Relevant bibliographies by topics / Photographed moment

Academic literature on the topic 'Photographed moment'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Photographed moment"

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Wicky, Érika. "L’imaginaire pictural de la matière photographique (1850–1860) : la cuisine de l’art, du peintre au photographe." RACAR : Revue d'art canadienne 40, no. 1 (August 27, 2015): 85–94. http://dx.doi.org/10.7202/1032758ar.

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The writings on photography published in the 1850s reveal the emergence of a pictorial imaginary of photographic matter that grew in the margins of the amazement at a medium completely dominated by nature and the precise developments of the photographic technique. In some of these texts, photographers were likened to painters because of the application, in both techniques, of multiple layers of varied and more or less opaque substances. Inasmuch as it concerned the process of fabrication more than the image itself, the understanding of the work performed by photographers, of their action on matter, directly affected their social status. To reflect on the material imaginary of photography is then to interrogate the modalities of the joint emergence of the profession and of the figure of the photographer-artist at the very moment of the industrialization of photography.
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Ferenc, Tomasz. "Praca, robotnicy, archiwa, fotografia — utrwalanie stereotypów i walka o emancypację." Kultura i Społeczeństwo 59, no. 3 (August 11, 2015): 203–21. http://dx.doi.org/10.35757/kis.2015.59.3.10.

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Work, workers, and workers’ living conditions quickly became a field of interest for photographers. Already by the middle of the 19th century there were photographs showing working people. Nevertheless, the contexts in which such photographs were taken varied considerably. The first part of this article presents, in the historical perspective, the different causes and strategies involved in making these types of documents, up to the moment when photographs began to appear that had been made by workers themselves. The movement to photograph workers, which developed in the first decades of the 20th century, is recalled in the second part of the article (using the examples of the Weimar Republic and Soviet Russia). The third part is devoted to photographic projects whose purpose was to increase the productivity of, and control over, workers. Photography is presented as a scientific tool for measuring movement and as an illustration of the most effective manners of organizing work. At the end, the Digital Repository of Worker Photography is described, as an example of work on a collection of photos and the creation of a platform permitting further work, but also as a legal and methodological problem.
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Side, Katherine. "Grimaldi’s iconic photograph: Bloody Sunday, Derry 1972." Irish Journal of Sociology 26, no. 1 (November 21, 2017): 71–93. http://dx.doi.org/10.1177/0791603517741072.

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This article examines the concept of photographic iconicity in relation to Italian press photographer, Fulvio Grimaldi’s photograph of the evacuation of Derry-born marcher, John [Jackie] Francis Duddy, at Bloody Sunday, 1972. This historical photograph continues to instigate remembering and forgetting among nationalists and unionists in the context of Northern Ireland. Its uses, in state-led government inquiries, among nationalist communities and in the form of artistic intersessions, are demonstrated to be consistent with the hallmarks of iconicity, particularly the ability to situate viewers close to events in a historically specific moment. Additional factors, such as the significance of the photographer and the materiality of the image and objects in the image are also considered, in relation to Grimaldi’s image, for the ways they instigate recall, compel contestation, and maintain the photograph’s iconic status.
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Vanover, Charles. "The Magic of Theater: Photographing a Performative Academic Career." Cultural Studies ↔ Critical Methodologies 21, no. 1 (June 26, 2020): 41–55. http://dx.doi.org/10.1177/1532708620931136.

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I discuss my efforts as a “good enough” photographer and describe the role photographs play communicating important moments from a series of ethnodramas I built about the Chicago Public Schools. I discuss my early efforts to use photography to legitimize my arts-based research practice, describe how my goals changed, and explain how I created images to communicate the energy of live theater. Building on Eisner’s theoretical work, I discuss three tensions of my photographic practice: intention versus improvisation, action versus artifice, and safety versus possibility. These tensions emphasize my limits as a photographer and the possibilities of arts-based research.
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Redmond, Eden. "Radiant Traces." Departures in Critical Qualitative Research 3, no. 4 (2014): 418–26. http://dx.doi.org/10.1525/dcqr.2014.3.4.418.

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Photography is a referent medium. While a photograph is a physical object with its own ontology, the image depicted references a moment that has already ended. The mobility of a photograph relies on the divide between presence and absence, the material and the ephemeral. This photographic essay considers the tensions and parallels of such divides in photographing and photographs of sadhus, holy men who wander throughout East Asia. Sadhus relinquish worldly possessions in the name of spiritual pursuits, surviving on whatever the divine provides. The following images illustrate both their radiant spiritual presence, and the trace of a material boundedness.
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Savisaar, Remo. "Animal behaviour // Comportamiento animal." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (March 9, 2015): 170–74. http://dx.doi.org/10.37536/ecozona.2015.6.1.646.

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Nature photography has many different categories: there’s no easy or hard one. One might think that taking photos of animals is harder than, for example, doing landscape photography. But all the best photography goes beyond mere documentation to overlay the moment with the artistic vision of the photographer. In the end, knowledge of subject, field craft, approach, patience (a lot of patience), composition and technical ability with the camera are all that matters. We nature photographers search for special moments which sometimes last only for brief seconds. These can be rarely seen moments of light on the landscape, the interesting behaviour of an animal or just the beauty of simplicity. Not every place or moment offers a perfect photographic opportunity. We have to keep on looking, searching, studying. And when the right moment occurs we have to be prepared for it, which means pretty often we have THAT picture in our mind long before we finally see it happen. From over ten years in wildlife photography I have found some fields to be my favourites. Animal behaviour is one of those which offer me most satisfaction. All the following pictures you see here can be placed in that category. More of my work can be seen in my daily blog (blog.moment.ee). Resumen La fotografía de la naturaleza se divide en muchas categorías, no existe ni una fácil ni una difícil. Uno puede pensar que hacer fotos de animales es más difícil que, por ejemplo, hacer fotografía del paisaje. Pero la mejor fotografía va más allá de la mera documentación hasta recubrir el momento con la visión artística del fotógrafo. Al final, el conocimiento del tema, la destreza, el enfoque, la paciencia (mucha paciencia), la composición y la habilidad técnica con la cámara son todo lo que importa. Los fotógrafos de la naturaleza buscamos momentos especiales que a veces sólo duran unos segundos. Estos momentos pueden ser instantes de luz en el paisaje raramente vistos, el comportamiento interesante de un animal o simplemente la belleza de la simplicidad. No todos los lugares o los momentos ofrecen una oportunidad fotográfica perfecta. Tenemos que seguir mirando, buscando, estudiando. Y cuando el momento adecuado ocurre tenemos que estar preparados, lo que significa que a menudo tenemos ESA imagen en nuestra mente mucho antes de que la veamos ocurrir. En cerca de diez años de fotografía de la vida salvaje he encontrado algunos campos que se han convertido en mis favoritos, dentro de los que se enmarcan las fotografías que pueden verse en esta revista. Puede verse más de mi trabajo en mi blog (blog.moment.ee).
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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.

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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games
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Lessard, Bruno. "The Refracted Moment: Photographing Chinese History in the Making." Journal of Chinese Humanities 1, no. 1 (April 24, 2014): 170–93. http://dx.doi.org/10.1163/23521341-01010009.

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Abstract This article examines the way in which both Western and Chinese photographers have documented Chinese history in the making by focusing on the photographic documentation of two key events in the formation of Chinese society: the 1911 Revolution that laid the foundation for the birth of the republic and the “energy revolution” that was the Three Gorges Dam project (1994-2012). The major difference between the two revolutions is that the latter was documented by the Chinese themselves. No longer relying upon images made by Westerners exclusively, as was the case in 1911, the Chinese appropriated this monumental event in their history to archive it photographically. The article offers a conceptual framework for understanding revolutionary events in the context of historiography and photography history. The analysis of various photographs of the 1911 Revolution by Francis Stafford and of the Three Gorges Dam project and area by Edward Burtynsky, Bill Zorn, Zeng Nian, and Yan Changjiang shows that the event remains an evanescent and quasi-impossible entity to capture photographically, and that photographers can only archive its refracted presence in the faces, landscapes, and objects in front of the lens. What the pictures unveil is that the refracted moments of these two events are far more significant than the actual events themselves for the photographers under study.
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Steciąg, Magdalena, and Anna Karmowska. "Lingua Materna, Lingua Receptiva, Lingua Franca, Multilingua Franca? The Linguascape of the Polish-Czech Borderland from the Perspective of Sustainable Multilingualism." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 21–38. http://dx.doi.org/10.2478/sm-2020-0002.

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SummaryAs statistical surveys show, both Poland and the neighbouring Czech Republic are single-ethnic and highly monolingual countries. The observation of the linguistic landscape of the Polish-Czech borderland suggests, however, that the display of common natural heritage is conducive to weakening monolingualism and the development of multilingual practices instead. The hypothesis is being checked in a comparative analysis of the linguistic landscape of two picturesque locations - Czech Adršpach and Polish Karłów where a lot of natural sights in the form of rocks can be found. The case study proves that different languages and communication modes are used to describe these attractions: lingua materna, lingua receptiva, and global or regional lingua franca. The research material includes 211 signs photographed in the Rock City in Adršpach and 283 signs photographed at local tourist attractions near Karłów, namely, on the Szczeliniec Wielki mountain peak and in the Błędne Skały area. The analysis covers both the language hierarchy as well as the specific multilingual character of information signs which refer mainly to the rock objects. The selected photographs are presented in the paper in the attempt to illustrate the particular linguistic practices in examples. The research is based on the assumption of applied ecolinguistics that the diversity of languages should be maintained through appropriate language policy and other activities supporting the preservation of the linguistic and natural heritage. This perspective might shed a new light on the moment of transition from the monolingual paradigm to more open and sustainable multilingual practices in the linguistic landscape of Polish-Czech borderland.
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Nestayko, Markiyan. "Photos of Levko Yanushevych on the pages of Ukrainian magazines." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 362–75. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-26.

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The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures is analyzed. The significant contribution of the photographer to the preservation of important facts and information about the Ukrainian intelligentsia of that time is revealed. Levko Yanushevych appears in the general picture of the XX century not only as a photojournalist of the cultural life of Ukraine, but also as an active participant in the processes taking place at the background of art. This is evidenced by articles, interviews and memoirs left by Yanushevych in local magazines. His popularity at that time is confirmed by publications in foreign editions made by efforts of the Ukrainian émigrés. Levko Yanushevych’s photographs are stored in the archives of the V. Stefanyk Institute of Library Art Resources Research of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. They are not accessible in some magazines. The personality of this photographer is quite interesting not only in terms of his professionalism and famous works, but also as a cultural and public figure. His photo portraits are still stored on the pages of the Ukrainian General Encyclopedia. His photographs of landscapes and architectural masterpieces of the Ukrainian cities of the late XIX and early XX centuries help to plunge into the past. However, information about the photographer is very scarce, and there is no study of his work. In the mentioned press archives in 1920s, 1930s and 1940s, as well as some authorial articles available on the Internet were found about 50 photographs of the artist. We analyzed and systematized images by genre groupings. The article also covers a range of issues related to the origin and existence of photography in the 19-20th century, the main figures of the time, photo studios and vocational schools of Ukrainian photography. The findings of our research show trends in photography relevant in a perspective of the 21st century were experienced by professionals and amateurs in the past. Capturing information, transmitting emotions and feelings, preserving architectural monuments, landscapes, recording important moments in the lives of relatives or prominent people, coding or symbolism were important stages in the evolution of photography. Keywords: Levko Yanushevych’s photos, Ukrainian photographer, Ukrainian magazines, photography.
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Dissertations / Theses on the topic "Photographed moment"

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Xie, Jiahua. "Moment beyond moment." Click here to access this resource online, 2008. http://hdl.handle.net/10292/452.

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This practice-based project explores the photographic phenomenon of ‘moment beyond moment’, which refers to the combined representations of an existing image in an environment, together with the real-life situation at the moment the photograph is taken. I call this photograph an ‘extended photograph’. Employing practical works of extended photographs and focusing on interactions between the moment in real-life and the moment in an existing image, the research explores the transformation of meanings caused by the interactions of these moments in an extended photograph. The research owes its approach to grounded theory, contrary thinking and Chinese Buddhist ‘Sudden Enlightenment’ to further its aim of exploring the unpredictable interaction of these moments, and to disclose the potentials of meaning transformation. My research outcome intends to initiate a discourse with photographic practitioners and theorists on the phenomenon of moment beyond moment in a working environment that is encaged by the excessive existence of displayed images. The thesis is composed as a creative work that consists of a series of photographic images accompanied by an exegesis component. The images represent a nominal 80%, and the exegesis 20% of the final submission.
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Schnarr, Christopher E. "Moments between the surface : photography and fiction." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935913.

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Architecture exists as shelter, separating space into the inside and the outside. This separation is a crucial point in our experience of architecture. This separation is the first moment of physical interaction with the construct in our penetration of the construct. However, architecture is not only a physical language. It is nonphysical, in that architecture is defined as the art and science of building, etc. This separation, internally, both produces the architecture as well as the ideas that are produced from the architecture. Architecture is held in-between, the movement or passage from one to the other is perceived as an external transition and an internal passage into the realm of arts and sciences. The mediation in passage from one to the other may be perceived through the dialectic. This allows architecture to contain both external and internal mediation of extremes.
Department of Architecture
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Castoro, Manila. "The decisive moment and the moment in between : Kairos, Tyche and the play of street photography." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/60420/.

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This dissertation provides a theoretical and historical exploration of two contrasting approaches and attitudes that took hold in street photography during the 1950s, and of their impact on the street photography of the 1960s and 1970s. The two approaches and attitudes are identified as, firstly, that of the "decisive moment," and, secondly, what is referred to as the "moment in between." The former attitude was famously introduced by Henri Cartier-Bresson and exemplified within his work, while the latter is distinctly manifested in the work of William Klein and Robert Frank. Through a comparative and interpretative approach to each, this study analyses the work of photographers whose imagery exemplifies the stylistic differences, and the conceptual and theoretical underpinnings of the two attitudes to street photography. In the first part of the dissertation, two concepts taken from ancient Greek thought - kairόs and tyche - are used to elucidate the nature of, respectively, the decisive moment and the moment in between, as well as the differences between these approaches to street photography. It is argued that the concept of kairόs embodies certain spatial, temporal, aesthetic and moral features capable of enriching the understanding of the approach to street photography represented by the notion of the decisive moment. The concept of tyche, with its focus upon chance and the unforeseen, brings to light a powerful contrast with the decisive moment, emphasising the photographers' position in respect of the fortuitous episodes that shape their practice, as well as the significance of the abandonment of linearity, intelligibility and determinability that is characteristic of this approach and attitude toward reality. The second part of the dissertation is dedicated to the impact of the decisive moment and the moment in between upon the North American street photography of the 1960s and upon the work of photographers active outside of the North American and Western European cultural and intellectual contexts. In particular, it is argued that in the 1960s, Garry Winogrand, Diane Arbus and Lee Friedlander established within their work a bridge between the approaches of the decisive moment and the moment in between, bringing about their fruitful co-existence within a single image. By interpreting these elements through the categories of kairόs and tyche, I analyse how these photographers embraced both approaches with the aim of appreciating the aesthetic opportunities resulting from their union. This second part also involves an examination of the extent to which forms of street photography that developed in relative isolation from the intellectual and cultural contexts of North American or Western European street photography, or which are embedded in non-Western ideas and philosophy, may still be understood by means of the dichotomy between the decisive moment and the moment in between. The works of Miroslav Tichý, a photographer who worked in the climate of seclusion of Communist Czechoslovakia, and Raghubir Singh, an Indian photographer who was profoundly influenced by Indian philosophy, are analysed in order to assess whether or not the categories of kairόs and tyche can be usefully employed in their interpretation.
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Ebner, Bonnie M. "Many telling moments the essence of fragmented image culture /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002116.

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Thallon, Norma-Louise. "The relationship between the visual and the verbal within a comedic moment : after the laughter." Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/396/.

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This research looks at comedy and question what its function is. It identifies the gag as a specific moment that solicits laughter and examines what is expressed within and through a gag and whether a gag can trigger a change in our thinking. What are the structures, functions and outcomes of a gag? The project approaches these questions through an examination of the relationship between the visual and the verbal within the gag. This examination involves two very different types of comedy, silent and stand-up, and considers specific gags from both. The methods used for this examination take the form of both a body of visual artwork and a written thesis. The visual work consists of photographs, videos and text pieces. It is within the video works that the relationship between the visual and the verbal is most readily seen and this is due to the mimetic techniques used to make the work. The videos are a series of re-enactments of silent and stand-up moments and involve my re-performance to camera of selected gags. I have removed certain elements from the gag while emphasizing others through mimicry. In doing so I hope to make the viewer of the relationship between language and gesture within a gag. The writing begins with an examination of what it is that constitutes a gag. The relationship between gag and narrative is looked at first, then the relationship between the comic performer and the audience, and finally the ways in which the comic performer manipulates the medium that is used to create the gag. Following this comes a close reading of three comic performers’ work: Buster Keaton’s Sherlock Jr., Richard Pryor’s Live in Concert and Jo Brand’s Barely Live. The gags in each work are examined in order to see how the relationship between the visual and the verbal is used to solicit laughter and then further examined in order to discover what effect the gag has on its audience. How do language and gesture work together to challenge the audience's thinking? The methods used in both the practical work and the writing are empirical in natures. The source material is examined closely: gags are unpicked and put back together again. This approach allows the research to tease out some propositions surrounding the relationship between the visual and the verbal.
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Kaufman, Sarah K. "Moments of Absorption." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1133.

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Moments of Absorption explores the conceptual and visual themes that are presented in my MFA thesis exhibition. The research looks into the absorption of the nude subject, the gestures that communicate this absorption, and the domestic space as a stage for the presentation of these gestures. This work investigates a tension between the theatrical and the natural as represented by images.
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Bruce, Janine. "Static Moments Photographic Notions of Time in the Paintings of Degas, Vuillard, Bonnard and Sickert." Thesis, University of Canterbury. Art History and Theory, 2012. http://hdl.handle.net/10092/8192.

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This thesis explores the relationship between photography and painting from the mid-nineteenth-century to the early twentieth-century. Specifically, I focus on the artistic outputs of four painters, Degas, Vuillard, Bonnard and Sickert, and the different manners in which they incorporated photography within their creative practices. In particular, I concentrate on photography’s representation of and relationship with time, discussing this in relation to three concepts, that of the narrative moment, memory and motion; concepts that painters often experimented with and explored during the timeframe mentioned. Throughout the thesis I examine how the paintings of my selected artists compare and contrast with photographic imagery. By doing so I demonstrate how these artists incorporated and commented on photographic notions of time within their paintings. Three of the artists, Degas, Vuillard and Bonnard, also experimented with photography and I look at how their photographic experiments related to and/or impacted their painting practices. This thesis argues that the selected painters’ experimentation with photography did not hinder their creative vision, but rather enhanced it. Further, I comment on how these artists recognised the differences between photographic representations of life and their own visual and emotional experiences, thereby challenging photography’s connection with objective truth; an important critique considering that photography was still in its infancy.
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Korver, Ruth M. "In memory of cats : the camera and the ordinary moment : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/956.

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In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.
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Martins, José Francisco Greco. "Despejo da favela Jardim Maria Virgínia: fotografias, práticas e representações sociais nos momentos de perigo (1999 e 2011/12)." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2576.

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Made available in DSpace on 2016-04-25T20:21:31Z (GMT). No. of bitstreams: 1 Jose Francisco Greco Martins.pdf: 3777368 bytes, checksum: 2e84278c0946fce6f6cb13dfbebd31d6 (MD5) Previous issue date: 2015-09-25
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The present research problematizes the social practices and representations within the social space of the favela (slum) Jardim Maria Virgínia (JMV) in the years of 1999 and 2011/12. The area is located in the southern outskirts of the city of São Paulo, in the Campo Limpo district. The research was carried out through a qualitative approach. Besides the usual methods, photographic images were used as a research resource. In 1999, local people were facing a threat of eviction, which was photographed by then. At that time, some inhabitants were interviewed. Returning to the slum in 2011/12, it was investigated what had changed and what had remained steady concerning the social practices and representations experimented by the dwellers in 1999. Through an approach based on the presuppositions of the disruption of politics, the thesis development has revealed the settings of contrasts and continuities between the two moments which are distant in time, as well as it has shown an unstable, provisory and unfinished everyday life, characterized by violence, fear and silence, and whose synthesis is inscribed within the logic of incompleteness
O presente estudo problematiza as práticas e representações sociais no espaço social da favela Jardim Maria Virgínia (JMV), localizada no bairro do Campo Limpo, periferia da zona sul da cidade de São Paulo, em 1999 e 2011/12. Trata-se de uma pesquisa de ordem qualitativa que, além dos recursos metodológicos clássicos, empregou a imagem fotográfica como instrumento de pesquisa. Em 1999, a favela enfrentava o momento do perigo do despejo, o qual foi fotografado, e os moradores entrevistados. Ao retornar à favela em 2011/12, buscou-se verificar o que mudou ou se manteve constante nas práticas e representações sociais experimentadas por seus moradores em 1999. Com uma abordagem sustentada nos pressupostos do desmanche da política, o desenvolvimento da tese revelou a tessitura dos contrastes e continuidades entre os dois momentos distantes no tempo, assim como demonstrou um cotidiano instável, provisório e inacabado, revestido pela violência, medo e silêncio, cuja síntese inscreveu-se na lógica da incompletude
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Revenäs, Björn. "Några aspekter på filmens tid : Ögonblicket och nuet i filmen och fotografiet." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-62335.

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Abstract    Cinematic time is the most complex of all: it is composed of public time (clock), personal time (experienced) and in addition, it can run backwards, be contingent, stored and (re)created. The present study examines some aspects of cinematic time, with special reference to the instant, the moment and the present. The strictly defined instant or moment does not exist. It is a passage between the past and the future and it is impossible to record on film or a photograph. One example is the moment of death, which is an abstraction with zero duration. The present must consequently contain the past and/or the future. Roland Barthes describes these complex multidimensional time relations in a photograph. André Bazin emphasizes that the image and the duration are ”mummified”. According to Gilles Deleuze , before the Second World War, the movement-image dominated and time was subordinated. With the long take of uncut time and deep focus, the cinema creates an increased experience of presence. After the war the time-image dominated. According to Deleuze it can represent time itself in the ”pure state”. Several images, simultaneously present, represent the crystal-image. Such an experience of time, a non-chronological present (durée), is founded in the philosophy of Henri Bergson. For the film director Andrei Tarkovsky, time and rhythm in the shot, was the essence of the cinema. His work is flooded with time-images, and it is possible to experience a time and space beyond the frame, in a multidimensional present. The digital technique has made cinematic time even more complex due to the possibility to create a continuous, synthetic present.
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Books on the topic "Photographed moment"

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McCurry, Steve. The unguarded moment. London: Phaidon Press, 2009.

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Robert, Mapplethorpe, Joselit David, Larson Kay, and University of Pennsylvania. Institute of Contemporary Art., eds. Robert Mapplethorpe: The perfect moment. 2nd ed. Philadelphia, Pa: Institute of Contemporary Art, University of Pennsylvania, 1989.

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Decydujący moment: Nowe zjawiska w fotografii polskiej po 2000 roku = The decisive moment : new phenomena in Polish photography since 2000. Kraków: Wydawnictwo Karakter, 2012.

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Jussim, Estelle. The eternal moment: Essays on the photographic image. New York, NY: Aperture, 1989.

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Shamis, Bob. Leon Levinstein: The moment of exposure. Ottawa: National Gallery of Canada, 1995.

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Shamis, Bob. The moment of exposure: Leon Levinstein. Ottawa: National Gallery of Canada, 1995.

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Akntʻartʻ: Moment. Erevan: "Van Aryan", 2012.

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Ken, Miller. Shoot: Photography of the moment. New York: Rizzoli, 2009.

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Penny, Martin, and Shore Stephen 1947-, eds. Shoot: Photography of the moment. New York: Rizzoli, 2009.

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Ken, Miller. Shoot: Photography of the moment. New York: Rizzoli, 2009.

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Book chapters on the topic "Photographed moment"

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De León, Jason. "The Indecisive Moment." In Photography and Migration, 115–29. London ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315276953-9.

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Bohn, Ralf. "Schreiben mit Licht." In Bewegungsszenarien der Moderne, 93–109. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-6.

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In the 19th century, the stillness of movement during a photographic exposure required a staging based on academic traditions. Staging is the »spatialization« of a present absence – comparable to »writing« in the sense of Derrida. With the increasing mobility of camera techniques from the 20th century onwards, the focus is no longer on the reproduction of a moment, but instead on its performative invention.With the digital photography of the 21st century, a transformation from theatrical to functional staging takes place. The history of the writing scene of photography illustrates the interplay between concealment through technology and re-aestheticization, which with increasing oscillation turns into motor dizziness.
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Brogden, Jim. "Walking as a Decisive Moment." In Photography and the Non-Place, 13–50. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-03919-6_2.

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Knight, Mark, and Lesley McFadyen. "'At Any Given Moment': Duration in Archaeology and Photography." In Archaeology and Photography, 55–72. London; New York: Bloomsbury Visual Arts, 2019. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003103325-3.

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Belden-Adams, Kris. "Photography, Instantaneity, and the “Frozen Moments”." In Photography, Temporality, and Modernity, 8–41. First edition. | New York, NY : Routledge, 2019. | Series: Routledge history of photography: Routledge, 2019. http://dx.doi.org/10.4324/9781138544321-2.

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Fischer, Gunther. "The Moment of Incorporating Stabilizers." In Stabilizers for Photographic Silver Halide Emulsions: Progress in Chemistry and Application, 143–57. Boston, MA: Springer US, 2004. http://dx.doi.org/10.1007/978-1-4419-9108-9_7.

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Van Zyl, Llewellyn Ellardus, Inge Hulshof, and Leah R. Dickens. "#NoFilter: An Online Photographic Meaningful-Moments Intervention." In Evidence-Based Positive Psychological Interventions in Multi-Cultural Contexts, 57–82. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20311-5_3.

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Lahiji, Nadir. "From the photographic moment of critical philosophy to the optical unconscious." In Architecture, Philosophy, and the Pedagogy of Cinema, 25–38. Abingdon, Oxon; New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003166252-3.

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"From that moment on, I photographed..." In Bark. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/11239.003.0011.

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"Photography, Memory, and the Frail Instant." In Cultural Sustainabilities, edited by Timothy J. Cooley, 158–73. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042362.003.0013.

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This chapter begins with the idea of the photograph as an integral component in the ecology of memory, exploring the nature of the photograph as key in the sustaining of community identity and knowledge. Focusing on the documentary photographic work and life of Maggie Lee Sayre and Paul Kwilecki, it looks at ways in which memory, imagination, and creativity propel the making of photographs and also are served by the lasting nature of photography. The photographs of Sayre and Kwilecki, born of ordinary life and passing moments, are discussed as key elements the artists' attempt to arrest time–frail instant–and nourish personal and sustainable community-based memory.
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Conference papers on the topic "Photographed moment"

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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." 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/cifo17.2017.6880.

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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values ​​that have served to interpret painting or sculpture in the history of art.
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"WEIT 2013 moments [official photographs]." In 2013 2nd Workshop-School on Theoretical Computer Science (WEIT). IEEE, 2013. http://dx.doi.org/10.1109/weit.2013.5.

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Zhang, Renjie. "Study on Photography, Images and Paintings of the Moment." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.031.

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Esmaeelpanah, J., A. Dalili, S. Chandra, J. Mostaghimi, H. C. Fan, and H. Kuo. "Interactions Between High-Viscosity Droplets Deposited on a Surface: Experiments and Simulations." In ASME 2012 Fluids Engineering Division Summer Meeting collocated with the ASME 2012 Heat Transfer Summer Conference and the ASME 2012 10th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/fedsm2012-72068.

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A combined numerical and experimental investigation of coalescence of droplets of highly viscous liquids dropped on a surface has been carried out. Droplets of 87 wt% glycerin-in-water solutions with viscosity 110 centistokes were deposited sequentially in straight lines onto a flat, solid steel plate and droplet impact photographed. Impacting droplets spread on the surface until liquid surface tension and viscosity overcame inertial forces and the droplets recoiled, eventually reaching equilibrium. Droplet center-to-center distance was varied and droplet line length was measured from photographs. As droplet spacing was increased there was less interaction between the droplets. A three dimensional parallel code has been developed to simulate fluid flow and free surface interaction by solving the continuity, momentum and volume-of-fluid (VOF) equations. The two-step projection method was employed to solve the governing equations for the whole domain including both liquid and air phases. The continuum-surface-force (CSF) scheme was applied to model surface tension and the piecewise-linear-interface-construction (PLIC) technique used to reconstruct the free surface. Computer generated images of impacting droplets modeled droplet shape evolution correctly and compared well with photographs taken during experiments. Accurate predictions were obtained for droplet line length during spreading and at equilibrium.
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Kim, Deokho, Taehyuk Kwon, Byeongwook Yoo, Gunill Lee, Wonwoo Lee, Jaewoong Lee, Sunghun Yim, and Jiwon Jeong. "Seamless Capturing of Moments Using Photographic Compositions and Image Aesthetics." In 2020 International Conference on Electronics, Information, and Communication (ICEIC). IEEE, 2020. http://dx.doi.org/10.1109/iceic49074.2020.9051282.

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Madadnia, Jafar, Mostafa Amjad, and Jeffry Kusnan. "Analysis of Severe Erosion in Industrial Centrifugal Slurry Pumps." In ASME 2013 Fluids Engineering Division Summer Meeting. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/fedsm2013-16435.

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Centrifugal pumps designed for homogenous slurries experience inefficiency, off-design operations, shorter service-life expectancy, and rapid geometry change due to localized and uneven erosion. Experimental and numerical research to design erosion-free pumps has been inconclusive due to complexity of heterogeneous, multiphase slurry flows and mechanism of the localized material losses. This paper reports on erosion-effects of slurry flows on a number of industrial centrifugal pumps selected from an active copper mine field. The field samples include three metallic pumps operating in a serial-arrangement, and a number of worn pump-components with fully rubber-lined or metallic wetted-surfaces. Physical samples were also collected and photographed under an electronic microscope. The analysis of the photographs shows directional groves, ripples-formations, pitting, cavities, spots, and abrasive-embedding on the pump surfaces. The effected regions included a) hub or tip of the vane leading edge of impellers, b) internal and external surfaces of shroud and downstream of expellers, c) front-liners/throat bush all at the proximity of the inlet throat/tube, and d) Volute surface close to the discharge throat/tube on the spiral tail. Analysis of eroded regions suggests a combination of mechanisms some similar with those found with a sustained flow acceleration and momentum change towards a surface. A wear model is therefore recommended for the severe erosion in pumps which resembles erosion by cavitation. To further understand and verify the finding and to be able to predict and to avoid accelerated-erosion, an experimental modelling and a numerical modelling of slurry flows in two identical-centrifugal-pumps are conducted in series and preliminary results are presented. The project is in progress.
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Yoshikawa, Takaya, Nobuyuki Hotta, and Masaya Ito. "Estimation of the Fracture Origin of Ceramic Gas Turbine Rotors." In ASME 1995 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1995. http://dx.doi.org/10.1115/95-gt-250.

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The fracture origin of ceramic gas turbine rotors has been estimated by photographing the moment of burst during high speed spinning. Three types of ceramic rotors were designed to induce a fracture at the surface, the inside, and a pre-defect area. From photographic analysis of typical fracture behavior of these rotors, the fracture origins of ceramic rotors were estimated. The estimated fracture origins did not correspond to the calculated maximum stress areas in the rotors.
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Kamiya, Nobuo, Mitsuru Asai, Akinobu Bessho, and Shigetaka Wada. "Determination of Fracture Origin in Ceramic Radial Rotor by Taking Photographs at Failure From Two or Three Directions." In ASME 1990 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1990. http://dx.doi.org/10.1115/90-gt-383.

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A technique involving taking moment photographs from two or three directions at failure of ceramic radial rotor was developed to determine the position of fracture origin of the radial rotor revolving at a high speed. The position of the fracture origin of the silicon nitride radial rotor, 60mm in outer diameter and fabricated by injection molding, was demonstrated to be the fillet at the base of the shaft subjected to high stress. Furthermore, the dependence of cracking modes of rotors on the position of fracture origin was demonstrated using ceramic rotors with artificial flaws.
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Dintenfass, L. "AGGREGATES OF RED BLOOD CELLS, AND AGGREGATES OF PLATELETS UNDER ZERO GRAVITY: EXPERIMENT ON NASA SPACE SHUTTLE "DISCOVERY" STS 51-C, JANUARY l985." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1644538.

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The aim of experiment "ARC" on the space shuttle "Discovery STS 51-C, was to define effect of zero gravity on kinetics and morphology of aggregation of red cells in blood obtained from patients suffering from ischaemic heart disease, colon cancer, insulin-dependent diabetes, hyperlipidaemia, IgG and IgM papa-proteins. Space-rated automated slit-capillary photo-viscometer contained a motorized infusion pump capable of handling eight different blood samples. Two cameras and a microscope allowed micro and macrophotography, and total of 500 photographs was obtained in space; and equivalent number on the ground, in the Kennedy Space Center, where a duplicate ground photo-viscometer was present. Identical blood samples have been used in the ground experiments. The slit had a gap of 12.5 microns (micrometers). Blood was anticoagulated with EDTA and adjusted to haematocrit of 0.30 using native plasma. Samples were kept at -5°C prior to the experiment, and at 25°C during experiment; duration of experiment was 91/2 hours. The same computer program was used in both instruments. Photography was carried out at set intervals up to six minutes from the moment of stasis. There was a drastic difference between aggregation on the ground and at zero gravity. Blood from patients was greatly sludged on the ground, but normal rouleaux were formed under zero gravity. Also, aggregates uikder zero g were much smaller. However, red cell shape was not changed. Blood samples from normal donors, which showed normal rouleaux on the ground, exhibited random swarm pattern under zero gravity. Platelets, which tended to aggregate on the ground, and tended to accummulate at the slit entrance, remained monodisperse under zero gravity and no pseudopodia have been noted; under zero g platelet moved through the slit. Subject to future confirmation, it is suggested that zero gravity affects cell-to-cell interaction, and probably causes a modification of the cell membrane. If this is true, a new vista opens in the studies of immunology and oncology under zero gravity.
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Gold, Vladimir M. "Numerical Modeling of Fragmentation Characteristics of Explosive Fragmentation Munitions." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1150.

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Numerical simulations of explosive fragmentation munitions presented in this work integrate three-dimensional axisymmetric hydrocode analyses with analytical fragmentation modeling. The developed analytical fragmentation model is based on the Mott’s theory of break-up of cylindrical “ring-bombs” (Mott, 1947), in which the average length of fragments is a function of the radius and velocity of the ring at the moment of break-up, and the mechanical properties of the metal. The fundamental assumption of the model is that the fragmentation occurs instantly throughout the entire body of the shell. Adopting Mott’s critical fracture strain concept (Mott, 1947), the moment of the shell break-up is identified in terms of the high explosive detonation products volume expansions, V/V0. The assumed fragmentation time determined from the high-speed photographic data of Pearson (1990) had been approximately three volume expansions, the fragmentation being defined as the instant at which the detonation products first appear as they emanate from the fractures in the shell. The newly developed computational technique is applied to both the natural and preformed explosive fragmentation munitions problems. Considering relative simplicity of the model, the accuracy of the prediction of fragment spray experimental data is rather remarkable.
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