Dissertations / Theses on the topic 'Landscape photography'
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Skoufias, Emmanouil. "Narratives in landscape photography : the narrative potential of transitional landscapes." Thesis, University of Westminster, 2006. https://westminsterresearch.westminster.ac.uk/item/92756/narratives-in-landscape-photography-the-narrative.
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The aim ofthis thesis is to use practical and theoretical research to investigate the relationship of transitional landscapes with narrative. As transitional landscapes I refer to the photographic depiction of unorganised spaces situated between the rural and urban zones. The research engages in practical fieldwork and theoretical study. It comprises a written thesis and a visual output (photographic project). The theoretical part examines the historical framework focusing in the postmodern re-evaluations oflandscape photography. My research investigates if the iconographic austerity of transitional landscapes leads to interpretive austerity or on the contrary enhances their range of interpretations. The research methodology is influenced by theories that acknowledge the importance of the reader and it is qualitative and experimental. The research employs as key method visual questionnaires, which focus on the capacity of single images to prompt narrative interpretation. The groups of people that the questionnaires are distributed to, vary in their approach and regard of landscape and narrative. The results from this survey indicate how we perceive transitional landscapes, the type of narratives they suggest and what prompts them to interpret the images as specific narratives. The main findings ofthe study revealed that: 1. The iconographic austerity of transitional landscapes appears as a fertile ground for narratives as indicated by the high percentage of respondents who wrote narratives, the high percentage of narratives compared to descriptions and transformations and the respondents approach more as narrators rather than observers. 2. The respondents seemed to wish to categorise the transitional landscapes more as an urban or rural environment rather than a transitional environment. 3. A darker, closer to black & white landscape image is more responsive to narratives rather than the normal exposure and colour version of the same landscape image. Furthermore, transitional landscapes seem more narratively responsive in their blurred version. 4. Transitional landscapes create more pessimistic than optimistic responses justifying landscape theories based on the psychological approach to landscape. The findings are employed as a creative tool, creating the form and the content of the photographic project, which also incorporates the actual stories of the respondents for transitional landscapes. The photographic project displays two main narrative strategies in photography: a) Narratives created solely by images and b) Narratives created from combinin~ text and image. It progress from strategy a to b in four steps, gradually shifting from vertical panoramic landscapes to horizontal panoramic 'wordscapes'. The original co.ntribution to knowledge is in both the artwork and the method of producing it as I am extendmg the boundaries of what is currently considered as the landscape genre not only in terms of collective authoring but also about the transition of the visual sign to the word sign, thus examining our processes of making sense of signs and the subjective nature of interpretation. In my.concerns for transitional landscapes, I am investigating an aspect of a landscape genre, which has been marginalized in both traditional photographic history and subsequent critical debates.
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Tolonen, Juha. "Waste*lands : landscape photography modernity." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/268.
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This is a thesis with two distinct but connected halves. Text and image are applied to the subject of wastelands; the former works to raise the status of wastelands while the latter gathers visual fragments of wastelands to harness a picture of contemporary modernity. The two combine to create a practical and poetic, a social and flaneurial picture of wastelands. I identify wastelands as the material manifestation of industrial modernity. Although wasteland is an overarching term used to describe general decline in many social, cultural and natural spheres. I adopt it specifically to describe spaces of abandoned industry that have emerged since the post-war years in the West. Wastelands are invitations to engage with the destructive side of modernity. Berman (1982) describes modernity as simultaneously progressive and destructive. Yet I suggest that this destructive face is too often disregarded. I see it as a matter of necessity to reengage more thoughtfully with the processes and manifestations of destruction. Wastelands encourage us to do both. Institutional and market forces generally promote limited responses to wastelands. Hawkins (2006) identifies a similar situation in the realm of waste in general. She suggests that the affects of waste should be considered alongside traditional institutional dogma to expand our relationship with waste. This position is adopted in my examination of wastelands. By avoiding dismissive responses wastelands can emerge as potential spaces of improvisation. The text places wasteland in context with other modern traditions of landscape, it also seeks to localise the wasteland in particular social contexts. The images provide a more generalised reading of wasteland; they are the souvenirs of flanuerial adventures in wastelands. Wastelands are authentic spaces of modernity.
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Kirkpatrick, Erika Marie. "Photography, the State, and War: Mapping the Contemporary War Photography Landscape." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/35723.
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This dissertation explores the ways in which media, visuality, and politics intersect through an analysis of contemporary war photography. In so doing, it seeks to uncover how war photography as a social practice works to produce, perform and construct the State. Furthermore, it argues that this productive and performative power works to constrain the conditions of possibility for geopolitics. The central argument of this project is that contemporary war photography reifies a view of the international in which the liberal, democratic West is pitted against the barbaric Islamic world in a ‘civilizational’ struggle. This project’s key contribution to knowledge rests in its unique and rigorous research methodology (Visual Discourse Analysis) – mixing as it does inspiration from both quantitative and qualitative approaches to scholarship. Empirically, the dissertation rests on the detailed analysis of over 1900 war images collected from 30 different media sources published between the years 2000-2013.
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Ito, Atsuhide. "Separate landscape : non-place, aesthetics and landscape on the Tōkaidō Route, Japan." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/022fc32a-3aa4-451e-8fb8-7941389e7e6e.
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Separate landscape is a research that combines a theory and practice through the examination of 'non-place'. Non-places such as airports, waiting lounges, car parks, shopping malls have been defined as places which lack a sense of history, social relations, and identity.
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Petridis, Paris. "Notes at the edge of landscape." Thesis, University of Sunderland, 2010. http://sure.sunderland.ac.uk/3309/.
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This thesis examines landscape in the course of an itinerancy and positions the road as its constant figurative as well as allegorical component. The examination is applied on a cohesive body of original photographic work selected from two published monographs and it is juxtaposed with comparable photographs from other practitioners on the field. My methodological approach in the production of the photographs combines technical and morphological elements from the genres of subjective documentary and landscape photography. This synthesis entails a variety of conceptual choices, embodied practices and operational devices as well as the deployment of different formats and techniques. Similarly, the commentary on the photographs relates both the indexical guarantee and the photographs' symbolic significations. Seen in the light of the Greek landscape tradition that runs from the picturesque and the mythological to the constructed and the staged, this thesis associates the representation of landscape with the experience of travel and argues for its contingent nature.
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Moon, Jen. "Cul de sac /." Online version of thesis, 2007. http://hdl.handle.net/1850/4392.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.
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Master of Visual ArtsThe Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1098.
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The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Haggarty, Roni Maureen. "Photo/synthesis: photography, pedagogy and place in a northern landscape /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2202.
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Hauser, Kitty. "Shadow sites : photography, archaeology, and the British landscape 1927-1955 /." Oxford ; New york : Oxford university press, 2007. http://catalogue.bnf.fr/ark:/12148/cb411636232.
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Aslanidou, Georgia. "The role of Landscape Photography in establishment of National Parks." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-364437.
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The first part of this paper examines the fundamental principles of landscape photography starting with the formation of landscape as a concept and a painting genre, up to landscape photography and its various identities as an art medium, a document, an imperialistic weapon, a tool of identification. The beginning of landscape photography is presented with special focus on mountain photography. The theme moves American West where the first National Park was born, an institution that can be both praised for bringing people closer to nature, and blamed for keeping people away from direct natural experience.
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Swensen, James R. "The Rephotographic Survey Project (19770-1979) and the Landscape of Photography." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194916.
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In 1976 two young photographers, Mark Klett and JoAnn Verburg, and a photo-historian named Ellen Manchester came together with an idea to rephotograph sites in the American West that had originally been documented by survey photographers such as William Henry Jackson and Timothy O'Sullivan. By the spring of 1977 and with the support of various organizations they began a project that spanned the next three years and would eventually become known as the Rephotographic Survey Project (RSP). In many ways, the RSP represents an important moment in the history of photography and the representation of the American West. Through analysis of their work, archival documents, contemporary sources, and interviews with the original members of the RSP and several others, this dissertation examines the activities of the project and its various members, which also included Gordon Bushaw and Rick Dingus. More than the RSP, this dissertation also focuses on the growing culture of photography that boomed in the 1970s. Photography was no longer seen as an outsider to the world of art but was benefiting from newfound opportunities and growth. Without such a culture, this work argues, it would not have been possible for the RSP to take place. By the end of their project, however, photography was undergoing another important transition as modernism was giving way to the more critical climate of postmodernism. When the RSP finally published their work In 1984, their project and the community of photography that fostered their ideas was undergoing profound changes. This study also closely examines the RSP's fieldwork in the American West and the various discourses that the project encountered in this meaningful space. Like photography, the West was undergoing significant changes that the RSP was able to observe and document. Through their process that matched images from the past with photographs of their present, the RSP was able to record diverse landscapes that had or had not changed over the subsequent century. Furthermore, it also provided insight into the ways in which the West had been represented and perceived over time and in a new history of the West.
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Autry, La Tanya S. "Landscapes interrupted a study of the Without Sanctuary lynching postcards /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2009. http://proquest.umi.com/pqdweb?did=1885462161&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Baraklianou, Stergia. "Photographing the landscape of memory : photography, memory and the re-making of the notion of landscape." Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490242.
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This thesis aims at articulating the paradoxical nature of the photographic image, via a practice based creative activity. The temporality of the photograph lies in a unique instant-moment when the image is transcribed onto a particular frame, the photographic frame. But in order to open up this very photographic instant or photographic frame, we must also situate the photographic act in its surrounding. The exercise takes place `out in the open.' Situated in the natural landscape, the photographic event relies on the mutual immanence of being and doing at the same time. Opening up the temporality of the photographic frame leads me to consider the meaning of pasearse and also the notion of creative memory. Thus the temporality of the photographic frame does not appear completely autonomous from the photographic body or from the natural surroundings of the photographed place. Rather, it is a relational event combining stillness and movement. The nature of this instant is that at one moment (at the same time), it belongs to a plane of immanence (Spinoza) or the temporality of duree (Henri Bergson). What the photographic frame does is give support to an illusion of a stop or arrest in the passage of the flow of time. Pasearse is a self-reflexive active verb that opens up a temporality where immanence and being coincide. Pasearse can help to open up a photographic instant, to ascribe a certain temporality to the photographic event. The aim is to describe the opening up of the frame or instant as transference, rather than a bifurcation of passive or active. Being as pasearse (Giorgio Agamben). This idea of a perpetual present tense is the experienced time or `folded time. ' (Michel Serres). This temporality constitutes the event of the frame as a time that allows oneself a `view to viewing' (Derrida).
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Goodyear, Frank Henry. "Constructing a national landscape : photography and tourism in nineteenth-century America /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Nieminen, Eugene A. "Sirens of the shoreline /." Online version of thesis, 1990. http://hdl.handle.net/1850/10846.
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Varjabedian, Craig. "The kingdom, the power, and the glory /." Online version of thesis, 1988. http://hdl.handle.net/1850/10423.
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Sniderman, Julia. "An adaptation of visitor employed photography to study enivironmental [sic] perceptions in the historic/cultural landscape a case study of the Bristol, Rhode Island Historic District /." [Madison, Wisc.] : Univ. of Wisconsin-Madision, 1986. http://catalog.hathitrust.org/api/volumes/oclc/15358719.html.
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Gillis, Natalie Kersey. "Reconstructions : the contemporary Southern landscape by its photographers." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002736.
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Flynn, Sarah Justine. "A 21st century campus aesthetic: photography, memory, performance." Kansas State University, 2013. http://hdl.handle.net/2097/15593.
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Master of Landscape ArchitectureDepartment of Landscape Architecture/Regional and Community Planning
Laurence A. Clement, Jr.
Advancements in technology, architecture, landscape, planning and design, and education are being pursued in the 21st century. Unfortunately, the campuses of higher education institutions, which promote such advancements, do not reflect the vision of innovation and creativity. Rather, the exterior environments on college campuses portray a 19th century gardenesque landscape aesthetic, which emphasizes a “park-like” appearance and discounts ecological functions. The Kansas State University campus evidences a gardenesque aesthetic that arguably is not performing socially or ecologically to its fullest potential. This Master’s Project and Report uses an open space on K-State’s campus, Coffman Commons, to challenge its aesthetic performance. Campus landscape aesthetic performance can be improved by designing a community amenity that celebrates ecological processes, especially regarding stormwater, and involves the campus community in the design process. A conceptual framework, rooted in the Vitruvian Triad, directs the project’s methodology. Methods of photojournalism and design are conducted. Photojournalism is used to collect aesthetic responses of Coffman Commons from K-State students, faculty, and staff. Their photographic and textual responses inform the design process. The photography method allows each participant to confer importance to aspects of the landscape that moved them. Through photographic coding and content analysis, commonalities are discovered in the landscape with which each person identifies. The participants’ written descriptions further inform an understanding of expectations and hopes for Coffman Commons. Influenced by the photographic research and guided by set goals and objectives, the design method allows the innovation of a contextually specific and personable design solution for Coffman Commons. The design exhibits two community amenities which invite social activity to Coffman Commons. The amenities incorporate visible water systems (rain gardens and dry swales) - increasing the ecological performance of the Commons, and provide research opportunities for piezoelectric technology. The design also features inscriptions which honor Dr. Coffman and K-State Distinguished Faculty. This Master’s Project and Report transforms a gardensque campus landscape into a high-performance landscape that responsibly manages stormwater and enriches user experience.
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Fyfe, Jan Barbara. "Meanwhile/becoming : a postphenomenological position exploring vision and visuality in landscape photography." Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/620924/.
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Meanwhile/Becoming is a practice-led research project that includes a written thesis and a final exhibition of work investigating methods of creating photographs that do not conform to the Cartesian perspective prevalent in photographs taken with a standard format camera. The research explores the opportunity of examining a visual space other than that offered by the standard single lens reflex camera through manipulation of the pinhole camera. The photographic series that constitutes Meanwhile/Becoming uses processes that produce what the research describes as a reinterpretation of phenomenology, postphenomenology and posthumanism through photographic practice; where the photographs are expressive of the what and how humans see and the lived experience of the situated perspectives of a specific space. The research question reflects and critiques this position asking, if multiple viewpoints are presented within a single photograph, does the resulting photograph incorporate the human experience of, relation to and presence in, the world? Once expressed within this framework, the research questions if these multiple viewpoints more closely represent the physiology of how humans see. The concept of the meanwhile is taken as the timespace between events, examining the “meanwhile” through the landscape of the domestic garden. “Becoming” refers to “the movement between events”, an interval between events that allows the processes of creativity and change through differentiation and duration, identified by Gilles Deleuze and Félix Guattari (2004) and Henri Bergson (1911). Together, my practice and thesis interrogate the restricted boundaries of the Cartesian model of constructed visual space through the apparatus of a unique purpose-built multiple pinhole camera. This apparatus mediates between me and the world, enabling me to develop a new method of making photographs that considers space/place and how we respond to it both physically and perceptually.
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Szumita, Lauren. "Toward a New Landscape: The Architectural Photography of Gabriele Basilico, 1978-1984." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18740.
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Trained as an architect shortly before becoming a photographer of urban spaces, Italian photographer Gabriele Basilico (1944-2013) is celebrated for his work on the city in transition. Beginning in 1978, Basilico refrained from photographing people and turned his attention to the architectural structures that make up a city, an approach that would define the remainder of his career. His focus on architecture and urban landscapes places Basilico in the realm of the "new landscape photography" in Italy, which is recognized for depicting previously overlooked areas of the city, such as defunct industrial sites, with renewed interest.
This thesis investigates three seminal works in Basilico's early career that secure his position in the new landscape photography. I argue that he maintains an intentional subjectivity, an intimate connection with his subject, which manifests itself through a humanistic or anthropomorphic presence in his photographs, articulating the true essence of his urban subjects.
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Stokes, Agnes. "Wire water wood /." Online version of thesis, 1987. http://hdl.handle.net/1850/11466.
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Gibney, David Clark. "Thesis report of David Clark Gibney." Online version of thesis, 1989. http://hdl.handle.net/1850/11512.
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Whitten, Jordan. "The Boone Dam Project." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3585.
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The photographer discusses his work in “The Boone Dam Project”, a Masters of Fine Art exhibit held at the Tipton Gallery, Johnson City, Tennessee from March 18 through March 29, 2019. The exhibition consists of a collection of 14 large color archival inkjet prints from a large body of work that surveys a lakeside community’s landscape and residents affected by lowered lake levels during a dam repair. A catalog of the exhibit is included at the end of this thesis.
Whitten examines formal and conceptual influences through historical and contemporary photographers. Images included are works made by Robert Adams, Stephen Shore, Alec Soth, Susan Lipper. Influences outside of photography are discussed through literary works of Flannery O’Connor and Raymond Carver. Critical influence regarding landscape and human interactions is presented in regards to essays by J.B. Jackson.
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Wall, Gina. "Photographic dissemination : iterations of difference in the text of landscape and photographic writing." Thesis, University of Dundee, 2011. https://discovery.dundee.ac.uk/en/studentTheses/ede09f8b-b9e3-4922-909d-7617c01f4d33.
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This thesis challenges the notion that landscape can be seen or thought as a picture i.e. in terms of its modern definition and etymology. In questioning the modern definition of landscape the thesis asks a number of specific questions: does the etymology of landscape yield any latent meanings which may be profitably explored? Can these be used as the basis for a new formulation of landscape i.e. ‘landtext’ or landscape as text? The thesis goes on to consider what the implications of this are. Importantly, this thesis is practice based which has entailed that the work is interdisciplinary in nature, the working method amounts to a dialogue between disciplines. The practice with which the thesis concerns itself is photography and it has been a pivotal component of this research to consider photography in terms of Jacques Derrida’s expanded field of writing. The photograph as a motif of the metaphysics of presence, a Barthesean emanation, is presented in relation to Derrida’s grammatology, or generalised system of difference. Critically this thesis asks is photography a form of writing? If so, what are the consequences of this for the relation between photographic writing, or as it is termed here, photogrammatology and landtext? The thesis explores whether intertextuality adequately describe the nexus of relations between each of the systems of difference. Due to the practice led nature of the project, a significant consideration has been the implication of a relational, text based understanding of practice for the viewer or reader in the gallery. To this end the thesis investigates relational aesthetics vis à vis text with a view to theorising photographic practice in a gallery setting in terms of a text which the reader enters. In addition, the role of light in the intertextual relation is considered, especially with respect to the articulation of difference.
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Hagerty, Peter. "The continuity of landscape representation : the photography of Edward Chambre Hardman (1898-1988)." Thesis, Liverpool John Moores University, 1999. http://researchonline.ljmu.ac.uk/5024/.
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Pištorová, Petra. "Médium pochybností." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2019. http://www.nusl.cz/ntk/nusl-396109.
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Within the textual part, I was trying to describe the character of my project and explain both my working style and work essentials using particular examples. I have given a description of the initial points and the interconnection between individual parts and the base thoughts of this project.
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Preston, Yan Wang. "Yangtze - the mother river : photography, myth and deep mapping." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/12225.
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'The Yangtze is China’s Mother River. It is my Mother River.’ This practice-based PhD research was initially motivated by the researcher’s personal search for The Mother River and a critical question in finding her own vision of the river. As the field experiences contradicted the researcher’s expectation of The Mother River, the research methodology changed and led to a new, critical understanding: The Mother River is mythic. This thesis examines the politics and characters of such a myth. It also asks with what research methods and visual strategy can landscape photography interrogate The Mother River myth’s complexities. Between 2010 and 2014, the author conducted eight field trips to the Yangtze River. Initially working observationally, it soon became apparent that this method alone was insufficient in reaching an original understanding of the physical and cultural Yangtze landscapes. A series of tactile interventions within the landscapes were then performed and critically evaluated prior to the next phase of the research, in which the entire 6,211 km of the Yangtze River was photographed at precise 100 km intervals. A new body of photographic work titled Mother River was produced as a result. To test its effect in challenging the myth, Mother River has been staged in 12 international exhibitions and printed in one complete catalogue. Over 80,000 people visited the shows in China. Deep mapping, which combines experiential and contextual research with multi-sensorial emplacement as a key method, emerged from this research process and is argued as a new contribution to the field of photographic research. Meanwhile, the artistic output of this research, Mother River, is the most systematic documentation of the entire river made by one person since the 1840s. Furthermore, it is argued that using the Y Points System as a physical framework and storytelling a visual strategy, Mother River challenges the mythic Yangtze The Mother River with a scale and complexity rarely employed by other photographers.
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Dracup, Liza. "Photographic strategies for visualising the landscape and natural history of Northern England : the ordinary and the extraordinary." Thesis, University of Sunderland, 2017. http://sure.sunderland.ac.uk/7467/.
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This critical commentary reviews and contextualises existing research on Photographic strategies for visualising the landscape and natural history of Northern England: the ordinary and the extraordinary. The commentary examines three major bodies of photographic work that have each been publicly disseminated as major exhibitions, Sharpe’s Wood (2007) nominated for the Prix Pictet (Earth) Photography Award (2009), Chasing the Gloaming (2011) nominated for the Deutsche Börse and Re: Collections (2013). Each case study has been subject to critical peer and public review and this is evaluated in the commentary and a comprehensive box of evidential research material is presented to support the practice-led research submission. The commentary positions the practice-led enquiry against the overall research aims and objectives. The research focus has made a significant contribution to landscape photographic discourse, through experimental and transformational analogue and digital photographic methodologies (camera and non-camera) in the visualisation of the hidden and unseen aspects of the landscape and natural history of the north of England. The commentary frames and highlights the wide-ranging historical collections based research across photographic, artistic and science disciplines, and it tracks their impact on the research trajectory and on my contemporary photographic practice. Photographic critical thinking (Walter Benjamin and Roland Barthes) supported the theoretical research aims; their ideas provided critical filters for practice-led experiments with camera and non-camera seeing and the aim of visualising the hidden through experimental photographic methodologies. Historical and contemporary nature writing also informed the photographic research trajectory, specifically with ideas around the locale within a wider cultural context and ideas around the (lost) meaning of landscape. The resulting research outputs have culminated in an examination of the wider cultural value of the ordinary and the local landscape visualised photographically.
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Schroeder, Darren B. "Landscapes From The Road." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1644.
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LANDSCAPES FROM THE ROAD In this paper I will discuss the images from Landscapes From The Road and how they function within a canon of landscape. I will discuss these images in relation to traditional romantic and pastoral constructs of landscape as well as the ways in which the images formulate landscape as uniquely and materialistically contemporary. I will discuss landscape as a concept related to the contemplation of the Sublime, renewed individuality, and its contemporary treatment as a location of transactional and material interest. I will contextualize the images of Landscapes From the Road as representing a more inclusive definition of nature wherein certain contradictions arise. These contradictions primarily involve a conflict between ideations of an originary or primal landscape and that of a landscape defined by human processes of habitation. In my photographs and in this paper I present the idea of landscape as inclusive of both halves of this equation. I offer a holistic landscape that engages on an ontic and transcendental level as well as on a material level in which the landscape becomes the sight of ambiguities intrinsic to and inseparable from the process of human habitation.
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Harrild, Christopher S. "Exploring the Potential of Resident Employed Photography as a Context Sensitive Technique in Roadway Design." DigitalCommons@USU, 2014. https://digitalcommons.usu.edu/etd/2065.
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The purpose of the study was to explore the potential of resident employed photography as a context sensitive assessment tool in roadway design by identifying the key elements of resident employed photography and context sensitivity and then exploring the potential of the elements of resident employed photography that may contribute to context sensitivity in roadway design. State and federal transportation agencies have identified principles and potential outcomes with the intent to guide processes that are sensitive to the context of a project’s surroundings. The improved design of public roadways to meet the needs of those who live and travel along them is the goal of these agencies. Resident employed photography is the use of a photograph to obtain information from a participant. The study explored resident employed photography as a context sensitive technique in the discovery of the attributes that reflect and define participant attachment to an environment. The technique therefore relied upon the existing community in the establishment of elements of value to be used to shape and guide the roadway design of the realignment of Utah State Route 30 through a neighborhood in Logan, Utah. Cameras and photograph logs were distributed to households in the residential area and participants were invited to provide contextual information about their neighborhood with regard to the proposed realignment. This information was gathered and analyzed using a grounded theory approach. The data derived from the participant’s photos, written comments, and interviews shaped and added to the research questions and resultant theory. In the study, areas of concern and mitigation ideas as identified by the participants found that a complete streets approach focused on maintaining or improving the feel of the neighborhood may be the best possible alternative in the realignment of SR-30. However, the success of this alternative is largely dependent upon a design professional’s consideration of the contextual relevance of the data provided through resident employed photography.
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Hill, Hayley Rose. "Personal Landscapes: Paradox in Practice." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17621.
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This research paper discusses the role of paradox in my creative and spiritual practices, inspired by a six month exchange to Japan, and 'Peaks', my work responding to that experience. 'Peaks' reflects upon the contrast between the natural and urban landscapes of Japan, and the relationship between contemporary Japanese culture and traditional spiritual ideals. 'Peaks' is also a personal enquiry, questioning the role of spiritual seeking in contemporary life. I explore seven key themes in relation to 'Peaks' and my broader practices - naivety, autobiography, narrative, history, nature, mysticism and liminality. This progression leads to an understanding of the human need for connection beyond our individual selves, to nature, to the numinous. Being human is to embody a state of paradox, as the ‘one’ in ‘oneness’, the ‘finite’ in the ‘infinite’. Creative and spiritual practices provide means to engage with this essential relationship.
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Patrício, Maria João Canteiro. "Arrábida antes e agora: monitorização da paisagem. Repeat photography e registo de alterações." Master's thesis, ISA/UL, 2014. http://hdl.handle.net/10400.5/8251.
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Jurado, Barroso Pauline. "Photographier des ruines modernes, en témoin d'une histoire de l'urbanisme récent." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES041.
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La « défonctionnalisation » d’une architecture transforme intégralement la lecture de l’objet: les traces d’usure ont une charge symbolique et expressive qui en modifient sa réception. Les «ruines modernes» renvoient à une obsolescence précoce qui caractérise une époque dans laquelle l’industrialisation des procédés de construction incite au remplacement de l’ancien par le nouveau et multiplie les destructions. Elles sont étroitement liées au progrès et à l’accélération du renouvellement des constructions urbaines. Les architectures des grands ensembles sont les derniers symboles de l’ère moderne menacés par la destruction ; elles intriguent et fascinent par leur fragilité et leur monumentalité. La photographie artistique peut-elle proposer une contribution critique qui invite à porter un autre regard tout en cherchant à susciter un questionnement sur les ruines comme composantes du paysage urbain actuel ? Il semble que la reconsidération des ruines par la création est possible. L’objet de recherche de cette thèse n’est pas la ruine en elle-même, mais ses représentations par la photographie. Il ne s’agit pas de proposer une méthodologie, ni un guide pour photographier les ruines, mais de présenter les questionnements émergeant de pratiques photographiques des espaces en déshérence, en tant qu’expériences spatiales, culturelles et sensiblesThe « Defunctionalization » of architecture completely transforms the reading of the object : traces of erosion have a symbolic and expressive charge that modifies its interpretation. «Modern ruins» refer to early obsolescence, characteristic of the industrialization of building process which encourages the substitution of old things by new ones and increase destructions. They are closely linked to progress and the acceleration of urban renewal. Tower blocks of social housing appear to be the ultimate symbols of modern structures threatened by destruction; their monumentality and weakness intrigue and fascinate. How could artistic photography offer a critical contribution that changes the way we gaze at ruins as a component of actual urban landscape? It seems that reconsidering ruins through creation is possible. The subject matter of this thesis is not the ruin itself but its representations through photography. It’s not about proposing a methodology neither a guide to photograph ruins, but to present some questions that arises from photographic practices of derelict spaces as spatial, cultural and sensitive experiences
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Heitz, Kaily A. "Making the Desert Bloom: Landscape Photography and Identity in the Owens Valley American West." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pitzer_theses/50.
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This thesis analyzes the way in which landscape photography has historically been used as a colonialist tool to perpetuate narratives of control over the American West during the mid to late 1800s. I use this framework to interrogate how these visual narratives enforced ideas about American identity and whiteness relative to power over the landscape, indigenous people and the Japanese-Americans imprisoned at Manzanar within Owens Valley, California. I argue that because photographic representation is controlled by colonist powers, images of people within the American West reinforce imperialist rhetoric that positions whiteness in control of the land; thus, white settlers used this narrative to justify their stagnating agricultural development in the Owens Valley, Native Americans were documented as a part of the landscape to be controlled, and the internees at Manzanar were portrayed such that Japanese culture was obscured in favor of assimilationist, Americanizing tropes of their status as new pioneers on the American Frontier.
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Haupt, George Holbrook. "Everywhere and nowhere at once /." Online version of thesis, 1992. http://hdl.handle.net/1850/11606.
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Tran, John. "From Yokohama to Manchuria : a photography-based investigation of nostalgia in the construction of Japanese landscape." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/2306/.
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This practice-based research examines, analyses and responds to the use of nostalgia as an ideological mechanism in the development of Japanese national identity and as an integral aspect of modernity. In discussions of the construction of national identities, whether in terms of 'narrative' or material culture, 'image' and 'vision' have generally been used as metaphorical terms. This thesis investigates the use of nostalgia in photography as a de facto visual construction of national space. Three groups of archive photographic material are examined; landscapes of the late 19th century genre of Yokohama shashin, or tourist photo, pictorial photography of the Taishö-period (1912 - 1926), and propaganda photography produced in Japanese-occupied Manchuria from the 30s and 40s. Nostalgia is then investigated in contemporary sites of leisure and consumerism, where it is considered as elemental in attempts to redefine the identity of Japan as a post-industrial society. In exploring the use of nostalgia in different historical periods and styles of photography, the primary objective of this research is not to provide a critique of the formal attributes of these images. It is rather to examine, both theoretically and visually, nostalgia's reoccurrence as a mechanism of historical erasure, in which each manifestation posits its own version of authenticity.
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Wang, Han-Chih. "The Profane and Profound: American Road Photography from 1930 to the Present." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.
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Art HistoryPh.D.
This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank’s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank’s commentary on postwar America during his cross-country road trip—the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha’s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander’s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank’s snapshot. Shore’s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore’s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore’s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans’s and Frank’s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie’s Freeway Series, 1994–1995; Andrew Bush’s Vector Portraits, 1989–1997; Martha Rosler’s The Rights of Passage, 1995; and Amy Stein’s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.
Temple University--Theses
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Beckner, Sarah. "More than a record : an analysis of the stylistic development in W.H. Jackson's photography, 1868-1871 /." Online version of thesis, 1990. http://hdl.handle.net/1850/11076.
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Bream, Sally. "Unveiling climate change at Pevensey Levels : a photographic documentation of a landscape in the temperate climate of Southern England." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65404/.
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My photographic research intends to locate and document signs of climate change within the landscape of Pevensey Levels. This is significant in that within the relatively temperate climate of South East England, the phenomenon of climate change does not initially seem to be noticeable to the human eye. The project aims to integrate theory and practice in order to generate a reciprocal dialogue between the two endeavours. The photographic fieldwork has informed my choices of theoretical texts and I have then analysed these in order to further consider the notion of climate change visibility. In turn, the theoretical framework has informed the photographic practice by creating the focus of my visual investigations within the landscape. These concepts include the notion of the landscape as a cultural signifier, phenomenology and perception, geomorphology and the idea of a photographic archaeology of the landscape, narrative, mnemonics, and indexicality. The photographic practice reveals how the landscape is managed and controlled to mitigate climate change. The marshland is drained with the use of pumping stations, sluice gates and networks of waterways. Water channels are enlarged to increase their capacity in order to prevent flooding. These act as conduits to channel excess ground water to outfall pipes at the seafront. Barriers such as shingle beaches are maintained as a consequence of rising sea levels and winter storms. There are five chapters in the thesis. Chapter One considers the landscape of Pevensey Levels: its geology, geography, history, occupants, management agencies, and character of the land. Chapter Two explores the issues around the phenomenon of climate change and in what ways it might be perceived and represented. Chapter Three presents the context of landscape photography and some photographic representations of climate change, and I have situated my own photographic enquiries in relation to these examples. Chapter Four outlines the concepts that contextualise my photographic practice. Chapter Five considers examples of the photographic images in terms of their narrative and the ways in which climate change is indexed. The research finds that it is possible to photographically document the presence of climate change, and concludes that its visibility is situated in three characteristics. First, in the control and management of the landscape, which results from scientific research on climate change. Then, in the intensive utilisation of the land, which consequently causes water and air pollution. This hinders recovery from the effects of climate change. Finally, plants respond to fluctuations in temperature and rainfall, which causes abnormalities in their growth patterns. The research shows that photography's ability to index and act as a mnemonic device aids the search for phenomena of climate change. Furthermore, documenting these phenomena photographically can intensify the spectator's perceptions of the landscape. The culmination of the practical element of the research is a collection of 97 landscape photographs presented on CD Rom. 51 of these photographs have been selected for inclusion in a prototype photobook (Appendix 15), in a limited edition of ten. The photographs are grouped according to their attributes related to climate change in the landscape under four general headings: Mechanism, Flux, Damage and Regeneration, each of which has sub-headings. This provides the narrative structure for the body of photographic work. The photographs are annotated with their place names, OS Grid Reference and short description. This information has relevance for future observations and photographic research at Pevensey Levels. The title for the book and the portfolio of original colour photographs is Unveiling Climate Change At Pevensey Levels. A portfolio of fifteen original photographic C-Type prints, size 16 x 20 inches, has also been produced (see Appendix 14).
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Baxter, Kieran Andrew. "Topography and flight : the creative application of aerial photography and digital visualisation for landscape heritage." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/e22373db-adee-4bb1-9fbe-43691816ce85.
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Aerial photography and digital visualisation technologies are commonly used to reveal and interpret archaeological sites and landscapes. These methods afford a clarity and overview that has considerable advantages in heritage visualisation. Despite this, both technologies offer a view that is distanced from the grounded experiences that are integral to heritage sites and landscapes. This tension, between visualisation technologies and lived experience, is significant because the experiences of visiting these places are a valuable common platform - shared by specialists and general audiences alike - for communicating archaeological narratives. Beyond this, such tensions have been central to debates within landscape archaeology about how embodied perspectives on the one hand, and the conventions of visual representation on the other, might affect archaeological interpretations. This thesis investigates the hypothesis that creative practice can serve to bridge the gap between visualisation technologies and lived experience, ultimately providing more powerful and meaningful visualisations of landscape heritage. This is possible because aerial and digital visualisations can and do go beyond topographical representation and respond to the aesthetic and emotive dimensions of landscape. Aerial photographs and digital models resist the visual modes of modernity despite their technological premise. The meanings that they transmit draw not only from the visual language of aerial photography and digital media but also from the viewer's prior experience of landscape and flight. It is within this context that this study attempts to better understand the relationship between visualisation technologies, creative practice, and the lived experience of landscape. To do this the author adopts the role of research-practitioner in order to explore and demonstrate the arguments through the creative application of aerial photography and digital visualisation technologies. This practice combines methods from archaeological survey, and approaches from visual effects filmmaking, with an aesthetic inspired by artist-photographers like Marilyn Bridges, Emmet Gowin and Patricia Macdonald. These creative practitioners have adopted the aerial view to portray landscapes with intimacy, agency and dynamism. The practice aims to work from an immersed or insider's view, drawing influence from Tim Ingold's notion of the "dwelling perspective". A main case study is undertaken at the Iron Age hillfort site of the Caterthuns in Angus, Scotland, with supporting case studies at the prehistoric site of Links of Notlland in Orkney and additional hillfort sites in Strathearn. Through this hands-on experience the aim is to better understand how novel approaches to practice can improve landscape heritage visualisation in an interdisciplinary context.
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Ashmore, Rupert Charles. "Landscape and crisis in northern England : the representation of communal trauma in film and photography." Thesis, Northumbria University, 2011. http://nrl.northumbria.ac.uk/4382/.
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Communal trauma is a culturally constructed ascription. Social agents propose that disastrous events have had traumatic effects upon the communities affected. If this proposition is convincing, then these events become acknowledged as communal traumas, and those affected as traumatised. This thesis examines how two crises in northern England: the Foot and Mouth Disease (F.M.D.) epidemic in Cumbria in 2001, and the demise of the mining industry in County Durham from the late 1970s onwards, have been constructed as communal traumas. While the F.M.D. epidemic in Cumbria has been explicitly studied, and therefore constructed as traumatic in sociological studies, the crisis was also broadcast through landscape imagery in press and documentary photography. This thesis examines such imagery in the work of photographers Nick May, John Darwell and Ian Geering, and in the printed and television media, and assesses how it has also contributed to the idea of F.M.D. as a communal trauma. This is one of the original contributions of this thesis. Another is the examination of the disappearance of the mining industry in County Durham since the rationalisation of the late 1970s, as communal trauma. This demise also had devastating economic, social and cultural effects for the communities involved, but has seldom been construed as communally traumatic. However, the film and photography of Newcastle’s Amber art collective creates a narrative that suggests precisely this, and fundamental to that narrative is landscape imagery. Their collaboration with the communities experiencing the effects of this demise, and the exhibition of their films and photography back to that community has created a vision of traumatic social change that is both corroborated and constructed by those most affected. With a detailed examination of the imagery of these two specific crises in Northern England, this thesis examines how landscape has contributed to the cultural construction of trauma.
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Davies, Ruby. "Contested Visions, Expansive Views : The Landscape of the Darling River in Western NSW." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1119.
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This paper grows out of my ongoing practice of photographing the Darling River in western NSW. My interest in imaging the landscape and representing the contemporary divisions within it led me to investigate previous colonial conflicts, which occurred as white explorers in the 1830’s and squatters in the 1850’s took over the Aboriginal tribal lands on the Darling. In this paper I investigate the images created by explorers, artists and photographers, which were the beginnings of a Eurocentric vision for this land. These images were created in the context of a colonial history which forms the ideological backdrop to historical events and representations of this land. This research has involved me in an investigation across three different disciplines; Australian history, Australian visual art, and environmental aspects of human interactions with the land. The postcolonial histories which inform my work are themselves re-evaluations of earlier histories. This recent history has revealed, amid the images of European ‘settlement’ and ‘progress’, views of frontier violence and Aboriginal resistance to colonisation that were excluded from earlier histories. The fan-like shape of the Darling River, which for millennia has bought water to this dry land, is the motif that focuses my investigation. I discuss the relatively recent degradation of the river, which is the focus of contemporary conflicts between graziers, Aboriginal people, environmentalists and irrigators. Because large-scale irrigation now has the capacity to divert the flows of entire rivers for the irrigation of cash crops, the insecurities of earlier generations over the ‘unpredictable’ floods and their perception of lack of control over water - has been entirely reversed. ‘Control’ of water is now held by irrigators and the river down stream from the pumps is kept at a constant low, becoming a chain of stagnant waterholes during summer. Like many rivers in industrialised countries, the Darling no longer flows to its ocean. The physical characteristics of rangeland grazing are an important background to my paper. Although the introduction of sheep and cattle has altered and degraded this landscape, unlike ploughed country to the east this land retains much of its native vegetation and an Aboriginal history embedded across its surface. This paper is an investigation of the changing representations of the Australian landscape, and central to my paper (and a result of growing up in this area) is my recognition, at an early age, of cultural difference in the context of this landscape. I became aware of contradictions in how Aboriginal people were treated by the ‘white’ community and I glimpsed the distinct cultural viewpoints held by Aboriginal people. A connection to country continues to be expressed in art produced by Aboriginal people in the Wilcannia area, including work by Badger Bates and Waddy Harris. The Wilcannia Mob, a schoolboy rap-group received national press coverage, winning a Deadly Award in 2002 for their acclaimed song ‘Down River’. While a discussion of these artworks is not part of the discussion of my paper, it is a context for my research. In broad terms this paper is an investigation of different worldviews, different views of land and landscape by graziers, Aboriginal people, environmentalists and irrigators. These views carry with them different cultural understandings and different representations of the land - different and sometimes opposing views of its past and its future. It seems in 2005 that, just as artists, historians, filmmakers, etc. are beginning to come to terms with Australian colonial history, as the El Nino seasons and the importance of ‘environmental flows’ in the Murray Darling Basin are increasingly understood, that technological changes and the global effects of population densities are creating other changes (greenhouse gasses, ozone depletion, climate changes) that once again appear to be unpredictable and beyond our control. While this environmental discussion is outside the scope of the current paper it is a context for my investigation of this landscape.
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Davies, Ruby. "Contested Visions, Expansive Views : The Landscape of the Darling River in Western NSW." University of Sydney, 2005. http://hdl.handle.net/2123/1119.
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Master of Visual ArtsThis paper grows out of my ongoing practice of photographing the Darling River in western NSW. My interest in imaging the landscape and representing the contemporary divisions within it led me to investigate previous colonial conflicts, which occurred as white explorers in the 1830’s and squatters in the 1850’s took over the Aboriginal tribal lands on the Darling. In this paper I investigate the images created by explorers, artists and photographers, which were the beginnings of a Eurocentric vision for this land. These images were created in the context of a colonial history which forms the ideological backdrop to historical events and representations of this land. This research has involved me in an investigation across three different disciplines; Australian history, Australian visual art, and environmental aspects of human interactions with the land. The postcolonial histories which inform my work are themselves re-evaluations of earlier histories. This recent history has revealed, amid the images of European ‘settlement’ and ‘progress’, views of frontier violence and Aboriginal resistance to colonisation that were excluded from earlier histories. The fan-like shape of the Darling River, which for millennia has bought water to this dry land, is the motif that focuses my investigation. I discuss the relatively recent degradation of the river, which is the focus of contemporary conflicts between graziers, Aboriginal people, environmentalists and irrigators. Because large-scale irrigation now has the capacity to divert the flows of entire rivers for the irrigation of cash crops, the insecurities of earlier generations over the ‘unpredictable’ floods and their perception of lack of control over water - has been entirely reversed. ‘Control’ of water is now held by irrigators and the river down stream from the pumps is kept at a constant low, becoming a chain of stagnant waterholes during summer. Like many rivers in industrialised countries, the Darling no longer flows to its ocean. The physical characteristics of rangeland grazing are an important background to my paper. Although the introduction of sheep and cattle has altered and degraded this landscape, unlike ploughed country to the east this land retains much of its native vegetation and an Aboriginal history embedded across its surface. This paper is an investigation of the changing representations of the Australian landscape, and central to my paper (and a result of growing up in this area) is my recognition, at an early age, of cultural difference in the context of this landscape. I became aware of contradictions in how Aboriginal people were treated by the ‘white’ community and I glimpsed the distinct cultural viewpoints held by Aboriginal people. A connection to country continues to be expressed in art produced by Aboriginal people in the Wilcannia area, including work by Badger Bates and Waddy Harris. The Wilcannia Mob, a schoolboy rap-group received national press coverage, winning a Deadly Award in 2002 for their acclaimed song ‘Down River’. While a discussion of these artworks is not part of the discussion of my paper, it is a context for my research. In broad terms this paper is an investigation of different worldviews, different views of land and landscape by graziers, Aboriginal people, environmentalists and irrigators. These views carry with them different cultural understandings and different representations of the land - different and sometimes opposing views of its past and its future. It seems in 2005 that, just as artists, historians, filmmakers, etc. are beginning to come to terms with Australian colonial history, as the El Nino seasons and the importance of ‘environmental flows’ in the Murray Darling Basin are increasingly understood, that technological changes and the global effects of population densities are creating other changes (greenhouse gasses, ozone depletion, climate changes) that once again appear to be unpredictable and beyond our control. While this environmental discussion is outside the scope of the current paper it is a context for my investigation of this landscape.
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Eldridge, Luci. "Mars, invisible vision and the virtual landscape : immersive encounters with contemporary rover images." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2798/.
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How do contemporary imaging devices and the forms in which images are displayed affect our perception of Mars? How are scientists and engineers visually exploring, experiencing and navigating this uninhabitable terrain? Can we better understand this virtual landscape through immersive imaging techniques, or are these simply illusions? At what point does the glitch invade these immersive spaces, throwing us back into the realm of the image? And finally, can the glitch be seen as a method towards another kind of visibility, enabling us to ‘see’ and encounter Mars in productive ways? Through the analysis of contemporary representations of the Martian terrain, Mars, Invisible Vision and the Virtual Landscape: Immersive Encounters with Contemporary Rover Images offers a new contribution to studies of the digital and virtual image. Specifically addressing immersive image forms used in Mars exploration the research is structured around four main case studies: life-size illusions such as panoramas; 3D imaging; false colour imaging; and the concept of a ‘Mars Yard’. The thesis offers a new understanding of human interaction with a landscape only visible through a screen, and how contemporary scientific imaging devices aim to collapse the frame and increase a sense of immersion in the image. Arguing that these representations produce inherently virtual experiences, their transportive power is questioned, highlighting the image as reconstructed – through the presence of a glitch, illusion is broken, revealing the image-as-image. This thesis takes an interdisciplinary approach in which scientific images are analysed through the prism of photography’s relationship to reality, theories of vision and perception, representations of landscape, and digital and virtual image theory. At the heart of this thesis is the act of looking; critical and speculative writing is used to convey immersive encounters with images at NASA and the Jet Propulsion Laboratory (USA); University College London’s Regional Planetary Imaging Facility; Airbus Defence and Space (UK); the photographic archive at the V&A; and the Panorama Mesdag (Netherlands). The research re-examines scientific forms of images against examples from the history of visual culture (be it art or popular culture) to draw parallels between different ways of seeing, representing and discovering the unknown. The eyes of the Mars rovers provide viewpoints through which we regard an alien terrain: windows upon unknown worlds. Rover images bridge a gap between what is known and unknown, between what is visible and invisible. The rover is our surrogate, an extension of our vision that portrays an intuitively comprehensible landscape. Yet this landscape remains totally out of reach, millions of miles away. This distance is an impenetrable boundary – both physically and metaphorically – that new technologies are trying to break. Mars, Invisible Vision and the Virtual Landscape offers a two-way impact, constituting a new approach to the relationship between real and imagined images in order to demonstrate that the real Mars, however it is represented and perceived, remains distant and detached.
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Garrie, Barbara Anne Christina. "(Dis)Orientation: Identity, Landscape and Embodiment in the work of Roni Horn." Thesis, University of Canterbury. Art History and Theory, 2012. http://hdl.handle.net/10092/7307.
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This thesis considers the links between identity and landscape in key works by American artist Roni Horn, focusing on a selection of her photo-installations and books. In particular it argues that Horn approaches landscape as a performative category through which to address the performativity of identity, and that in doing so her work privileges the viewer as an embodied participant. Drawing on a feminist approach grounded in phenomenology, the thesis locates androgyny as a key structuring principle in the artist’s work. Identifying herself as neither male nor female, Horn employs the notion of in-between-ness to negotiate gender binaries of male/female and to describe the indeterminate and contingent nature of androgynous being. Importantly, the thesis argues that Horn addresses these issues of identity by staging experiences in her work that invite the viewer to perform the very processes by which identity is defined and played out. This strategy is examined through concepts of doubling, the sublime, horizons and dwelling, each of which in their own way involve a sense of orientation and disorientation that gestures toward the in-between-ness of androgyny.
The thesis also considers the tensions between visuality and embodiment in Horn’s work. Her use of photographic images within an installation practice is one that establishes a complex set of relations between the opticality of the photograph and the actuality of ‘real’ space. It is argued that the experiential potential of Horn’s photo-installations and books is only realised through the dialectical relation between visuality and embodiment in which both are equally privileged.Full thesis with illustrations can be requested via Inter-Library Loan.
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Prates, Katia Maria Kariya. "Paisagens : imagens sob corte." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/17922.
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Pesquisa de artes visuais que trata do funcionamento da representação de uma cena comum quando modificados seus limites de referência habituais. Para esta investigação são utilizadas a paisagem como fonte de imagens e a fotografia como meio técnico. Aborda a construção da paisagem como gênero e as modulações do meio fotográfico. Tem como imagens resultantes, fotografias do céu diurno sem nuvens e, por isso, trata da cor azul e de alguns aspectos dos planos monocromáticos na arte.Visual arts research about the way the representation of an usual scene operates when its habitual referential limits are modified. For this investigation the source of images is the landscape and the technical medium is photography. The research approaches the construction of the landscape as a genre and the photographic medium modulations. With photographies of cloudless sky in daytime as resulting images, it also examines the blue color and some aspects of the monocromatic surfaces in visual arts.
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Knight, Jonathan E. "Ghost ecologies: storytelling and futures in the Athabasca oil sands." Kansas State University, 2017. http://hdl.handle.net/2097/35572.
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Master of Landscape ArchitectureDepartment of Landscape Architecture/Regional and Community Planning
Jessica Canfield
The contemporary globalized world is full of wicked problems. A wicked problem is difficult to resolve, complex, and solving one aspect of a problem may create other problems. Wicked problems are shaped by invisible forces and flows. Landscape architects are uniquely poised to address wicked problems with their skills and capacity to think across systems and scales in spatio-temporal, ecological, and cultural dimensions. Landscape architects also communicate through visually-accessible methods which tell a story. Storytelling in landscape architecture seeks to reveal, connect, and tie together relationships and processes of the past and present to inform future possibilities of a place. Methods of storytelling can be used to address wicked problems because of their utility in inquiry and ideation. Developed through an original methodology using maps, diagrams, photomontage, and photographs, this project creates a storytelling framework which iteratively uses inquiry and representation to identify dilemmas, pose questions, and address issues as a means to reveal the impacts of forces on a wicked problem. The site selected to test this proposed methodology is the Athabasca oil sands in northern Alberta, Canada. Visible from space, the potential minable area of the oil sands spans an area the size of New York State. The world’s quest for oil has placed this landscape and its people on center stage. Billions of dollars’ worth of industry investment has put the landscape and people under siege through ever-shifting visible and invisible forces and flows. Dilemmas created by the region’s mining industry not only directly impact local people and landscape, but the greater world as well. Hampered with environmental, social, political, and economic issues, the future of this region is largely unknown, as there are few formal plans and regulations to ensure landscape reclamation and guide urban development. To tell the story of the oil sands, four themes—oil, infrastructure, environment, and people were analyzed. These themes—referred to as "ghost ecologies" because of their inconspicuous nature—when considered together, reveal key regional dilemmas and highlight new opportunities for future directions. Analysis inspired thinking toward future scenarios that imagine a series of new, highly productive and programmatically-integrated futures for the oil sands and its people. The unique process of inquiry and discovery led to a final project framework that identified methods for landscape architects to use in addressing wicked problems. A variety of audiences can consume this work to address the challenges of the Athabasca oil sands and other wicked problems in the world. To the public, the work serves as an evocative display of critical dilemmas worthy of future consideration. For professional and student landscape architects, the work reveals methods of inquiry to address wicked problems through the discipline.
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Roussos, Meg. "BLAZE." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3670.
Full textAbstract:
The photographer discusses her work in “BLAZE,” a Master of Fine Arts thesis exhibit held at the Tipton Gallery from September 16th through October 4th, 2019. The exhibition consists of 11 archival inkjet prints, two photographic artist books, a nine-channel video installation, representing the artist’s exploration of how to experience the landscape. Using non-traditional approaches to photographic imagery, experimental exhibition layout, the artist forms questions around themes of walking and landscape. The artist investigates sculptural land art installations represented through photographic documentation. A catalog of the exhibit is included at the end of this thesis.
Roussos examines formal and conceptual influences throughout historical and contemporary artists. Non-photographic influences include: the paintings of Caspar David Friedrich; literary works of Rebecca Solnit and Alexandra David-Neel; immersive artists, Nancy Holt and Hamish Fulton. Historic and contemporary photographic influences include: Carleton Watkins, Todd Tido, Christina Seely, Awoiska van der Molen, and Thomas Flechtner.