Academic literature on the topic 'Canmore Festival of Photography'
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Journal articles on the topic "Canmore Festival of Photography"
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Foo, Cynthia. "Scotiabank CONTACT Photography Festival." Afterimage 42, no. 2 (September 1, 2014): 2–3. http://dx.doi.org/10.1525/aft.2014.42.2.2.
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Liu, Xiaoxia. "Pingyao international photography festival (2001-2020)." photographies 14, no. 1 (January 2, 2021): 165–80. http://dx.doi.org/10.1080/17540763.2020.1847175.
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Nielipiński, Władysław. "Ireneusz Zjezdzalka Greater Poland Photography Festival." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 9 (2014): 61–87. http://dx.doi.org/10.16926/ep.2014.09.03.
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MacDougall, David. "Humanities Research Centre Documentary Film Festival/Film and Photography Conference." Visual Anthropology Review 5, no. 2 (September 28, 2010): 27–30. http://dx.doi.org/10.1525/var.1989.5.2.27.
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Hartono, Hendri, and Nunnun Bonafix. "Images Capturing in Photography of Chinese Cultural Festival in Indonesia." Advanced Science Letters 23, no. 1 (January 1, 2017): 67–71. http://dx.doi.org/10.1166/asl.2017.7143.
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Lloreta Pané, Natàlia. "Eureka! Panoramic Festival or the creative relationship between photography and cinema." Barcelona Investigación Arte Creación 6, no. 3 (October 3, 2018): 350. http://dx.doi.org/10.17583/brac.2018.3431.
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In our western collective imagination, we live on this romantic idea that the great inventions of humanity are a result of a moment of divine inspiration that makes the eureka echo throughout seas, mountains and valleys. And maybe it's not like that. That moment of putting into practice that longed invention, that ingenious idea, that moment in which everything works must be wonderful, almost magical, but above all the sensation must be like that of those who conquer the top of a mountain: yes, finally!
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Onipede, Kayode. "Festival, Identity and Social Integration." Fieldwork in Religion 12, no. 1 (September 26, 2017): 78–102. http://dx.doi.org/10.1558/firn.28640.
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This study examines the “historical” role of the New Yam Festival in the social integration of Moba people over time, aiming to supplement the dearth of scholarly work on the festivals that had fostered inter-group relations through cultural identity among the Ekiti-Yoruba people of southwest Nigeria. Using a hybrid historical and anthropological research method, which includes oral interviews, participant observation, photography and video and tape recordings to document and elicit data, the study discusses the political and social interaction of the EkitiYoruba social group through the New Yam Festival. The study reveals that the New Yam Festival is traditionally rooted in kinship culture, and is motivated by social and political integration and enhancement within a socio-political space. The festival demonstrates how ritual can promote and enhance peace, cooperation and stability among the different ethnic groups in Nigeria. It is a long-standing festival that renews and celebrates kinship, identity and social relations, and could be used in significant new initiatives to promote national integration and unity among the diverse ethnic groups, promoting social integration in Nigeria, where inter-group relations have tended to become group competition, even among ethnic groups that have historical ties.
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Paul, John. "A Festival of Kinship, Defiance, and Ethnic Survival." Journal of Festive Studies 1, no. 1 (May 13, 2019): 78–105. http://dx.doi.org/10.33823/jfs.2019.1.1.29.
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In the fall of 2016, I traveled to North Dakota as an invited guest of the Standing Rock Sioux Tribe to document the emergent encampment of American Indians and their allies who had gathered to protest the construction of the Dakota Access Pipeline. This work explores some of these lived protests and the festival-like realities (as well as the strengths and criticisms of the "festival” notion) that were produced in such protestive actions. Ultimately, this article has three goals. First, it seeks to document, via photographs and text, some of the mobilization efforts of protesters against a segment of the oil and gas industry operating on American Indian land. Second, it questions the scholarly concept of "festival as protest"—again, highlighting the strengths and controversies of the application of this term to the Standing Rock Protests. Third, it shows how photography can complement and enhance qualitative field research.
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Del Rosario, Peter Jerome B. "Hermeneutic analysis of the San Isidro Pahiyas Festival as a development communication medium in Lucban, Quezon, Philippines." Journal of Hospitality and Tourism Insights 2, no. 2 (June 3, 2019): 203–20. http://dx.doi.org/10.1108/jhti-01-2019-0002.
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Purpose Only few festival studies in the Philippines attempted to examine the capability of festivals as folk media to communicate development. The purpose of this paper is to analyze the development-oriented activities and messages in the San Isidro Pahiyas Festival in Lucban, Quezon. Design/methodology/approach The researcher conducted participant observation, ethnographic photography, key informant interview and record review. A historical analysis of the festival’s background, thematic analysis of its list of programs, visual analysis of the photographs guided by Barthes’ (1964) semiology and hermeneutics were employed. Findings Formerly a native ritual before the Hispanic rule in the country, the San Isidro Pahiyas Festival is currently held by the Local Government of Lucban, Quezon, primarily for touristic purposes. The festival’s activities in 2015 reflected the municipality’s dependence on agriculture and the residents’ religiosity, skills and creativity. The adornments during the said celebration likewise gave a glimpse of the residents’ social status, livelihood sources and reverence to Saint Isidore. Through hermeneutics, the researcher also found issues on the residents’ idolatry and their motivation to display their produce during the festival. Research limitations/implications The findings of this study can only hold true for the 2015 celebration of the San Isidro Pahiyas Festival. Despite this, the study finds hermeneutics and Barthes’ (1964) semiology useful for festival studies. It also appeals to folk media studies and postcolonial theories. Originality/value This research provides an unconventional methodology for festival studies, which contributes to the very limited hermeneutic tourism studies abroad and folk media studies in the Philippines.
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Bray, Anne. "The Community Is Watching, and Replying: Art in Public Places and Spaces." Leonardo 35, no. 1 (February 2002): 15–21. http://dx.doi.org/10.1162/002409402753689263.
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The author describes her public-art projects and installa-tions, in which she has em-ployed various combinations of video, photography, audio, sculpture and performance, often in collaboration with artist Molly Cleator. The pieces spectacularize unresolved conflicts between the artists regarding what is personally truthful as compared to what society dictates, especially concerning the “three deviants”: women, art and nature. The artists question who defines these related realities and how. The author has also offered hundreds of artists a forum called L.A. Freewaves, a media arts organization and festival working in traditional and nontraditional venues throughout Los Angeles, in an effort to disseminate community-empowering public art widely.
Dissertations / Theses on the topic "Canmore Festival of Photography"
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Fernandes, Rodrigo Emanoel 1974. "Políticas e poéticas das fotografias do Festival de Apartamento = entre evidências e devires." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251185.
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Orientador: Wencesláo Machado de Oliveira JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-18T15:07:00Z (GMT). No. of bitstreams: 1 Fernandes_RodrigoEmanoel_M.pdf: 72285887 bytes, checksum: dbdb889e488b3b80cae7029a410ac4f8 (MD5) Previous issue date: 2011
Resumo: O Festival de Apartamento é uma proposta de realização de uma série de eventos ditos como "alternativos" (ou "auto-geridos", ou "independentes") para exposição e fruição de manifestações artísticas que se identificam com o conceito da "arte da performance" (performance art). Uma mostra/festa nômade, sem fins lucrativos, que ocorre em residências cedidas por aliados e simpatizantes, procurando manter-se propositalmente à margem das formas oficiais de gestão e autenticação de eventos artísticos. A organização e credibilidade desses festivais são administradas através de um blog que mantém um registro fotográfico contextualizado de cada evento, um endereço online constante para algo que muda de endereço físico a cada realização, onde as fotografias são apresentadas num dos seus aspectos mais fortemente aceitos pela cultura: sua potência de autenticação, vinculação a um real que se acredita existir além foto, documento, prova. A confirmação do que foi, reiterando a intenção do voltar a ser. Um papel significativo, portanto, na manutenção e continuidade dos festivais, mas que, ao mesmo tempo, enrijece e dificulta as possibilidades de devir dessas mesmas fotografias e, no limite, da própria proposta do festival em si. Nessa dissertação, desloco-me do papel de organizador para pesquisador das fotografias expostas no blog, buscando derivar com e através delas num navegar propositalmente incerto, deixando-me surpreender pela potência e variabilidade das linhas de fuga, ainda que tais linhas por vezes derivem para longe do objeto inicialmente buscado, até perdê-lo de vista ou transfigurá-lo em outros possíveis, com suas próprias potencialidades de dizer sobre a arte, a cultura e suas possibilidades de transformação.
Abstract: The Apartment Festival is a proposal of realization of a series of events known as "alternative" (or "auto-managed", or "independent") for exhibition and fruition of artistic manifestations that are identified with the concept of "performance art". A nomadic, non profitable showcase/party that occurs in residences borrowed by allied and sympathizers, trying to keep itself purposively outside official administration forms and artistic authentication. The organization and credibility of these festivals are managed through a blog that keeps a contextualized photographic record of each event, a constant online address for something that changes physical address between each iteration, where the pictures are presented in some of their more strongly accepted aspects by the culture: its authentication power, linking to something real that goes beyond photo, document, proof. The confirmation that it happened, reiterating the intention of happening again. A significant role, therefore, in the festivals' maintenance and continuity, but that, at the same time, hardens and complicates possibilities of derive these pictures and, at most, of the proposition of the festival itself. In this dissertation, I dislocate myself from the organizer role to research the exposed pictures in the blog, seeking to go through them in a purposeful uncertainty, letting me surprise myself by the power and variability of the escape lines, even such lines derive far away from the initially sought object, until losing sight or transfiguring him in other possibilities, with their own potentialities of talking about the art, the culture and their transformation possibilities.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Ramos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.
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Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.
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Chang, Chin-Chao, and 張晋超. "「The Mid-Summer Ghost Festival in Keelung」 Documentary Photography." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/t6zyak.
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碩士景文科技大學
視覺傳達設計系數位文創設計碩士在職專班
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The creation of real-time approach to documentary photography, combined with Digital SLR shooting skills, the most important festival record Keelung " The Mid-Summer Ghost Festival in Keelung "hoping to timely reservations instantly disappeared fleeting images. As a reference for "The Mid-summer Ghost Festival in Keelung" cultural image of the basis. Theoretical data were collected by literature review and participation in the entire festival activities, do in-depth discussion, in order to create a "The Mid-summer Ghost Festival in Keelung" cultural image database for future academic researcher reference. Create a set of images captured Keelung Ghost Festival and planning process, The Mid-Summer Ghost Festival in Keelung celebrations and cultural customs stand out. Expectations can be helpful for the development of local cultural and creative industries, and develop their cultural identity in local Keelung and reverence for his ancestors to establish the image of tourism in the local culture, the promotion of local characteristics of industrial development, the development of cultural and creative industries in the local Keelung. "The Mid-summer Ghost Festival in Keelung "celebration began in the Qing dynasty Xianfeng four years（AD 1855）has been 161 years of history. The main celebration is important folk group from the Keelung fifteen local people organized by last name. One of XII that the most important celebrations in Taiwan. The creative with digital photos presented in a way "The Mid-summer Ghost Festival in Keelung" the most beautiful side. And actually participate in activities, and implement the spirit of Truth documentary photography, the experience of their ancestors to solve ethnic disputes wisdom and hard work, the record occurred in relation The Mid-summer Ghost Festival in Keelung and the local Keelung. According to the performance of the theme is divided into three series of works: a series of religious rituals, processions and Humanities series two, series three Keelung impression as to the corresponding three-oriented "The Mid-summer Ghost Festival in Keelung" source in history, landscape, cultural customs, the lens extends by offering unique ancestors for ghost spiritual emotion. Let this traditional ceremonies and its associated memory, in occasion of the dying, leaving touching moment.
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"In Dust We Trust: A Narrative Journey into the Communal Heart of Public Art at the Burning Man Festival." Doctoral diss., 2010. http://hdl.handle.net/2286/R.I.8785.
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abstract: The Burning Man Festival, a free-spirited yet highly sophisticated social experiment celebrating "radical self expression and radical self reliance" is well-known for its large-scale and highly interactive public art installations. For twenty-five years, Burners (as festival participants are called) have been creating and displaying amazing works of art for the annual event, which currently takes place in Nevada's Black Rock Desert. In the desert, Burners build a temporary city, appropriate the open space to serve as their "tabula rasa" or "blank canvas," and unleash their creative potential in the name of "active participation" and social civility. In the process, they produce public art on a scale unprecedented in United States history. This dissertation, a visual and narrative ethnography, explores the layers of aesthetic and social meanings Burners associate with public art. Told in narrative form, this project utilizes "in situ" field notes, photographic field notes, rhetorical analyses of art installations, thematic analysis of Burner storytelling, and writing as a method of inquiry as means for investigating and understanding more fully the ways Burners create, display, and consume public art. Findings for this project indicate Burners value public art beyond its material presentation. Preparing for, building, celebrating, and experiencing aesthetic transformation through the engagement of public art all are viewed as valuable"art" experiences at Burning Man. Working in tandem, these experiences also produce profound feelings of connection and collaboration in the community, suggesting Burning Man's methods for producing public art could serve as model to follow, or points for reflection, for other groups wishing to use public art and other forms of material expression to bring their members closer together.Dissertation/Thesis
Ph.D. Communication 2010
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Taggart-Hodge, Tanya. "A century of landscape-level changes in the Bow watershed, Alberta, Canada, and implications for flood management." Thesis, 2016. http://hdl.handle.net/1828/7655.
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This study used a comparison of one hundred and forty-eight historical (1888-1913) and current (2008-2014) oblique photographs from thirty-two stations to identify land cover changes that have occurred in portions of the Bow and Elbow valleys as well as surrounding Kananaskis Country region. Implications of these changes for flooding and flood management were explored. Forest cover was found to have drastically increased over the past century, particularly in the Bow valley, as did areas of direct human development. In the same time period, grasslands increased in the Elbow valley but decreased in the Bow, while regenerating areas decreased uniformly throughout both valleys. An analysis of pre (2008)-and-post (2014) flood conditions demonstrated no change in coniferous forest cover in both valleys over the 6-year period, but uncovered a decline of 20% in the Elbow and 3% in the Bow in the broadleaf/mixedwood category. The Elbow’s channel zone was larger in 2014 compared to 2008, whereas the extent of the Bow’s channel zone remained constant. However, both the Bow and Elbow’s bare exposed bars increased substantially, most likely as a result of the 2013 flood. The major source of water flows that contributed to the 2013 flood event originated in high elevation rock and scree areas, which, unlike floodplains, are elements of the watershed that cannot be manipulated over time. It is now recognized that forest cover should act as a buffer to floods. Nevertheless, the 2013 flood event occurred despite the massive buffering effect of a huge increase in older forest stands across the study area. The final discussion includes recommendations for improving flood management in the area.Graduate
0329, 0768, 0478
tanya.taggarthodge@gmail.com
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Fundová, Johana. "Vizuální komunikace a budování identity Mezinárodního filmového festivalu Karlovy Vary prostřednictvím Instagramu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350559.
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This master's thesis focuses on visual communication of Karlovy Vary International Film Festival using social network - Instagram. The festival uses this network to communicate with spectators, which helps it create its identity and build a fan base. Theoretical part of the master's thesis describes history of Instagram as well as all the functions of this popular application. It also talks about Karlovy Vary International Film Festival and other international film festivals and their use of Instagram. The theoretical part concludes with definition of visual communication, focusing mostly on specifics of analogue, digital, and Internet photography. Using quantitative content analysis of Instagram pictures and semiotic analysis of technical and content elements, the thesis analyzes what visual style of communication the festival uses, and how the fans and media understand and transform the content. For the research purposes, the festival's Instargam profile as well as selected media and spectators' profiles were followed. The purpose of the thesis is to describe what visual language the festival organizers use on Instagram and how this language is reflected in building the identity of the festival itself.
Books on the topic "Canmore Festival of Photography"
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Newzones Gallery of Contemporary Art. Perception: Group show in conjunction with Exposure 2014 : Calgary/Banff/Canmore Festival of Photography. Calgary, Alberta: Newzones Gallery of Contemporary Art, 2014.
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(2013), Getxophoto (Festival), ed. Getxophoto 2011: Argazki jaialdia = festival de fotografía = photography festival. Guecho (Spain): Begihandi, 2011.
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Circulation[s]: Festival de la jeune photographie européenne = European young photography festival. Paris: Trans Photographic Press, 2012.
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Italy) Festival della fotografia etica (10th 2019 Lodi. Festival della fotografia etica, 2019. Milan]: Emuse, 2019.
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Alasdair, Foster, and Fotofeis Ltd, eds. Fotofeis: Scottish international festival of photography. Edinburgh: Fotofeis Ltd., 1993.
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Delogu, Marco. Fotografia: Primo Festival internazionale di Roma. Milano: Bruno Mondadori, 2002.
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Gallery, South London Art, and Spectrum, eds. Spectrum women's photography festival: Open [exhibition]. London: Spectrum, 1988.
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Mōresopoulos, Manolēs, and Marianna Vagena. APhF:09: Athens Photo Festival. Athēna: Hellēniko Kentro Phōtographias, 2009.
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editor, Delogu Marco, Museo d'arte contemporanea Roma, Fotografia (Festival) (9th : 2010 : Rome, Italy), and Fotografia (Festival) (9th : 2010 : Rome, Italy), eds. Fotografia: Festival internazionale di Roma. Roma: Edizioni Postcart, 2010.
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Italy) Festival della fotografia etica (13th 2022 Lodi. Festival della fotografia etica 2022. Valmadrera]: Emuse, 2022.
Find full textBook chapters on the topic "Canmore Festival of Photography"
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Pethő, Ágnes. "The Photo-filmic and the Post-human: Picturesque Landscapes at the Peripheries of Global Cinema." In Cinematic Intermediality, 38–51. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0004.
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The chapter describes a slightly paradoxical form of the picturesque tableau that has emerged in a globalized, markedly transnational cinema. The relative autonomy of such a tableau, defined by the aesthetic of high definition digital photography, foregrounds both the single photograph’s inherent connection to death and its close ties with the art of painting. As such, it also becomes a perfect form to unfold a kind of post-human landscape, a setting for eschatological narratives told in the minimalist mode, staging a clash between elemental, biological existence and powerful forces of society that threaten this existence with imminent destruction. In the international arthouse film festival circuit we see a number of films made in the context of so-called peripheral cinemas which engage in this way the in-betweenness of photography and film in an unsettling mixture of documentary realism and pictorial detachment. The chapter focuses on the photo-filmic qualities of three such films: Timbuktu directed by Abderrahmane Sissako, Test (Ispytaniye) by Alexander Kott, and Nabat, by Elchin Musaoglu (all made in 2014).
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Perry, Beth, and Jessica Symons. "Towards cultural ecologies: why urban cultural policy must embrace multiple cultural agendas." In Cultural Intermediaries Connecting Communities, 63–76. Policy Press, 2019. http://dx.doi.org/10.1332/policypress/9781447344995.003.0004.
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This chapter draws on local ethnographic work undertaken in Ordsall, Salford UK. The Ideas4Ordsall initiative comprised 25 ideas for cultural activity generated by local people, funded by the AHRC Connected Communities programme. People’s ideas for cultural activities included dog-walking, beekeeping, photography, craft, cooking, bike workshops, a community festival, a community noticeboard and a graphic design company. We argue that local people’s ideas speak back and challenge narrow framings of the creative city, with a focus on connecting community; curating history; developing social enterprise; capturing a sense of place and sharing knowledge. Although disconnected from mainstream cultural activities, our process revealed a rich and vibrant community in the area, running through family networks where people socialise daily with each other, and find culture in community, mutuality, sociality, history and place. We draw on our study to argue that progress towards cultural democracy can be enhanced through anthropological understandings of culture as webs of significance and the patterns through which people accommodate their daily activities
Conference papers on the topic "Canmore Festival of Photography"
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Kuo-Chun, Chiu. "A cultural tour and representation of creativity – commentary on the orientation and potential influence of the Kaohsiung Photography Festival." In 2018 1st IEEE International Conference on Knowledge Innovation and Invention (ICKII). IEEE, 2018. http://dx.doi.org/10.1109/ickii.2018.8569072.
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Kuo-Chun, Chiu. "A cultural tour and representation of creativity — commentary on the orientation and potential influence of the Tainan photography festival." In 2016 International Conference on Advanced Materials for Science and Engineering (ICAMSE). IEEE, 2016. http://dx.doi.org/10.1109/icamse.2016.7840352.
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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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Ahmed, Hanaa, Sana Elashie, and Lily O'Hara. "Evaluating the Impact of a brief Health at Every Size-Based activity on body positivity and internal weight-based oppression." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0188.
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Introduction: Internal weight-based oppression WBO is the internalized negative attitudes, values and beliefs people hold about body weight, and is associated with depression, anxiety, body image disturbance, disordered eating, avoidance of physical activity, and increased calorie consumption. Conversely, body positivity encompasses body acceptance, body appreciation, and body love, and adaptive approaches protective of health and wellbeing. The objective of the study was to evaluate the impact of the brief activity on body positivity and internal WBO in female students at Qatar University. Methods: The study used a quasi-experimental pre-post evaluation design, with quantitative assessment of body positivity and internal weight-based oppression before a brief activity (pre), immediately afterwards (post), and 10 weeks later (follow up), and qualitative assessment at the 10-week follow up. Love your Body, a Health at Every Size-based activity, was developed and delivered by public health students as part of the Mental Health Festival. The 10- minute activity involved Yay scales, positive affirmation stickers, photography, postcards, and gratitude writing. Evaluation measures used were the Body Appreciation Scale 2 (BAS-2), Modified Weight Bias Internalization Scale (M-WBIS), Fat Attitudes Assessment Toolkit Size Acceptance (FAAT-SA) and Self Reflection (FAAT-SR) subscales, and an open-ended questionnaire. Results: A total of 35 female undergraduate students completed assessments at all time points. Self-reflection and body appreciation increased significantly after the activity. All measures showed a trend towards improvement from pre to post assessment, but a return to baseline or near baseline status after 10 weeks. Qualitative results suggested that improvements were sustained at follow up. Conclusion: The activity had a positive effect on participants’ body appreciation and self-reflection in the short term, but these improvements were not sustained over the longer term. The high number of missing responses compromised the potential to determine findings that are more robust.
Reports on the topic "Canmore Festival of Photography"
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Brophy, Kenny, and Alison Sheridan, eds. Neolithic Scotland: ScARF Panel Report. Society of Antiquaries of Scotland, June 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.
Full textAbstract:
The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular need of targeted research. Also, here and elsewhere in Scotland, the chronology of developments needs to be clarified, especially as regards developments in the Hebrides. Lifeways and Lifestyles: Research needs to be directed towards filling the substantial gaps in our understanding of: i) subsistence strategies; ii) landscape use (including issues of population size and distribution); iii) environmental change and its consequences – and in particular issues of sea level rise, peat formation and woodland regeneration; and iv) the nature and organisation of the places where people lived; and to track changes over time in all of these. Material Culture and Use of Resources: In addition to fine-tuning our characterisation of material culture and resource use (and its changes over the course of the Neolithic), we need to apply a wider range of analytical approaches in order to discover more about manufacture and use.Some basic questions still need to be addressed (e.g. the chronology of felsite use in Shetland; what kind of pottery was in use, c 3000–2500, in areas where Grooved Ware was not used, etc.) and are outlined in the relevant section of the document. Our knowledge of organic artefacts is very limited, so research in waterlogged contexts is desirable. Identity, Society, Belief Systems: Basic questions about the organisation of society need to be addressed: are we dealing with communities that started out as egalitarian, but (in some regions) became socially differentiated? Can we identify acculturated indigenous people? How much mobility, and what kind of mobility, was there at different times during the Neolithic? And our chronology of certain monument types and key sites (including the Ring of Brodgar, despite its recent excavation) requires to be clarified, especially since we now know that certain types of monument (including Clava cairns) were not built during the Neolithic. The way in which certain types of site (e.g. large palisaded enclosures) were used remains to be clarified. Research and methodological issues: There is still much ignorance of the results of past and current research, so more effective means of dissemination are required. Basic inventory information (e.g. the Scottish Human Remains Database) needs to be compiled, and Canmore and museum database information needs to be updated and expanded – and, where not already available online, placed online, preferably with a Scottish Neolithic e-hub that directs the enquirer to all the available sources of information. The Historic Scotland on-line radiocarbon date inventory needs to be resurrected and kept up to date. Under-used resources, including the rich aerial photography archive in the NMRS, need to have their potential fully exploited. Multi-disciplinary, collaborative research (and the application of GIS modelling to spatial data in order to process the results) is vital if we are to escape from the current ‘silo’ approach and address key research questions from a range of perspectives; and awareness of relevant research outside Scotland is essential if we are to avoid reinventing the wheel. Our perspective needs to encompass multi-scale approaches, so that ScARF Neolithic Panel Report iv developments within Scotland can be understood at a local, regional and wider level. Most importantly, the right questions need to be framed, and the right research strategies need to be developed, in order to extract the maximum amount of information about the Scottish Neolithic.