen, Monica. „Chasing Shadows“. European Judaism 56, Nr. 1 (01.03.2023): 22–39. http://dx.doi.org/10.3167/ej.2023.560103.
Der volle Inhalt der QuelleAnnotation:
Abstract Drawing on the influential concept of postmemory first mooted by Marianne Hirsch, and on the links between photography and mortality first explored by Susan Sontag and Roland Barthes, this article analyses the work of ten largely UK-based visual artists who, as members of the so-called second generation (namely, the descendants of Holocaust survivors and refugees), make use of the photographic medium to engage creatively and conceptually – and often in a conspicuously gendered way – with the legacy of their families’ traumatic histories. Some of the artists (Halter, Tucker) base their handcrafted imagery directly on pre-war family photographs; others (Winckler, Brunstein, Petzal, Gorney, Kerr, Davidmann) incorporate actual photographs, past and present, into mixed media artworks, frequently manipulating and even doing violence to them. Others again (Garbasz) use photographs taken in the present to reach out to an inaccessible past, while yet others (Markiewicz) employ a more abstract and allusive approach to the medium.
Dissertationen zum Thema "Photographie – Psychologie"
1
Cailler, Julie. „L'autoportrait en photographie et la mélancolie“. Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080029.
Der volle Inhalt der QuelleAnnotation:
Cette recherche s'articule autour de trois pôles : Autoportrait, Photographie et Mélancolie et questionne les enjeux de la mélancolie dans les dispositifs de création des images de soi et de son expression au sein de l'autoreprésentation photographique. La mélancolie est ici pensée comme rapport singulier à l'image de soi, une définition qui prend appui sur des théories de la psychanalyse – bien que notre réflexion demeure esthétique – mais qui s'inscrit aussi dans l'histoire de la mélancolie, une histoire médicale, artistique et philosophique. Le corpus est constitué d'artistes dont le parcours est jalonné d'autoportraits ou bien, dont l'œuvre photographique se compose essentiellement ou exclusivement d'autoportraits. Trois artistes principaux sont ainsi convoqués : Kimiko Yoshida, Marie L. et David NebredaThis research articulates three axes : Selfportrait, Photography and Melancholia. It questions Melancholia's issues under the devices of pictures of the self creation and their expressions within photographic selfrepresentation. Melancholia is here thought as a singular relation to the picture of the self, a definition that is supported on psychanalysis theories – although our reflexion remains aesthetic – but which also fits within history of melancholia, history of medicine, art and philosophy. The corpus is made with artists who deal with selfportraits or else, whose photographic work consists essentially or exclusively of selfportraits. Three mains artists will be summoned : Kimiko Yoshida, Marie L. and David Nebreda
2
Blickhan, Marko [Verfasser], Christoph [Akademischer Betreuer] Redies, Holger [Akademischer Betreuer] Wiese und Ulrich [Akademischer Betreuer] Ansorge. „Das Fourierspektrum von Gesichtsbildern in Photographie und Kunst und dessen Einfluss auf die Gesichtswahrnehmung / Marko Blickhan. Gutachter: Christoph Redies ; Holger Wiese ; Ulrich Ansorge“. Jena : Thüringer Universitäts- und Landesbibliothek Jena, 2012. http://d-nb.info/1025255984/34.
Der volle Inhalt der Quelle
3
Romagnoli, Bethonico Marina. „IMAGE-FICTION, IMAGE-ACTION. Mise en jeu de la photographie contemporaine entre théorie des mondes possibles et théorie des actes d’image“. Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030034.
Der volle Inhalt der QuelleAnnotation:
Cette recherche porte sur la possibilité d’une application des théories des mondes possibles aux arts visuels. Une introduction à cet univers théorique est d’abord présentée, à partir des textes fondateurs, ainsi que son application dans les études littéraires, jusqu’au contexte des arts visuels. Une introduction aux théories des actes de langage est également réalisée, pour arriver au champ des actes d’image. À travers un corpus hétérogène, composé de photographies contemporaines produites par des artistes de diverses nationalités, les catégories d’image-fiction et d’image-action sont développées, articulant une théorie des mondes possibles visuels. La dynamique existante entre l’image, l’artiste et le spectateur, déclenchée par ces deux types d’image, est ensuite analysée par le biais de la théorie des actes d’image. À partir d’une méthode de recherche théorique et imagétique basée sur la pensée complexe, on explore l'idée d'une transmission des "manières de faire monde", qui émerge d'une image-fiction active proposant un jeu d’image. L'hypothèse travaillée est que l’acte d’auto-dénonciation de l’image-fiction permet au spectateur de trouver des pistes de la manipulation de l’image, instaurées par le "fingere" de l’artiste. Finalement, l’image-fiction – produite, manipulée – fait acte de simulation d’un fragment de monde possible au moment où elle présente d’autres versions pour le monde des phénomènes, pour l’histoire et pour les individus. Ainsi, elle ouvre des voies de la fiction vers l’action, invitant le spectateur à la construction de nouveaux contextes collectifs dans l’actualitéThis research focuses on the possibility of applying the theories of possible worlds to the visual arts. First, an introduction to this theoretical universe is presented, starting from its foundational texts, as well as its application in literary studies, to the context of the visual arts. An introduction to speech act theories is also provided, in order to arrive at the field of image acts. Through a heterogeneous corpus, composed of contemporary photographs produced by artists of various nationalities, the categories of image-fiction and image-action are developed, articulating a theory of visual possible worlds. The dynamics between the image, the artist and the viewer, triggered by these two types of images, are then analyzed through the theory of image acts. Starting from a theoretical and image-based research method founded on complex thought, we explore the idea of a transmission of "ways of worldmaking", which emerges from an active image-fiction proposing an image play. The hypothesis worked on is that the act of self-denunciation of the image-fiction allows the viewer to find trails of the image’s manipulation, initiated by the artist's "fingere". Finally, the image-fiction – produced, manipulated – enacts a simulation of a fragment of a possible world as it presents other versions for the world of phenomena, for history and individuals. In this way, it opens up paths from fiction towards action, inviting the viewer to construct new collective contexts in the present
4
Pillaudin, Marine. „L'enfance dans l'art : espace transitionnel, transfiguration et transfert dans le dessin, la photographie et la vidéo“. Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010511.
Der volle Inhalt der QuelleAnnotation:
S'appuyant sur une pratique personnelle du dessin, du collage et de la photographie, cette thèse de poïétique explore le thème de l'enfance dans l'art. Conçue comme un " work in progress", elle part d'une recherche sur l'intimité du dessin afin de construire un regard singulier sur : l'exposition de photographies et de vidéographies témoignant de traumas d'enfants. Elle vérifie l'hypothèse selon laquelle l'artiste puise dans sa propre enfance et dans celle des autres afin de conquérir des territoires de créations ignorés, là où prend corps l'altérité intime. La première partie analyse notamment les œuvres de Louise Bourgeois, Mike Kelley et Rosemarie Trockel, pour comprendre comment leurs processus créateurs réactivent l'espace transitionnel et ses phénomènes en nous immergeant dans des souvenirs d'enfances perdus. Dans une deuxième partie, c'est la transfiguration et l'altération radicale des visages d'enfants photographiés par Diane Arbus, Lewis Hine, Sebastiâo Salgado, ou filmés par Gillian Wearing qui sont interrogées. La réflexion se poursuit autour d'enjeux esthétiques et politiques liés à l'utilisation de ces images par des artistes tels que Mathieu Pemot et Catherine Poncin. Enfin, la troisième partie est centrée sur l'œuvre de Gerhard Richter traitant du transfert en tant que processus permettant d'actualiser, par la répétition, les événements passés qui le hantent. Le faire-œuvre qui en témoigne fait corps, devenant ainsi capable de figer ces blessures. Notre thèse, c'est que l'expérience d'un« absorbement » total dans ces œuvres nous incluant et nous excluant simultanément permet à l'artiste et au regardeur de reconnaître l'histoire des autres en luiRelying on personal experience in drawing, collage and photography, this thesis on poiesis explores the subject of childhood in Art. Designed as a work in progress, it stems from the intimacy of drawing and aims at constructing a singular outlook from the display of photography and films depicting childhood trauma. It verifies the hypothesis stating that the artist peers into his own childhood and that of others in order to conquer creative fields hitherto ignored, at the threshold of the intimate other. The first section scrutinizes the works of Louis Bourgeois, Mike Kelley and Rosemarie Trockel striving to understand how their creative processes reactivate transitional space -and its associated phenomena- by immersing us in distant recollections of childhood. The second section questions the transfiguration and the dramatic alteration of children's faces filmed and photographed by Diane Arbus, Lewis Hine, Sebastiâo Salgado and Gillian Wearing. The thesis then pursues on to evaluate the aesthetic and political stakes bound to the use of these images by artists, the likes of Mathieu Pemot and Catherine Poncin. Ultimately, the third part is centred on the work of Gerhard Richter dealing with transfer as a means of resurfacing -through reiteration- past events that haunt him. The resulting product thus making it possible to set these wounds in stone. Mythesis is that the experience of total absorption/immersion in these works -simultaneously including and excluding us- makes it possible for the artist and the observer to acknowled e the narratives of ethers within themselves
5
Aufraise, Marc. „Salvador Dali et la photographie : portraits du surréalisme (1927-1942)“. Phd thesis, Université Panthéon-Sorbonne - Paris I, 2013. http://tel.archives-ouvertes.fr/tel-01001654.
Der volle Inhalt der QuelleAnnotation:
L'étude intitulée Salvador Dali et la photographie: portraits du surréalisme (1927-/942) montre comment l'image photographique se situe chez l'artiste au carrefour entre théorie et pratique, entre création et vie quotidienne. Elle propose de réévaluer la place du médium dans l'élaboration et la pratique de la théorie surréaliste en décrivant comment ce projet de libération de l'homme est utilisé pour exacerber l'individualisme. Dans un premier temps, Dali utilise l'image photographique comme une instance médiatrice qui lui permet de contrôler ses pulsions et de définir précisément les objets. Elle alimente ensuite son activité paranoïaque-critique et favorise son exploitation du concept de comestibilité. Elle assure enfin la réification de l'artiste et la diffusion de son image théâtralisée dans la presse. Les photographies, au service de la construction de l'identité comme de l'art de Dali, acquièrent ainsi une valeur, concrète ou métaphorique, de portraits.
6
Dias, de Magalhães Cristina. „Vu(es) de dos : la photographie comme espace d'identité et de création“. Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010666.
Der volle Inhalt der QuelleAnnotation:
À travers la thèse Vu(es) de dos : la photographie comme espace d'identité et de création, je questionne ma pratique photographique suivant la phénoménologie du regard, tout en faisant face à une obsession, celle de vouloir voir mon propre dos et celui des autres. En partant de mon corps comme source d'expérimentation, j'exprime ce besoin d'exister autrement, à travers cette part qui semble invisible à mon regard. C'est cette quête de reconnaissance qui me pousse à mettre en place des protocoles artistiques afin de me confronter à l'autre de dos. En me déplaçant dans l'espace et en allant à la rencontre de l'inconnu, je commence à créer des espaces de réflexion. Le dos devient alors le sujet photographié et observé, ce point de départ de ma recherche théorique et esthétique, tout comme la base du rapport que j'établis avec le monde de l'art et les autres. En tant qu'interface, la vue de dos semble donner sur un lieu ou une territorialité anthropologique et artistique, qui suggère une autre manière d'être, de voir et de penser le mondeThrough the thesis Back view(s) : photography as identity and creation space, I question my photographic practice through the phenomenology of the gaze, while facing an obsession, the desire to see my own back and the back of the others. Starting from my own body as a source of experimentation, I express the need to exist in a different way through this part of my body that remains invisible to my own gaze. This search for recognition leads me towards developing artistic protocols, to face the other from the back. While I am traveling through space and meeting the unknown, I create different spaces of reflection. The back becomes the subject being photographed and observed, the starting point of my theoretical and aesthetic research, as well as the foundation that I build with the world of art and the others. As an interface, the view of the back seems to provide a look onto an anthropological and artistic place or territoriality, suggesting another way of being, seeing and thinking the world
7
Couanet, Catherine. „Esthétique des images photographiques des corps intimes et politiques“. Paris 8, 2009. http://www.theses.fr/2009PA083081.
Der volle Inhalt der QuelleAnnotation:
Le problème qui détermine cette réflexion peut s'énoncer comme une question : sous quelles formes les intimes des corps nourrissent-ils des enjeux politiques dans les images photographiques ? La réponse qui se déploie au fil des pages est celle d'une esthétique de l'Érotique. L'Érotique, mouvement au fondement duquel s'organisent les relations au monde et aux autres, induit les naissances et conduit les représentations imaginaires de l'origine et de ses générations. La structure fantasmatique du sujet à travers les revendications sociales, les découvertes scientifiques, la pluralité des sexualités et de ses créations photographiques, est en mutation. Et la visibilité de ceux qui étaient tenus en marge et considérés comme "autres", signifie maintenant un nouvel axe déterminant pour l'objet du désir. Ainsi ce que "l'autre" produit ce sont ses mythes. La désignation de l'altérité implique le point limite de la normalité et de l'homogénéité de la masse. Par-delà ce point, se rencontrent les territoires physiques et psychiques à coloniser. Le pouvoir des corps sur eux-mêmes, et le pouvoir sur les corps malgré eux-mêmes, soulignent le caractère politique de l'image. Images ou publicités, les photographies, prises entre le territoire américain et le continent européen, révèlent l'identité sexuelle d'une Nation. Ainsi, d'un système de division binaire des sexes propre au XXe siècle, nous passons à un système de distinction des genres - queer - au XXIe siècle. Le corps et ses images photographiques ouvrent à une topique des genres qui, au rythme du tempo de la caresse, conduit une véritable révolution des regardsThe problem which underlies this research can be posed as a question: in what ways do the intimacies of bodies harbour politically challenging questions to photography? The answer to this question resides within the aesthetics of the Erotic. The Erotic yields imaginary representations of the origin and its generations. The structure of the fantasy of the subject - through social amplification, scientific discovery, the pluralizing of sexuality and its photographic creations - is in mutation. The visibility of those once marginalized and regarded as "other" signifies a new axis constituting the object of desire. What the "other" produces, then, are his mythologies. The designation of the term "others" implies a boundary of normality and of the homogeneity of the mass. Beyond this point, the physical and psychic territories are to be colonised. The power of the bodies upon themselves, and the power of the bodies despite themselves, underlines the political character of the image. As pictures or advertisements, photography’s taken between the American and the European continents reveal the sexual identity of the Nations. Thus, from the system of binary opposition between the sexes in the twentieth century, we go to the distinctions of genders - queerness - in the twenty-first century. The body and its photographic representations open a new realm of gender, which, at the rhythm of the tempo of a caress, leads to a veritable revolution of the views
8
Hodifa, Wael. „Pratiques photographiques et jugements esthéthétiques chez les enfants“. Caen, 2009. http://www.theses.fr/2009CAEN1538.
Der volle Inhalt der QuelleAnnotation:
Cette recherche a pour objet : l'effet des pratiques photographiques sur le jugement esthétique de l'enfant. Elle répond à ces questions: est-ce qu'il existe des différences au niveau du jugement esthétique des enfants avant et après l'initiation à la pratique photographique ? Quels sont les critères esthétiques relatifs à l'image photographique numérique que les enfants observés utilisent pour prendre leurs photographies préférées ? Nos hypothèses centrales sont qu'en pratique photographique, une initiation peut avoir un effet sur le jugement esthétique de l'enfant et que le jugement esthétique de l'enfant varie en fonction des représentations qui dépendent de son âge. Partant des résultats obtenus, nous constatons que les jugements esthétiques des enfants varient en fonction de l'âge. Nous observons une amélioration de la qualité des jugements chez les enfants initiés entre 7-8 ans et 10-11 ans. Il importe en effet de prendre en compte les résultats liés à la variable « initiation ». La différence entre enfants initiés et non initiés est clairement apparue, notamment au niveau de leur attention, leurs représentations et leurs jugements esthétiques. Les groupes initiés s'appuient sur la forme comme un élément essentiel pour produire leurs jugements esthétiques relatifs à la photographie. Les enfants initiés se sont efforcés d'obtenir des composantes perceptibles en profitant d'autres éléments esthétiques comme la couleur et la luminosité qui sont capables de créer l'équilibre entre tous les éléments. Les jugements des enfants non initiés ne semblent se fonder sur aucun critère esthétique apparent pour évaluer leurs photographies
9
André, Fresner. „Le traumatisme de l’amputation de membre : les ressources culturelles de la résilience“. Electronic Thesis or Diss., Bourgogne Franche-Comté, 2023. http://www.theses.fr/2023UBFCH040.
Der volle Inhalt der QuelleAnnotation:
Cette recherche porte sur une expérience particulièrement éprouvante : le traumatisme de l’amputation de membre. Qu’elle soit accidentelle ou médicale, la perte dont témoigne le moignon entraine des conséquences à la fois physiques et psychologiques. Elle s’inscrit dans le champ des recherches sur les liens résilience et culture développées notamment en Amérique du Nord. Pour réaliser cette recherche nous nous sommes appuyés sur une méthodologie qualitative. La recherche a été menée auprès de personnes amputées dans deux univers culturels : Haïti (N=20) et la France (N=12), au moyen de deux méthodes : le photolangage® et l’entretien clinique de recherche. Les résultats, sous forme de 5 études, montrent une nette différence entre les deux populations. Alors que les personnes rencontrées en Haïti mettent beaucoup en avant la spiritualité (les croyances et la pratique religieuses) et le soutien de la famille comme ressources culturelles, en France les personnes ont surtout insisté sur la nécessité d’avoir des services de protection sociale de qualité. Le soutien de la famille est aussi un élément important, mais il est plus marqué en Haïti où l’adaptation des espaces publics et l’intégration des personnes porteuses de handicap restent des défis majeurs. Dans la discussion nous mettons l’accent sur les enjeux du cadre culturel et les facteurs de protection qui contribuent au processus de résilience des personnes amputées de membre. Et puis, pour orienter les résultats de la recherche dans une perspective de soin, nous avons présenté l’esquisse d’un dispositif de soin qui pourra accueillir des personnes ayant été confronté à une expérience traumatique et qui font appel à leurs ressources culturelles pour y mettre du sens.Mots clés : traumatisme – amputation de membre – processus de résilience – ressources culturelles – liens familiauxThis research focuses on a particularly trying experience: the trauma of limb amputation. Whether accidental or medical, the loss evidenced by the stump has both physical and psychological consequences. It is part of the research on the links between resilience and culture developed in North America in particular. To carry out this research, we used a qualitative methodology. The research was carried out with amputees in two cultural universes: Haiti (N=20) and France (N=12), using two methods: photolangage® and the clinical research interview. The results, in the form of 5 studies, show a clear difference between the two populations. Whereas the people we met in Haiti put a lot of emphasis on spirituality (religious beliefs and practice) and family support as cultural resources, in France the people stressed above all the need for quality social welfare services. Family support is also an important element, but more so in Haiti, where the adaptation of public spaces and the integration of people with disabilities remain major challenges. In the discussion, we focus on the challenges of the cultural framework and the protective factors that contribute to the resilience process of limb amputees. And then, to orient the results of the research in a care perspective, we present the outline of a care device that could accommodate people who have been confronted with a traumatic experience and who call on their cultural resources to make sense of it.Key words: trauma - limb amputation - resilience process - cultural resources - family
10
Chouba, Skhiri Faten. „L'art comme emballage : oscillation entre invagination et évagination“. Paris 1, 1999. http://www.theses.fr/1999PA010653.
Der volle Inhalt der QuelleAnnotation:
De l'emballage il est difficile de parler rigoureusement. C'est un concept dans un état de devenir et n'est jamais accompli, il est saisi dans l'entrecroisement de niveaux différents. Comme épaisseur, feuilletage, interpénétration des couches, interférence des strates, il se situe au terme d'un parcours fait d'emboitements successifs. Au-delà de la disparité des productions, l'emballage étale une logique interne fondée sur le principe de retournement qui permet de rebrousser chemin et de confronter des concepts contradictoires. C'est une analyse d'un rapport surface-profondeur, où peuvent se jouer toutes les ambivalences des relations inversées, entre invagination/évagination, dedans/dehors, contenant/contenu, éphémère/durable, présent/passé, féminin/masculin, mort/naissance, vide/plein, remède/poison, etc. Une esthétique de la superficialité qui nécessite un regard qui sillonne, taillé et entamé comme pour extraire une substance. Il s'agit d'une exploration complexe du visible, d'un voyage dans l'intimité d'une surface. Installé dans un milieu naturel, l'emballage questionne les habitudes de vision. Il s'insère dans son environnement selon une relation de contenance par adhérence. Son interprétation dépend essentiellement de son lieu d'implantation qui constitue à chaque fois son véritable contenu. En apparence, tout cela relève sans aucun doute d'une stratégie typiquement moderne. Mais au fond, c'est un art qui marche à contre sens de son destin perceptuel, il procède par exhumation archéologique. Une profondeur mythique affleure la réalité du visible, révélant des signes à interpréter et des secrets à explorer.
Bücher zum Thema "Photographie – Psychologie"
1
Mike, Robinson, und Picard David, Hrsg. The framed world: Tourism, tourists, and photography. Farnham, Surrey, England: Ashgate Pub., 2009.
Den vollen Inhalt der Quelle finden
2
Kaite, Berkeley. Pornography and difference. Bloomington: Indiana University Press, 1995.
Den vollen Inhalt der Quelle finden
3
Pornography and difference. Bloomington: Indiana University Press, 1995.
Den vollen Inhalt der Quelle finden
4
Le pouvoir de l'intime dans la photographie documentaire. Arles: Arnaud Bizalion éditeur, 2020.
Den vollen Inhalt der Quelle finden
5
Dolivet, Frédérique, Pascal Hoël und Simon Baker. Love songs: Photographies de l'intime. Paris: MEP, 2022.
Den vollen Inhalt der Quelle finden
6
Sehen und photographie: Ästhetik zum Bild. 2. Aufl. Berlin: Springer, 2010.
Den vollen Inhalt der Quelle finden
7
Sroka, Iris E. Young children's photographic practice: Representation and world knowledge. Ann Arbor, Mich: UMI Dissertation Services, 2002.
Den vollen Inhalt der Quelle finden
8
L'image en art-thérapie: La photographie comme médium relationnel. Paris: L'Harmattan, 2010.
Den vollen Inhalt der Quelle finden
9
Photographic engagements: Belonging and affective encounters in contemporary photography. Göteborg: Makadam, 2018.
Den vollen Inhalt der Quelle finden
10
Mark, Haworth-Booth, Squiers Carol 1948-, San Francisco Museum of Modern Art. und Grey Art Gallery & Study Center., Hrsg. Police pictures: The photograph as evidence. San Francisco: San Francisco Museum of Modern Art, 1997.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Photographie – Psychologie"
1
Michel Fariña, Juan Jorge, und Florencia González Pla. „Photography and Film in the Experience of Identity Restitution: Writing with Light“. In Peace Psychology Book Series, 59–69. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97542-5_5.
Der volle Inhalt der Quelle
2
Martínez, Ariel. „The Diaspora of Identity. A Cuir Look upon Identifications in the Photograph of Lariza Hatrick“. In Latinx Queer Psychology, 25–41. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82250-7_3.
Der volle Inhalt der Quelle
3
Gupta, Deepa, und Nandita Chaudhary. „Breaking Down Complex Realities: The Exploration of Children’s Prosocial Actions Using Photographs“. In Courageous Methods in Cultural Psychology, 71–90. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93535-1_5.
Der volle Inhalt der Quelle
4
Daxböck, Jennifer, Maria Laura Dulbecco, Sintija Kursite, Tommy Kristoffer Nilsen, Andrada Diana Rus, Joanne Yu und Roman Egger. „The Implicit and Explicit Motivations of Tourist Behaviour in Sharing Travel Photographs on Instagram: A Path and Cluster Analysis“. In Information and Communication Technologies in Tourism 2021, 244–55. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65785-7_22.
Der volle Inhalt der QuelleAnnotation:
AbstractInstagram has been an emerging platform for tourists to share their experiences and connect with other users in the multiphasic travel stages. Despite the huge number of photographs shared on Instagram on a daily basis, it remains ambiguous regarding the underlying motives of tourists’ posting behaviour. Thus, this study aims to conceptualise a framework based on the internal and external triggers of sharing travel photographs through a mix methods design involving diary studies and questionnaires. By conducting a path analysis, this study presents and validates a theoretical model including various motivational factors; namely enjoyment, self-esteem, recognition, interests, social norms, goals, social ties, social status and prestige, self-efficiency, outcome expectations and memorabilia. Meanwhile, this research clusters young techsavvy tourists into four distinct segments based on their behaviour of using Instagram while traveling. By bridging motivational theories, social psychology, and social media in the context of tourism, this research extends literature related to user-generated content and Instagram. Practically, this research allows marketers to optimise the effectiveness of marketing strategies based on the characteristics of tourists and their behaviour on social media platforms.
5
Sekerina, Irina A., und Patricia J. Brooks. „Multilingual Linguistic Landscapes of New York City as a Pedagogical Tool in a Psychology Classroom“. In Educational Linguistics, 199–222. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-39578-9_9.
Der volle Inhalt der QuelleAnnotation:
AbstractThe chapter describes the utilization of Linguistic Landscapes (LL) as a pedagogical tool in an undergraduate research methods course in psychology and demonstrates how studying urban multilingualism can be harnessed in the service of five comprehensive learning goals of the American Psychological Association Guidelines for the Undergraduate Psychology Major (American Psychological Association, APA guidelines for the undergraduate psychology major. Retrieved from http://www.apa.org/ed/precollege/about/undergraduate-major.aspx, 2013). Fourteen students in their second year of college took a seminar titled Science and Technology in New York City with the theme of urban multilingualism, where they investigated how and why languages other than English are used in public signage in ethnic neighborhoods of New York City. Students were assigned to five groups; three groups had members with prior exposure to a second language (Spanish, Russian, Hebrew) to conduct the project, whereas the other two groups recruited bilingual friends to assist them (Greek, Chinese). The groups visited five ethnic neighborhoods in New York City and took photographs of 267 bilingual public signs. They collected responses to a small-scale survey (6–10 questions) or interviewed local bilingual residents. Students categorized signs, analyzed survey and interview responses, contributed to a class poster, and wrote a group research report in APA-format and an individual reflections essay. This course is an example of how LL can be used to promote an international perspective on psychology by exploring immigration and cultural diversity.
6
Kurtz, Jaime L., und Sonja Lyubomirsky. „Happiness promotion: Using mindful photography to increase positive emotion and appreciation.“ In Activities for teaching positive psychology: A guide for instructors., 133–36. Washington: American Psychological Association, 2013. http://dx.doi.org/10.1037/14042-021.
Der volle Inhalt der Quelle
7
Brzezicki, Marcin. „Reflection Overlay as a Potential Tool for Separating Real Images from Virtual Images in Photographs of Architecture“. In Engineering Psychology and Cognitive Ergonomics, 125–32. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07515-0_13.
Der volle Inhalt der Quelle
8
Mazzanti, Anna. „Operazione Arcevia. Existential Community. The Reality of the Experience and the Utopia of the Vision“. In Springer Series in Design and Innovation, 569–83. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_54.
Der volle Inhalt der QuelleAnnotation:
AbstractOperazione Arcevia (OA) is an urban settlement project, born for the purpose of the social, economic, and touristic regeneration of a marginal area in the Marchigiane hills, characterized by its postwar exodus. Conceived between 1972 and 1974 on the initiative of the businessman Italo Bartoletti, like every newly constituted city it was designed with a political and cultural identity by the architect Ico Parisi in collaboration with two renowned critics (Cripolti and Restany), a psychologist, and a large number of artists (Arman, César, Ceroli, Soto, Staccioli, among others). OA remained in its germinal phase, and this was indeed its final result, the fruit of participative work presented at several exhibition events: Venice 1976; Rome 1979). In this ideal city imagined by the erudite group of operators, along with its utopian aspects, there are also practical ones and design hypotheses that can still inspire and provide food for thought: the close collaboration between planners and artists; anti-monumental intentions for art with a social nature and characterized by shared practice; built-up urban relations and the landscape dimension; the coexistence between productive and residential communities and temporary communities, both touristic, in terms of hospitality, and as a secular space in which to take refuge. Cooperating together with Parisi and the critics were 33 artists who together created tavole progettuali (design boards) that combined design, technical design, photographic images, and collages, i.e. fully-fledged works of art and creativity.
9
Atay, Simber. „On Seduction“. In Seduction in Popular Culture, Psychology, and Philosophy, 58–75. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0525-9.ch003.
Der volle Inhalt der QuelleAnnotation:
Seduction is a sexual act, a sex instinct expression, a love practice, a body performance, a psychoanalytical problematic, a philosophical issue, a creative strategy full of phantasies from art to politics, from advertising to entertainment, from personal intimacy to mass-media. Seduction is basis of strip-tease profession, of course! But it is also a cultural metaphor. Seduction is an indispensable part of acting in performing arts. In cinema, actors and actress seduce spectators. In photography, photographer and photographed one, they seduce reciprocally. Seduction has very strong mythological origins. On the other hand, superman of Nietzsche, gaze of Bataille, objet petit a of Lacan are some adequate contemporary parameters to discuss the seduction concept. In this context, Le Samura? (1967) of Jean-Pierre Melville, Magic Mike (2012) of Steven Soderbergh, Jupiter Ascending (2015) of Lana and Andy (Lilly) Wachowski are our cinematographic examples. Eikoh Hosoe's project ‘Barakei' (1961), Duane Michals' project ‘Questions without Answers' (2001), Mehmet Turgut's self-portrait series (2000's) are our photographic examples. Within the text, we evaluate all these popular culture examples by using the mentioned parameters to describe what the seduction is.
10
„Photography and the photographic image“. In Psychology of the Image, 166–82. Routledge, 2012. http://dx.doi.org/10.4324/9780203446928-17.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Photographie – Psychologie"
1
Briandana, Rizki, und Dini Ari Mukti. „Understanding Photography Representation: Humanism and Social Criticism in Social Media“. In Proceedings of the International Conference on Psychology and Communication 2018 (ICPC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icpc-18.2019.13.
Der volle Inhalt der Quelle
2
Carvalho, Ana Cláudia Pires, Stella Angelis Trivellato, Guilherme Jardini Drumond Anastacio, Fernanda Rezende Dias, Luisa Crevelin Costa, Juliana Akita und Natália de Castro Fim Nakao. „Lambert-Eaton syndrome without an identified neoplasm“. In XIII Congresso Paulista de Neurologia. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1516-3180.504.
Der volle Inhalt der QuelleAnnotation:
Introduction: Lambert-Eaton syndrome occurs due to the attack of autoantibodies to voltage-gated calcium channels in the presynaptic terminal of the neuromuscular junction and is usually paraneoplastic. Objectives: Describe the case of a patient with weakness which was investigated for neoplasm. Design and setting: Case report Methods: Analysis of medical record, photographic record of the diagnostic methods and literature review. Case description: Woman, 60 years old, diabetic, hypertensive and ex-smoker, with proximal weakness in the lower limbs for 4 months with paresthesia in the extremities. In 2 months she needed a cane due to frequent falls, followed by proximal weakness of the upper limbs. She lost 8 kg in 4 months. Neurological examination showed hypotrophy in thighs, proximal tetraparesis predominantly in lower limbs and global hyporeflexia. Electroneuromyography showed decreases to repetitive low-frequency stimulation, but significant increases with repetitive high-frequency stimulation and increased amplitude of compound muscle action potentials after effort, suggesting impairment of the neuromuscular junction in the presynaptic topography. She was diagnosed with LambertEaton syndrome. An investigation of paraneoplastic syndrome was carried out, with tumor markers, tomography of the chest, abdomen and pelvis, thyroid ultrasound, mammography and oncotic colposcopy, all without findings of neoplasia. It was proposed a treatment with human immunoglobulin and followup with physiotherapy, occupational therapy and psychology. She showed a significant improvement in strength after starting treatment. Conclusion: Patients with Lambert-Eaton syndrome should be investigated for an underlying neoplasm and followed up periodically, considering the possibility of cancer diagnosis even months or years after the neurological syndrome.
3
Sayar, Alperen, Tuna Çakar, Tunahan Bozkan, Seyit Ertuğrul und Mert Güvençli. „Emotional Analysis of Candidates During Online Interviews“. In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003278.
Der volle Inhalt der QuelleAnnotation:
The recent empirical findings from the related fields including psychology, behavioral sciences, and neuroscience indicate that both emotion and cognition are influential during the decision making processes and so on the final behavioral outcome. On the other hand, emotions are mostly reflected by facial expressions that could be accepted as a vital means of communication and critical for social cognition. This has been known as the facial activation coding in the related academic literature. There have been several different AI-based systems that produce analysis of facial expressions with respect to 7 basic emotions including happy, sad, angry, disgust, fear, surprise, and neutral through the photos captured by camera-based systems. The system we have designed is composed of the following stages: (1) face verification, (2) facial emotion analysis and reporting, (3) emotion recognition from speech. The users upload their online video in which the participants tell about themselves within 3 minutes duration. In this study, several classification methods were applied for model development processes, and the candidates' emotional analysis in online interviews was focused on, and inferences about the situation were attempted using the related face images and sounds. In terms of the face verification system obtained as a result of the model used, 98% success was achieved. The main target of this paper is related to the analysis of facial expressions. The distances between facial landmarks are made up of the starting and ending points of these points. 'Face frames' were obtained while the study was being conducted by extracting human faces from the video using the VideoCapture and Haar Cascade functions in the OpenCV library in the Python programming language with the image taken in the recorded video. The videos consist of 24 frames for 1000 milliseconds. During the whole video, the participant's emotion analysis with respect to facial expressions is provided for the durations of 500 milliseconds. Since there are more than one face in the video, face verification was done with the help of different algorithms: VGG-Face, Facenet, OpenFace, DeepFace, DeepID, Dlib and ArcFace. Emotion analysis via facial landmarks was performed on all photographs of the participant during the interview. DeepFace algorithm was used to analyze face frames through study that recognizes faces using convolutional neural networks, then analyzes age, gender, race, and emotions. The study classified emotions as basic emotions. Emotion analysis was performed on all of the photographs obtained as a result of the verification, and the average mood analysis was carried out throughout the interview, and the data with the highest values on the basis of emotion were also recorded and the probability values have been extracted for further analyses. Besides the local analyses, there have also been global outputs with respect to the whole video session. The main target has been to introduce different potential features to the feature matrix that could be correlated with the other variables and labels tagged by the HR expert.
4
Martins, João. „Design of products to honor people post mortem“. In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3323.
Der volle Inhalt der QuelleAnnotation:
The cemeterial units, are places of social practices of everyday life and worship and the tomb where nostalgia can be externalized and the memory of the deceased revered. In Western societies we can find a category of artifacts meant to evoke the memory or honor the dead. In this paper we we mention three examples of products that enabled a reflection on the concepts that gave rise to their ways, and that risks to fit them into a new "material culture", in that it may have created a break with the traditional system codes and standards shared by companies, and its manifestations in relation to the physical creation of this category of products. This work offers a reflection on the Design Products.What probably makes it special is the field where it is located: the design of products in one post mortem memory. Usually made of granite rock or marble, have the form of plate or tablet, open book or rolled sheet. On one side have a photograph of the person who intend to honor and inscriptions. The thought of inherent design of this work put on one side the intricate set of emotions that this type of product can generate, and other components more affordable, and concerning the form, function and object interactions with users and with use environments. In the definition of the problem it was regarded as mandatory requirements: differentiation, added value and durability as key objectives.The first two should be manifested in the various components / product attributes. The aesthetic and material/structural durability of product necessarily imply the introduction of qualifying terms and quantitative weights, which positively influence the generation and evaluation of concepts based on the set of 10 principles for the project that originated a matrix as a tool to aid designing products. The concrete definition of a target audience was equally important. At this stage, the collaboration of other experts in the fields of psychology and sociology as disciplines with particular ability to understand individuals and social phenomena respectively was crucial. It was concluded that a product design to honor someone post mortem, should abandon the more traditional habits and customs to focus on identifying new audiences. Although at present it can be considered a niche market, it is believed that in the future may grow as well as their interest in this type of products.DOI: http://dx.doi.org/10.4995/IFDP.2016.3323