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Dissertations / Theses on the topic 'Photographic process'
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Rawson, C. Josephine. "Investigations of novel receptors for binding and sensing silver ions." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362120.
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O'Boyle, Natasha Claire. "Development of a chemical speciation model describing the solution chemistry of the photographic fixing process." Thesis, Manchester Metropolitan University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386886.
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Gondouin, Tiphaine. "Médium et appareil dans la création photographique." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC022.
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Lorsque la création d'une image se fait grâce à l'utilisation, la manipulation d'un appareil, il arrive un moment où celui-ci devient central et le sujet de tous les questionnements. La pratique de la photographie m'a amenée à ce type d'interrogation. Comment photographier devient soudain une question aussi récurrente qu'essentielle. Une réflexion critique sur ce que l’on croit être une simple technique et que l'on emploie pour faire une image photographique, libérée alors de toutes fascinations, devient possible. Mais comment procéder à l'analyse de l'appareillage photographique? C'est en considérant l'appareil comme un ensemble global, un paradigme, participant pleinement à la création et la conditionnant en même temps, qu’il paraît possible de mener une réflexion sur cette place particulière qu'occupe l'appareillage photographique dans la réalisation d'image ou (/ et) d'installation de celle-ci. Cette interrogation peut dès lors être étudiée à travers une mise à plat de l'appareil photographique dans une définition plus élargie de ce dernier que la simple considération de l’appareil de prise de vue afin de savoir ce qu’il est par nature mais aussi dans ses usages, et alors de découvrir sa poïétique propre ainsi qu’un rapport singulier au réel. Cette méthodologie s'apparente à une déconstruction, puis une monstration, voire une mise en excès pour eux-mêmes des éléments premiers et fondamentaux de l'appareil producteur d'image photographique (grain, brûlure, planéité, obscurité...) ; ce qui le constitue et en fait sa particularité. D'une autre manière, le conditionnement qu'opère l'appareillage photographique dans la réalisation d'images peut se penser par une mise en évidence du procès : une mise en valeur, une exhibition du processus du faire, de la démarche, de la méthode qui permet à l'image d'être. Cette démarche et cette recherche recontextualisent le faire, l'expérimentation, la poïétique à l'oeuvre dans chaque réalisation plastique d'image photographiqueWhen creating a picture is done by using and operating a camera there comes a time when this device becomes essential and a subject for all kinds of questioning. Photography brings this type of questioning to my mind. How to take a picture all of a sudden happens to be an essential as well as recurring question. Then a critical appreciation free from fascination may be undertaken on what we consider as a mere technique that is used to take a picture. But how to proceed to the analysis of the photographic medium ? Considering the medium as a global set a paradigm taking full part in the creation and conditioning it at the same time allows the carrying out of an appreciation on this particular part taken by the photographic medium in the realization (or installation) of a picture. From that moment this appreciation can be studied by examining all the elements of the camera in a wider definition of the latter than a mere consideration of the camera itself in order to know not only what it is but also how to use it and thus to find out its own “poïétique” as well as its unique connection to reality. This method relates to a deconstruction then a bringing forward of the primary and fundamental elements of a photographic medium (grain, burn, flatness, darkness…) ; what it is made of and makes it unique . In a different way, the conditioning that the photographic equipment operates in the realization of pictures can be considered as a disclosure of the process : an emphasis on the process, the approach, the method that allows the picture. This approach and this research make it possible to recontextualize the process the « poïétique » at work in each artistic creation of photographic pictures
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Robson, Stuart. "Some influences of the photographic process on the accuracy of close range photogrammetry with a non-metric camera." Thesis, City University London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279010.
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Lewis, Sage M. "The Material Image." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405708145.
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Humayun, Saalem. "Constructing family photograph albums : how the process of archival acquisition writes history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99722.
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This thesis is about photographic archives. Specifically, it concerns the process of acquisition for family photograph albums as archival texts. It argues that the process of acquisition writes history, and not one sole author. Additionally it argues that the institutional policy of an archive governs this process. Further, it argues that there is a homology between a public and private archive. In this light, it pursues an autobiographical approach, and compares the author's family photograph album with a family photograph album in the McCord Museum of Canadian History.
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Lima, Joice Rodrigues de. "A fotografia em diálogo com a criação teatral." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284952.
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Orientador: Cassiano Sydow QuiliciDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa propôs maneiras de trabalhar com atores a partir de imagens fotográficas, abordando as necessidades implícitas ao ato de olhar a fotografia. Para tanto, cinco atrizes participaram da realização de procedimentos que envolveram a observação destas imagens e de situações cotidianas, como parte do treinamento do ator. A metodologia abrangeu também o estudo e a compreensão da obra da artista francesa Sophie Calle, no que diz respeito às suas fotografias e aos fatores relacionados a seus processos criativos. Dessa forma, uma série de procedimentos foram definidos e experimentados, no sentido de ampliar a percepção do ator no momento da observação. Com isso, foi possível constatar que o "olhar", no sentido de observar, proporciona a movimentação de afetos e memórias que participam da e colaboram com a criação do material de trabalho do ator.
Abstract: The goal of this research was to investigate the work method with actors from photographic images observation, when the intention is the theatrical creation from the actor perspective. For this, five actresses participated on the practical research implementation through the photographic images observation and everyday situations, as part of actor training. The methodology also covered the understanding of the French artist Sophie Calle job, with regard to her photos and factors related to her creative processes. Thus, a series of procedures have been defined and tested in order to broaden the perception of the actor at the time of observation. So, it was established that the "look" (in order to observe) provides the handling of feelings and memories that participate in the material creation of the actor's work and collaborate with it.
Mestrado
Mestre em Artes
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FORD, Kyrtilene de Aguiar Silveira. "A antifotografia na Cia de Foto destruição, remixagem & redefinição de autoria como processos de criação." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/17134.
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CAPEs
O processo de criação em fotografia na contemporaneidade é transgressor, irrequieto e um ávido explorador. É plural, diversificado e conduzido por olhares, percepções e experiências múltiplas. Esta dissertação procura, através da análise de trabalhos de artistas e fotógrafos contemporâneos, refletir sobre o fazer criativo chamado de antifotografia. Nossa investigação debruça-se especificamente sobre dois ensaios do coletivo brasileiro Cia de Foto - extinto em 2013 após dez anos de atividade - Retiro (2011) e Pais Interior (2012). A Cia de Foto fez uso de métodos que ignoram fronteiras e redefinem conceitos. Utilizando como ponto focal os trabalhos do coletivo Cia de Foto. Esta investigação tece considerações para compreender este processo antifotográfico através de diálogos com estudiosos e teóricos da fotografia como Ronaldo Entler, André Rouillé, Vilém Flusser, Roland Barthes, François Laruelle, Rubens Fernandes Júnior, Susan Sontag e Joan Fontcuberta.
The creation process in the contemporary photography is infringing, restless and an avid explorer. It is plural, diverse and driven by multiple looks, perceptions and experiences. This work seeks, through the analysis of works of contemporary artists and photographers, to reflect upon a creative doing called anti-photography. Our research focuses specifically on two photo essays from the Brazilian called Cia de Foto (extincted in 2013 after ten years of activity): Retiro (2011) and País Interior (2012). Cia de Foto made use of methods that ignore borders and redefine concepts. Using as a focal point the work of the collective photographic collective Cia de Foto. This research presents considerations in order to understand this anti-photographic process through dialogues with scholars and theorists of photography such as Ronaldo Entler, André Rouillé, Flusser, Roland Barthes, François Laruelle, Rubens Fernandes Júnior, Susan Sontag, and Joan Fontcuberta.
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Cailler, Julie. "L'autoportrait en photographie et la mélancolie." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080029.
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Cette recherche s'articule autour de trois pôles : Autoportrait, Photographie et Mélancolie et questionne les enjeux de la mélancolie dans les dispositifs de création des images de soi et de son expression au sein de l'autoreprésentation photographique. La mélancolie est ici pensée comme rapport singulier à l'image de soi, une définition qui prend appui sur des théories de la psychanalyse – bien que notre réflexion demeure esthétique – mais qui s'inscrit aussi dans l'histoire de la mélancolie, une histoire médicale, artistique et philosophique. Le corpus est constitué d'artistes dont le parcours est jalonné d'autoportraits ou bien, dont l'œuvre photographique se compose essentiellement ou exclusivement d'autoportraits. Trois artistes principaux sont ainsi convoqués : Kimiko Yoshida, Marie L. et David NebredaThis research articulates three axes : Selfportrait, Photography and Melancholia. It questions Melancholia's issues under the devices of pictures of the self creation and their expressions within photographic selfrepresentation. Melancholia is here thought as a singular relation to the picture of the self, a definition that is supported on psychanalysis theories – although our reflexion remains aesthetic – but which also fits within history of melancholia, history of medicine, art and philosophy. The corpus is made with artists who deal with selfportraits or else, whose photographic work consists essentially or exclusively of selfportraits. Three mains artists will be summoned : Kimiko Yoshida, Marie L. and David Nebreda
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Woodrow, Jonathan. "The social psychology of digital photography : a process philosophy approach." Thesis, Loughborough University, 2004. https://dspace.lboro.ac.uk/2134/7724.
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This thesis addresses the nature of the image and its relationship to human perception and memory. Traditionally psychology approaches the relationship between the image and the human in a representationalist register, in which the world represents itself through images to the subjective observer. The thesis questions these assumptions about the representational relationship between the world, the mind and the image through a study of people using digital photographic technologies. It argues that digital images exist as a complex network of technology and activity that manage their incessant movement, production, consumption, convertibility, connectedness and fragility. The digital image exposes the complex nature of the image as more than a simple representation. If this is the case, then human involvement with images as networks occurs in terms of our inclusion in the network rather than as a subjective observer positioned outside of the world. Henri Bergson proposes that we see the image in terms of a distinction between time and space rather than as an intermediary between a subject and the object. The implications of this for the way in which we think about the interaction between people and technology and the nature of perception and memory are explored through some data examples from three settings. These are; amateur photographers using digital technology; families looking through their stocks of digital images and remembering past events together and finally, displays of family member's histories and identities on the internet.
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Hoecker, Robin E. "The role of photography in Peru's truth and reconciliation process." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5105.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pf file; the official abstract appears in the short.pf file (which also appears in the research.pf); a non-technical general description, or public abstract, appears in the public.pf file. Title from title screen of research.pf file (viewed on May 11, 2009) Includes bibliographical references.
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Allen, Michele. "While reason sleeps: a practical investigation into the multiple narrative of place, explored through a process of expanded, "self reflexive" documentary practice incorporating photographic and audio work, with reference to Victor Pasmore's Apollo Pavilion (Peterlee) and the broader artistic and historical context of Peterlee and County Durham (ref. Nichols, B. 1991)." Thesis, University of Sunderland, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589397.
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The thesis provides an account of a series of artworks produced between November 2006 and February 2009 exploring 'sense of place' through photographic practice and sound work, responding to Victor Pasmore's Apollo Pavilion in Peterlee. The research process utilised action research and incorporated a range of formal and informal research methods including; photography, interviews, theoretical research, and the use of sketchbooks. Initially a broadly framed research question was posed in order to allow a degree of thematic fluidity and time to reflect on the artistic research. After working on a series of smaller artistic projects exploring sense of place, Victor Pasmore's involvement in the design of Peterlee emerged as the main focus for the research leading to the formulation of the following questions in relation to my artistic research. 1. Is it possible to articulate new artistic understandings of Peterlee New Town through the development of' new photographic work in combination with sound/audio? 2. What specific photographic and artistic strategies are appropriate to articulate this understanding and how might they operate aesthetically and conceptually? 3. What are the relevant theoretical, historical and artistic contexts for such practice and how do they inform the development of new work? 4. How might such work be appropriately disseminated and evaluated? Initially the consideration of these questions informed the development of a series of inter- related audio installations and photographic works titled 'An Exercise in Total Environment', which investigated the multiple narratives connected to the Apollo Pavilion by drawing on information from council planning documents, artistic surveys and interviews with long-term residents of Peterlee. A related photographic series 'While Reason Sleeps' then emerged reflecting on Pasmore's involvement in housing design around the Pavilion and relationships between photography and painting. This practical work makes a contribution to knowledge, providing a new approach to photographic representations of Peterlee, through the incorporation of audio work and the consideration of the relationships between Pas more's work on the Pavilion and the design of the surrounding houses. The discussion of these works in relation to the wider theoretical context forms the basis for the case study chapter. The development of this practice in Peterlee was also informed by my previous involvement in the revival of 8tuart Brisley's Peterlee project (2004), which is discussed in the literature review section. This chapter also examines key theoretical ideas relating to place, site specificity and the critique of documentary (in film and photography) which are relevant to my photographic practice. These ideas are then expanded into the discussion of artworks and other cultural outputs connected to Peterlee and the Durham Coalfields, in order to critically place my own practice and give an account of the working context and history of artworks made in connection to Peterlee.
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Thomas, Caroline. "Performing the Uncanny: An Exploration of Self Through Alternative Process Photography." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/789.
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This paper considers how the tradition of self-portraiture and alternative process photography can be used in conjunction with one another to perform the uncanny. I discuss the "uncanny" through three theoretical lenses: Sigmund Freud, Hal Foster, and Rosalind Krauss. I then go on to discuss how the "uncanny" has been used in alternative processes of contemporary work by examining Robert Heinecken and Joyce Neimanas. Finally by looking at Francesca Woodman's self-portraiture, I address how self-portraiture can be a type of performance and how this influenced my own series during my 2015 Fall semester. As a whole this paper addresses how my senior thesis work functions within art theory and art history.
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Gleizes, Laurie. "[Dé]construction et mise en résonance des espaces : l'architecture en question chez Georges Rousse." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30091.
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Etablissant une relation inédite entre la peinture, la photographie, l'architecture et l'espace qui questionne et déplace les frontières entre les médias traditionnels, l'œuvre de Georges Rousse se place au cœur de nos recherches. C'est la mise en critique de l'espace, de la représentation spatiale et des processus de création et de réception que nous cherchons à questionner, induisant une approche transdisciplinaire. L'œuvre de l'artiste relève d'un usage de dispositifs paradoxaux, du projet et de sa représentation, il nous oriente vers une manière de penser et de produire l'espace – construit, architecturé, fictif. C'est parce que ce processus fait écho à la conception et à la matérialisation d'un espace que nous nous interrogeons sur le statut que son œuvre confère à l'objet-architecture. [Dé]construire l'œuvre de Georges Rousse s'avère une occasion d'enrichir la pensée architecturale qui ouvre à des problématiques relatives à la notion de projet, rapportée et distinguée entre une démarche architecturale et une démarche plastique. A l'interface entre l'architecture comme matière à créer et comme matière à penser ; le projet est étudié en termes de processus – création, réflexion, conception et réception. La spatialité de l'intervalle, la mise en scène des espaces, la photographie à trois dimensions et les références topologiques plurielles juxtaposées nous amènent à réactualiser le processus de projection propre à l'architecte par la mise en critique de son œuvre. La mise en résonance des espaces, construits et [dé]construits, nous permet de questionner l'espace mental de conception – camera obscura visuelle de l'architecte. Le processus de conception, comme mise en mouvement de pensées pesées, permet à l'architecte de considérer les possibles avant de formuler une proposition de projet, un propos spatialBy establishing an unprecedented relationship between painting, photography, architecture and space, Georges Rousse's work throws into question the boundaries within traditional media, and blurs them. This singular approach places his work at the heart of our researches. Our goal is to question space, spatial representation and the creative process in and of themselves, as well as perception, by inducing a transdisciplinary approach.The working process set up by the artist falls within paradoxical arrangements. Starting from the notion of project and its representation, he drives us towards a way of thinking and producing space (constructed space, architectured space, fictitious space). It is precisely because this working process echoes with the conception and materialization of space, that we intend to explore the status given by his body of work to the Architectural Object. [De]constructing George Rousse’s body of work represents an opportunity to enrich the architectural thought by opening new challenges that relate to the notion of project, in relation and compared to an architectural and plastic approach. We investigate the project as processes – creation, reflexion, conception and perception – at the interface between architecture taken as food for thought, and architecture taken as food for creation.The spatiality of the interval, the staging of spaces, the three-dimensional photography and the plural juxtaposed topological references, leads us to update the projection process inherent to the architect by putting into question his body of work. Aligning constructed and [de]constructed spaces allows us to query the mental space of conception – visual camera obscura of the architect. The conception process, as a “set in motion” of weighted thoughts, enables the architect to consider all potential possibilities before drawing up a project proposal, a spatial statement
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Pires, Hugo Alexandre Neves. "Enquadramento como processo arquitectónico: fotografia, lugar e propoção." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23595.
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O conceito de enquadramento configura a acção de enquadrar que significa integrar algo em determinado meio ou contexto. É um posicionamento consciente do pensamento, que procura adequar de modo harmónico um tema ou objecto. Esta investigação analisa e reflecte sobre o processo adoptado para a concepção arquitectónica que utiliza uma característica da fotografia analógica como uma ferramenta de auxílio à observação e ao pensar sobre o lugar - enquadramento. No ano lectivo de 2014/15, foi desenvolvido em Projecto Avançado III e IV, um exercício prático, intitulado 'Museu do Vazio'. Este exercício pretendia estabelecer relações entre os conceitos de Paisagem e Património Industrial no contexto da região de Évora, explorando o sistema ferroviário e os silos, como instalações industriais. Elegendo o contexto de Pavia, onde se localiza o silo da estação ferroviária de Pav1a, desenvolveram-se propostas para este Museu, seleccionando o conceito de enquadramento para dar resposta ao exercício. Para tal, procurou-se a definição das janelas que olham para a envolvente, primeiro utilizando o desenho, e posteriormente a fotografia como potenciadora de um olhar crítico sobre a envolvente. Esta investigação explora o pensamento reflexivo como método que relaciona os elementos utilizados - fotografia (ferramenta), arquitectura (processo), e lugar (existente) - com o objectivo de entender de que modo o uso da fotografia analógica pode informar o processo arquitectónico no entendimento do lugar e na definição do limite do enquadramento proporcionado por uma janela; ABSTRACT: The concept of framing sets the action frame which means integrating something in particular medium or context. lt is a conscious positioning of thought, which seeks to suit harmoniously a theme or subject. This research analysis and reflects on the process adopted for the architectural design that uses an analog photography characteristic as a tool for the observation and thinking of the site framing. ln the academic year of 2014/15, was developed in Projecto Avançado III and IV, a practical exercise, entitled 'Museum of the Void'. This exercise aimed to establish relationships between the concepts of Landscape and Industrial Heritage in the context of the region of Évora, exploring the railway system and the silos, as industrial settings. Electing the context of Pavia, where the train station silo of Pavia is located, proposals were developed for this museum, selecting the concept of framing as an answer to the exercise. So, it was sought the definition of the windows that look at the surroundings, first using the drawing, and subsequently using photography as an enhancer of a critical look to the surroundings. This research explores a reflective thinking as a method relating the elements covered - photography (look), architecture (process), and sale (existing) - with the aim of understanding how the use of analog photography can inform the architectural design in the understanding of the site and in the definition of the boundary of the framing provided by a window.
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Kulbaba, Brian. "WITHOUT A CAMERA." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4046.
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The method for creating my art is a matter of experimental process, manipulation of photographic elements, and time spent. I am a photographer in a digital age that does not use a camera. My moment of creativity occurs without the snap of a shutter, but relies on my understanding and control of the chemical components of photography. My work deconstructs the notion of duplication commonly found in photography. The procedure can be repeated but the results are variable. The process of creating my work often results in a multitude of prints, but the pieces that I select as art capture a number of instinctive characteristics which convey an emotion or message to me. When I present my photographs I offer the viewer an experience--an opportunity to see the work through my mind's eye as it makes sense to me. It is within this open dialogue that the work is complete: part process, part intuitive participation.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Meadows, P. L. "The applications of aerial photography, photogrammetry and photo-interpretation in the planning process." Master's thesis, Faculty of Engineering and the Built Environment, 2021. http://hdl.handle.net/11427/33400.
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To date aerial photography and associated photogrammetric and photo-interpretation techniques have played but a limited role in the planning process. In this study their dual role (i) as a base medium and (ii) as a source of data is investigated bearing in mind the requirements of planning data and certain inherent defects of conventional maps in the planning process. Having considered certain pertinent technical aspects of aerial photography and associated techniques, especially modern developments such as orthophotos, use of multi-emulsion photography, automated data extraction and automated data processing techniques, the application of these techniques is discussed in greater detail in respect of the dual role mentioned earlier. Aerial photographs are shown to be of considerable value to the planner as an analytic tool and a powerful source of data when dealing with such topics as feasibility studies, land use, resource surveys, urban and regional research and analysis, urban history, urban and rural administration, site evaluation, transportation and other. branches of engineering, urban sociology and economics, as well as urban aesthetics. Aerial photographic data adequately meets the data requirements of the planning process and furthermore lends itself to modern automatic data processing methods. The modern improved forms of photography, i.e. photomaps, orthophotos, etc. have definite advantages over conventional maps insofar as a base medium in planning is concerned, and the wider use of aerial photographs and products is anticipated when planners become more aware of their universal application and versatility.
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Houzenga, Brent. "The Process That Eats Itself." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2331.
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Chance and the found object set the stage for artworks that illustrate the clash between the everyman, popular culture and high art. The investigation of my process, surroundings and interests leads to an infinite amount of possibilities in a process that is beginning to eat itself.
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Kavoliūnas, Gintas. "Senųjų fotografinių procesų panaudojimas mokant fotografijos." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130801_152407-49452.
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Kintant fotografijos technologijoms, kito ir fotografijos mokymas, fotografinės išraiškos priemonės bei uždaviniai, keliami fotografiniam vaizdui. Dabar galima rinktis daugelį fotografinės raiškos variantų. Senieji fotografijniai procesai praplečia ribas ir sudaro galimybes kūrėjui pasirinkti savitą fotografinės raiškos būdą. Todėl svarbu atskleisti kaip galima senuosius fotografijos procesus integruoti į ugdymo procesą, plėtojant mokinių meninės raiškos priemonių pažinimą.
Remiantis fotografijos ir fototechnikos istorinės literatūros, kitos temai aktualios literatūros bei mokymo programų analizė, darbe keliamas tikslas ištirti senųjų fotografijnių procesų panaudojimą mokant fotografijos. Siekiant tikslo buvo suformuluoti trys uždaviniai: atskleisti senųjų fotografijnių procesų sampratą ir pateikti fotografijos procesų istorinės raidos apžvalgą bei foto techninės raiškos tendencijas; išanalizuoti fotografijos mokymo raidą, fotografijos mokytojų rengimą Lietuvoje ir fotografijos programą; atlikti senųjų fotografijnių procesų edukacinio užsiėmimo tyrimą.
Pirmojoje darbo dalyje analizuojama senųjų fotografijnių procesų samprata ir istorinės raidos apžvalga. Išryškėjo fotografinės terminologijos problematika ir specifinių terminų trūkumas lietuvių kalba. Apžvelgta senųjų fotografinių procesų padėtis šiandienos fotografijos kontekste ir išanalizuotos dabartinės foto techninės raiškos tendencijos.
Antrojoje darbo dalyje apžvelgiamas fotografijos mokymas Lietuvoje, nuo ankstyvojo... [toliau žr. visą tekstą]While the technologies of photography were changing, the photography teaching, means of expression and aims that pose the challenges for photographic view, were changing as well. Nowadays, it is possible to choose many variants of photographic expression. The old photographic processes expand limits and make possibilities for a creator to choose his own way of photographic expression. Therefore, it is important to reveal the possibilities to integrate the old processes of photography into the teaching process in order to develop the cognition of artistic means of expression of students. On the basis of historic literature for photography and photographic technology, other literature that is relevant to the topic and analysis of teaching programme, the aim of this final thesis is to research the appliance of the old photographic processes in photography teaching. For this purpose three goals were formulated: to reveal the conception of old processes of photography, to present a review of timeline of photographic processes and to introduce the tendencies of photo technical definition; to analyze the development of photography teaching, training of photography teachers and teaching programme in Lithuania; to accomplish a research of educational activity on old processes of photography. The first part of this final thesis analyzes the conception of old processes of photography and surveys the timeline. There revealed problems of terminology of photography and deficiency of... [to full text]
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Cavalari, Tatiana Barbosa. "Instantâneos de ausências: Perec e as relações entre texto, fotografia e memória." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-29042015-154136/.
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O trabalho tem por objetivo realizar uma leitura de imagens a partir de dois projetos autobiográficos de Perec: W ou a memória da infância e Récits dEllis Island, levando em conta as relações entre texto literário, fotografia e memória autobiográfica. Essa leitura será marcada, sobretudo, pelas ideias de Barthes, já que ao longo dessa pesquisa serão citados diversos trechos do seu livro A câmara clara - Nota sobre a fotografia, a partir do qual o crítico nos levará a levantar alguns questionamentos concernentes à obra de Perec. Na primeira parte do trabalho, serão apresentadas algumas interações entre o texto de Perec e outras artes, partindo em seguida para a delimitação dessa interação entre texto e fotografia. Essa será a questão principal no trabalho, discutida detalhadamente em relação aos dois textos mencionados, na segunda parte em relação à W e na terceira em relação à Ellis Island. Nessas duas partes, o objetivo principal será investigar de que maneira as imagens fotográficas farão parte do processo de escrita e quais os desdobramentos dessa inter-relação na produção do texto literário.The study aims to perform an image reading of two autobiographical projects by Perec: W, or the memory of childhood and Ellis Island, taking into account the relationship between the literary text, photography and autobiographical memory.This reading is led, mainly, by Barthes considerations, since many aspects brought to this study are originally taken from his text Camera Lucida - Reflections on photography, in which the critic supports us to raise some issues related to Perecs work. In the first part of the study some interactions between Perecs text and other arts are presented, so later this interaction is delimited to text and photography. This is the leading issue of the study, specifically discussed with regards to the two mentioned texts, i.e., in the second part related to W and in the third part related to Ellis Island. In these two sections, the main purpose is to investigate how the photographic images take part into the writing process and which are the consequences of this inter-relationship in the literary text production.
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Santos, Eriel de Araújo. "Imagens transitórias : dinâmicas interativas entre o real e o imaginário num processo fotográfico." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/22818.
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Esta pesquisa propõe uma reflexão sobre a produção da imagem fotográfica e seus desdobramentos num processo artístico. Busca investigar a presença de procedimentos adotados por artistas que pretendem ampliar o conceito de imagem fixa, propondo alterações formais e conceituais com uso de materiais diversos. O texto apresenta análises sobre obras de artistas contemporâneos em relação com os procedimentos adotados no meu processo artístico. Desta maneira, instaura-se um campo de interação entre vários modos do fazer artístico. Durante a construção desta tese, foram identificados núcleos de análises que norteiam a organização do pensamento sobre minha conduta criadora, constituindo assim, categorias de ações e reflexões sobre imagens transitórias e as dinâmicas interativas entre o real e o imaginário nos procedimentos fotográficos. As operações poéticas, aqui apresentadas, envolvem experiências com uso de imagens fotográficas que retornam ao tipo de material ou situação que lhe deu origem, assim como o uso de materiais que se associam de maneira metafórica ou metonímica. Tais escolhas, por consequência, promovem alterações nas qualidades visuais das imagens produzidas, fator importante para discutir o “valor” da imagem no cotidiano e seu estado transitório. Assim, os desvios produzidos nos registros fotográficos foram fundamentais para ampliar o conceito da fotografia documental e da fotografia artística, discutido aqui, a partir de uma articulação prática e reflexiva das “marcas do visível”.This research aims at a reflection about the production of the photographic image and its unfoldings in an artistic process. It tries to investigate the presence of procedures applied by artists who intend to enlarge the concept of steady image, proposing formal and conceptual changes with various materials. The text presents some analyses about works of contemporary artists in relation with the procedures applied in my artistic process. Hence, it is established a field of interaction among various kinds of art making. During the writing of this thesis, it was possible to identify nucleuses of analyses that guide the thought organization about creating conduct, constituting this way, categories of actions and reflections about transitory images and the interactive dynamics between what is real and what is imaginary in photographic procedures. The poetic operations, here presented, involve experiences with use of photographic images that return to the type of material or situation from which it originated, as well as the use of materials that are associated in a metaphoric way. Such choices, as a consequence, generate changes in the visual qualities of the images produced, an important factor to discuss the “value” of the image on a regular basis and its transitory state. Therefore, the deviations produced in the photographic registers were fundamental to enlarge the concept of the documental photography, discussed here, beginning from a practical and reflexive articulation of the “marks of visible”.
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Goldstein, Mitchell. "Through Process." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2791.
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At the core of any designer’s activity is the process they engage with to create design. Process is not only a way to get from an idea to a completed work, it is also what determines our attitude towards design. This is the place where both the design and the designer are created. The gray area between nothing and something is where we go to discover design, and in turn to discover who we are and what matters to us. In this thesis I am investigating the nebulous place between ideas and things, thoughts and artifacts, and being just a person to becoming a designer. Every designer works differently, but we share something in common: through process, design is discovery.
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Giordano, Liliane de Fátima. "Uma proposta de imersão no processo da fotografia e na leitura de imagens." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/144075.
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Esta dissertação buscou entender como o processo de leitura da linguagem visual pode se expandir, por meio das relações que se estabelecem entre o eu - fotógrafo e o objeto a ser fotografado, através de um curso denominado Oficina de Fotografia. Adotou-se como referencial teórico os estudos de Paulo Freire sobre educação; de Ana Mae Barbosa sobre leitura de imagens; de María Acaso sobre educação visual; e de Joan Fontcuberta sobre a linguagem fotográfica. Para tal, constituiu-se um Grupo Focal com alunos de diferentes idades e profissões que haviam realizado o curso Oficina de Fotografia. Os depoimentos coletados constituem o corpus de análise dessa pesquisa. O método do Grupo Focal diz respeito à abordagem qualitativa de pesquisa, que procura conhecer o que os sujeitos envolvidos em uma determinada situação ou evento pensam a respeito de um tema proposto pelo pesquisador. Os resultados obtidos a partir da análise das entrevistas demonstram que os alunos passaram a ter uma leitura mais criteriosa não só das imagens fotográficas como também da linguagem visual em cenas cotidianas, após realizarem a Oficina de Fotografia.This dissertation aimed to understand how the process of reading visual language can be expand by the relations that are established between the photographer itself and the object to be photographed in a course called Workshop of Photography. As theoretical reference it was used the studies from Paulo Freire about education; from Ana Mae Barbosa about images reading; from María Acaso about visual education; and from Joan Fontcuberta about photographic language. A Focus Group was organized with subjects from different ages and professions that had already attended the Workshop of Photography. The statements collected constitute the corpus of analysis of this research. The Focus Group is applied in a qualitative research methodology that aims to know what the subjects, involved in a particular situation or event, think about an issue suggested by the researcher. The obtained results based on an analysis from the interviews showed that the subjects, after attending the Workshop of Photography, have achieved a more discerning reading not only of the photographic images, but also from the visual language in everyday life scenes.
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Ilan, Jonathan. "Picturing the World's news : news photography, cultural production, Thomson Reuters and the international process of news making." Thesis, University of Westminster, 2012. https://westminsterresearch.westminster.ac.uk/item/8z4zq/picturing-the-world-s-news-news-photography-cultural-production-thomson-reuters-and-the-international-process-of-news-making.
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In this research the production process of news pictures at Thomson Reuters international multimedia news agency is examined along its ‘local’ and ‘international’ key moments and sites, and the career of Reuters photographs- from the moment they are conceived as ideas to their purchase- is followed and explored at the ways that at every stage they are used, chosen, sold and processed as 'Reuters' products. Based on an extensive fieldwork that includes participant observations in the field, the Jerusalem bureau and the global pictures desk in Israel, Singapore and the UK, indepth interviews with significant Reuters pictures professionals and observations conducted at the Guardian’s pictures desk in London, the findings in this project point to a wide cultural production infrastructure hidden from- and yet also nurtured by- the consumer's eye. From the camera's lens to the daily work of the photographer, the editor, the producer, the chief of the department, administrators, graphic designers, sales and marketing, the international news agency, the different news outlets, different media and other organizations and their audiences, who are all responsible for the representation of one reality and the production of another. Focusing an ethnographic eye on the production processes of news pictures at Thomson Reuters, and drawing from cultural studies and approaches of the political economy of communication, this is an attempt to uncover what news is in its photographic form, and the ways that such unique process of production illustrates the overall production of newsworthiness.
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Pitella, Júnior Roberto Antônio. "...Ou onde se habitam as imagens...(a partir de um processo fotográfico relacional e líquido)." Programa de Pós- Graduação em Artes Visuais da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/9834.
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Esta dissertação tem como objeto de pesquisa a fotografia como fator relacional, através do conceito de arte relacional proposto por Nicolas Bourriaud. Entende-se aqui a arte relacional, ou mais precisamente a fotografia relacional, como um método, um procedimento. Propõe-se também neste procedimento que a imagem em si já é um lugar. Um lugar de relações. Por isto a discussão sobre a noção de geopoética visual. Reflexões a cerca do tema pesquisado, do caminho percorrido, a trajetória do processo criativo desenvolvido, buscam situar a fotografia historicamente enquanto arte visual contemporânea. Autores como Nicolas Bourriaud, Zygmunt Bauman, Geoges Didi-Huberman, Cecília Salles dão o embasamento teórico à investigação.
Salvador
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Carroll, Fiona. "Engaging photorealistic VR : an aesthetic process of interaction." Thesis, Edinburgh Napier University, 2008. http://researchrepository.napier.ac.uk/Output/2393.
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This thesis investigates the potential of aesthetics in the design of Human-Computer Interactions (HCI). In particular, it aims to provide a means by which aesthetics can be applied in photorealistic virtual reality (VR) to create ‘engaging' experiences. Indeed, the author of this thesis suggests that much can be gained from looking at the aesthetics of photorealistic VR content as opposed to the more traditional HCI approaches that have primarily focused on the performance and efficiency issues of the technology. The thesis is motivated by the very notion that the aesthetic potential of photorealistic VR content is, and continues to be, underestimated whilst the emphasis on the development of newer and more efficient visualisation technologies to create engaging VR experiences increases. Challenging this, the research is firmly based on the premise that the aesthetic content of photorealistic VR environments holds at least as many possibilities for the creation of more complete and ‘engaging' experiences. To explore this, the thesis describes the aesthetic-interaction as a new type of interaction that focuses primarily on how one aesthetically interacts with an interface (as opposed to how one cognitively interacts with interface metaphors to activate certain aspects of its functionality). By concentrating on the design and the aesthetic content of photorealistic VR, more so than the building and enhancing of its functional capabilities, the research aims to probe how the user might be sensually attracted and aroused into the sharing of information and hence the creation of new and ‘engaging' experiences. In particular, this thesis examines the role of narrative in VR and from this, moves to the visual-narrative which for centuries has employed the use of aesthetics to ‘engage' the spectator in its process of storytelling. Integrating traits of the VR medium and the visualnarrative, the author develops a visual-narrative structure which is used to elicit a number of design requirements specifically for photorealistic VR. From this, a visual-narrative model is developed, and in a second study, it is demonstrated that the photorealistic VR environments designed with the visual-narrative model can, indeed, create more ‘engaging' experiences. In summary, this research provides a means by which the aesthetics of photorealistic VR (or other HCI technologies) might be strategically patterned and applied to the creation of various different types of ‘engaging' experiences. By describing the aesthetic-interaction and how it can be articulated through a visual-narrative model, the research not only successfully highlights the experiential side of photorealistic VR, but also advances the new ‘design' drive of HCI.
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Tannus, Flaviana Machado [UNESP]. "A legibilidade do visível: as imagens de Oliviero Toscani, um processo de ruptura." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/89354.
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Em um momento em que as imagens publicitárias povoam nosso cotidiano, influenciando diretamente nossos desejos, através de recursos visuais convidativos, apresentamos como proposta a análise das imagens fotográficas do publicitário italiano Oliviero Toscani, produzidas para as campanhas da marca Benetton. Para isso, lançamos nossa investigação a partir do surgimento da fotografia e suas reverberações na modernidade, principalmente no espaço publicitário, pois acreditamos que tais episódios orientam o nosso entendimento sobre a inundação que as imagens publicitárias foram operando na contemporaneidade. A partir dessa perspectiva, apresentamos o desenvolvimento iconográfico de Oliviero Toscani desde a sua infância até o encontro com o fundador da empresa, Luciano Benetton. Partindo desse pressuposto, assumimos como objetivo lançar um olhar mais atento sobre um conjunto de imagens que subvertem concepções e moldes habituais, com o intuito de perceber de que maneira elas podem convocar os sujeitos na busca de outros códigos de leitura. Na presente pesquisa, escolhemos como corpus quatro imagens que marcaram a campanha publicitária da Benetton entre os anos de 1988 e 1992. Analisamos como as imagens propõem outro viés comunicativo, em que o consumidor é assaltado por uma nova forma de leitura. Identificamos como as mensagens transmitidas podem estabelecer rupturas e assumir novos formatos de comunicação que não promovam apenas o consumo que elas geram. Pretendemos contextualizar historicamente como tais imagens estão enredadas com questões políticas, sociais e culturais. Acreditamos com isso que tais imagens, a partir da ruptura que elas promovem, propõem novos códigos de comunicação, que, mais do que informação, podem despertar no sujeito reflexões a respeito da realidade que presenciamos diariamente
In a moment which we have publicitary images crowding our daily life and influencing directly in our wishes through visual and inviting resources, we project as propose the analysis of photographic images of the Italian publicitary Oliviero Toscani, made for the campaign of the trademark Benetton. For this, we started our investigation from the beginning of the photograph and yours reflections on modern time, meanly on the publicitary way, once we believe that those facts guide our understanding about abundance that publicitary images were taking over on contemporary times. From this perspective we show since the iconography development of Oliviero Toscani, since his childhood, until his met with Luciano Benetton, the funder of the mark. Going through this presupposed, we adopted as an objective throw an attentive look for one group of images which subvert conceptions and usual patterns, with the intention to realize which way they can convoke the people on the search of others reading codes. On the present search, we chose as corpus four images which marked the publicitary campaign from Benetton in outdoors between 1989 and 1999, are going to be our group of research objects. We analyzed how the images propose another communicative way that the consumer is attacked for a new form about reading. We indentified how the messages transmitted can settle ruptures and new shapes of communication which does not promote only consume that they produce. We aspire to historically context how those images are tangled with political, social and cultural questions. We believe with this, that those images, starting for the ruptures they promote, propose “new codes” of communication when mores than just information, they aroused people to quest about the reality we face daily
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Wallenbäck, Karin. "Att Gestalta Gestalt : An approach to product photography as an integrated part of the design process, as opposed to a form of documentation detached from the design process." Thesis, Konstfack, Industridesign, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2998.
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Digital technology and the Internet has fundamentally reshaped the way photographs are viewed and shared. Today designers can reach out and publish their work via web sites and blogs without having to rely on editorial features or even the objects being in production. Most people will only see the finished products on blogs or in magazines, and it is almost as though the image is more important than the real object. How does this change the role of the image in the field of product design and what new demands does it put on product photography? Through theoretical and applied research, the aim is to identify knowledge, relevant in order to approach the creation of images as an integrated part of the design process, rather then a form of documentation done after a project is completed.
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Probst, Brennan. "Amalgamations." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2634.
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I explore time, memory, and the artist’s ability to convey experience through autobiographical photographs and drawings. In my compositions, I provide an intimate look into my life, while making wider observations about how my mind processes the world. My work is concerned with circumventing the objective, static qualities of photography. I attempt to create images that convey how experiences feel, instead of how they look through the lens of an optical apparatus. With my work, I do not wish to take from the world around me, but rather to create from the world within me. By utilizing multiple exposures and collage techniques, as well as drawings, I investigate how I experience and remember my life, and the people most important to me.
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Mazzupappa, Ross Joseph. "A process overview of faux-to-gravure and paper films for photolithography." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1690.
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Tradition begins with innovation. The rich and complicated history of Printmaking is shaped by invention and discovery. I see this advancement for the sole purpose to distribute knowledge and ideas to every person regardless of prosperity and status. At its core intention is the need to make art and knowledge accessible. The procedural research I have been exploring along side my artist research was designed to do just as invention in printmaking has done before. I have applied my knowledge and availability of modern technology with traditional ways print artists create. These new processes are geared to make photomechanical practices in lithography and intaglio cheaper and more accessible to artists and students with limited resources. I have also included a statement about the artwork that has been able to be developed because of this research to provide context for my artistic practice.
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Camargo, Denise Conceição Ferraz de. "Imagética do candomblé = uma criação no espaço mítico-ritual." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283941.
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Orientador: Inaicyra Falcão dos SantosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho discute e analisa a imagem fotográfica no espaço mítico e ritual do candomblé, religião de origem negro-africana estabelecida no Brasil. Propõe a religação entre o rito contemporâneo e o mito ancestral, evidenciada pela fotografia. Apresenta o candomblé por meio do corpo, matriz geradora do "corpo-terreiro", um a condição para a manutenção do patrimônio cultural afro-brasileiro. Estuda distintas práticas fotográficas que sistematizam um conhecimento acerca dessa tradição religiosa: a "imagem-renascimento", em Pierre Verger; a "imagem-tabu", em José Medeiros; e a "imagem-oferenda", em Mario Cravo Neto. Descreve a visualidade dessa manifestação sócio-cultural no caderno de notas visuais "E o silêncio nagô calou em mim", registrando uma experiência fotográfica e ritual.
Abstract: This work discusses and analyses the photographical images in the mythical and ritual context of the African-Brazilian religion candomblé, proposing a reconnection between the contemporary ritual and the ancestral myth, as evidenced by phtography. This work considers the body a matriz that constitutes an important element for the maintenance of an African-Brazilian cultural heritage. The text analyses the imagery produced on the theme, by the protographers Pierre Verger, José Medeiros and Mario Cravo Neto, studying the distinct visual practices that embody the knowledge concerning these religious traditions. It concludes by describing the construction of a visual context within candomblé, wich resulted in a visual notebook narrating an imagetic and ritual experience.
Doutorado
Doutor em Artes
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Coelho, André Leite. "Antotipia : processo de impressão fotográfica /." São Paulo, 2013. http://hdl.handle.net/11449/86943.
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Orientador: Luiz Guimarães MonforteBanca: Marco Francisco Buti
Banca: Pelópidas Cypriano
Resumo: Esta pesquisa tem como propósito investigar uma técnica de impressão fotográfica chamada antotipia. Praticamente esquecida pela história da fotografia, a antotipia se vale de fotossensibilidade dos pigmentos vegetais contidos nas flores para produzir impressões que se caracterizam por sua qualidade monocromática, baixa gama de contraste e efemeridade. A partir da perspectiva historiográfica de Walter Benjamin, testemunhos como manuais de fotografia e artigos científicos oriundos do século XIX são observados, criticados e analisados historicamente. Os procedimentos artesanais envolvidos na prática da antotipia são então testados e organizados numa metodologia prática, de modo a resgatar este processo de impressão para o contexto contemporâneo. Os conteúdos estudados ao longo da pesquisa são então interpretados e traduzidos visualmente na série de fotografias impressas em antotipia chamado Atlas Oblivione
Abstract: This research has the purpose of investigate a photographic printing technique called anthotype. Pratically olivious to the History of Photography the anthotype uses the photosensitivity of vegetable dyes found in flowers to produce prints notable by its monochromatic quality, low range of contrast and ephemerality. Based on the historiographical perspective formulated by Walter Benjamin, evidences as photographic manuals and scientific papers from the nineteenth century are historically observed, criticized and analyzed. The handmade proceidures involved on the anthotype are tested and organized in a practical metodology in order to rescue this photographic printing process from oblivion to the contamporaneity. The subjects studied throughout the research are then interpreted visually in the series of anthotype photographs named Atlas Oblivione
Mestre
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Arnell, Emilia. "Arbetsprocess för reklambilder : Hur kan samarbetet mellan beställaren, fotografen och retuschören effektiviseras?" Thesis, Högskolan Dalarna, Informatik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35050.
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De har en gemensam slutdestination men olika stopp på vägen. Så kanprojekt med samarbete mellan beställare, fotograf och retuschör beskrivas.I projekt med flera parter är det inte svårt att förstå att förlängdadeadlines, överskridande av budget, bristande kommunikation och friktionmellan parterna kan förekomma. I detta arbete har arbetsprocesser inomframställningen av reklamkampanjer bestående av fotografiska bilderanalyserats för att definiera styrkor och svagheter. Målet var att ta framriktlinjer för de olika parterna att använda sig av vid framtida arbete.Efter intervjuer med sex personer aktiva i branschen, som syftade till attkartlägga respektive parts arbetsprocess, samt deras syn på samarbetetdem emellan, kunde välgrundade resultat nås.I de riktlinjer som studien resulterat i kan det bland annat utläsas att entydlig brief samt användandet av mallar och checklistor är centrala delar ien välfungerande arbetsprocess. Vilket bidrar till ett slutresultat av högkvalitet och leverans inom givna tidsramar.Detta arbete har utförts i samarbete med Linjepunkt Repro som arbetarmed avancerad bildretusch och grafisk produktion. Samarbetet bidrog tillen tydligare inblick i branschen och värdefulla kontakter inom de olikaområdena som undersökts och ligger till grund för arbetet. Resultatet avstudien skulle kunna gynna företaget i fråga samt deras samarbetspartnersmen kan även appliceras på andra liknande arbetsprocesser.Projects involving clients, photographers and retouchers has a common goal but each part have different stops along the way.Extended deadlines, budget overruns, lack of communication and friction between the parties. These are all things that can occur in projects involving multiple parties. In this study, work processes in the production of advertising images has been analyzed in order to define strengths and weaknesses. The aim for this work was to develop guidelines for the parties to use in the future.In order to survey each party’s work process and their different views on the collaboration between them, six interviews were conducted. Since the interviewees’ consisted of people currently in the industry, the results were well-founded.The results from the study shows that some of the central parts of a well-functioning work process are a clear brief and the use of templates or checklists. These aspects contribute to high-quality results and delivery within deadlines.This study has been conducted in collaboration with Linjepunkt Repro, a company working with advanced image retouching and graphic production. The collaboration contributed to a clearer insight into the industry and valuable contacts. The result of the study could benefit the company and its partners, but it can also be applied to other similar work processes.
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Turner, Julia J. "Processing Nature." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4697.
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In my artwork, I merge nature with typography. I use macro-level photography to capture details of nature, such as the pistils of a flower or the sensory hairs of an insect. I print enlargements and transfer these photos onto pages of poetic text about nature, or collage them onto canvas. Once transferred, I use multiple media to alter and enhance features of the photos. I intentionally obscure much of the text which allows me to place focus on the overall layout and design. The arrangement of lines of text and spacing of words is used to create a visual rhythm. The poetic script acts as a foundation or platform for presenting the often unnoticed elements of nature.
In developing a piece, I use a wet transfer which allows me to obtain subtle textures and imperfections that occur from the process. To add visual interest and complexity, I continue to manipulate the surfaces with various media and marks. This approach helps to create a blending of text and image. Similar to reading a poem or observing nature, I want to engage the viewer in an experience of visual poetry.
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Gonçalves, Kézia Viana. "Espaços de autoria e legitimação dos estudantes no processo de aprendizagem." Universidade Federal Rural do Semi-Árido, 2013. http://bdtd.ufersa.edu.br:80/tede/handle/tede/8.
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Previous issue date: 2013-12-10This research examines processes that emerge in spaces authored subject of students in a production experience with photographic technical objects in a public school in Mossoró/ RN. The phenomenon known in school, we assume the perspective, is a process that involves the production of ourselves and students, while it produces changes in learning environments in school. This research on the meanings of school for student learning, i ask myself the following question: - As students in an experience of inventive production of images, transform ways of perceiving the learning processes in school? A theoretical and methodological perspective we adopt is the intervention research we organize a production environment for a group of 10 students who meet digital technologie. The production data in the survey happened based on the route indicated commented by Jean Paul Thibaud (2000) in which we take as empirical field entries, autonarrativas occurring in the course of experience with images method. The sensitive environment of Jean Paul Thibaud, it becomes interesting because it participates in the organization of which we'll call photographic route. This author gives access to a sensitive approach in dealing with the environment where students meet with technical objects to produce something that involves the circumstances of learning in school. The theoretical network will be expanded with the construction of Humberto Maturana and Francisco Varela (2001) , scientists who built the prospect of Biology of Cognition , more directly the concept of autopoiesis and explanations arising on the circularity of the living - learning processes . To address the mode of understanding the technologies and technical objects rely on the work of Gilbert Simondon (1958 , 1989) and also on the path of learning with inventive images , with studies of Deleuze (1995) , Kastrup (2012) , Roland Barthes (1984) , Lucia Santaella (1998) , Philippe Dubois (1994) and Michel Serres (1993) . These scholars are important because they favor an innovative approach to technology and / or working with images. On the significance of the photographic image as a living field of language, students developed concepts, reinvented learn in school, which was constituted ways of intervening in reality. The tessitura of networks of conversations with students in workshops potentiated the spaces of knowledge about the phenomenon of learning in school, the circumstances that often deny the legitimacy of the subject. The production of students with images and conversation networks allowed to observe cognitive changes produced when the images and explain what they sought to do this emerged. As a result of the work we distinguish, in a journey of photographic production, students might mean the different spaces of the school, distinguishing the experiences that create barriers to knowledge and those who perceive themselves as authors in learning pathways
Esta pesquisa analisa processos que emergem em espaços de autoria dos sujeitos estudantes em uma experiência de produção com objetos técnicos fotográficos numa escola pública de Mossoró/RN. O fenômeno do conhecer na escola, na perspectiva que assumimos, é um processo que envolve a produção de nós mesmos e de estudantes, ao mesmo tempo em que produz transformações nos ambientes de aprendizagem na escola. Nesta pesquisa sobre os sentidos da escola para a aprendizagem dos estudantes, eu me coloco a seguinte questão: - Como estudantes, em uma experiência de produção inventiva de imagens, transformam modos de perceber os processos de aprendizagem na escola? A perspectiva teórico-metodológica que adotamos é a pesquisa intervenção em que organizamos um ambiente de produção para um grupo de 10 estudantes que se encontram com tecnologias digitais. A produção de dados na pesquisa aconteceu com base no método do percurso comentado indicado por Jean Paul Thibaud (2000) em que tomamos como campo empírico as inscrições, autonarrativas que se produzem no transcurso da experiência com imagens fotográficas. A ambiência sensível de Jean Paul Thibaud, torna-se interessante porque participa da organização do que chamaremos de percurso fotográfico. Este autor permite aceder a uma perspectiva sensível no tratar do ambiente onde estudantes se encontram com objetos técnicos para produzir algo que envolve as circunstâncias de aprendizagem na escola. A rede teórica será ampliada com as construções de Humberto Maturana e de Francisco Varela (2001), cientistas que construíram a perspectiva da Biologia do Conhecer, mais diretamente o conceito de autopoiése e as explicações dele decorrentes sobre a circularidade dos processos de viver-aprender. Para tratar do modo de compreensão das tecnologias e dos objetos técnicos contamos com o trabalho de Gilbert Simondon (1958; 1989) e ainda, sobre o percurso inventivo da aprendizagem com imagens, com os estudos de Deleuze (1995), Kastrup (2012), Roland Barthes (1984), Lúcia Santaella (1998), Philipe Dubois (1994) e Michel Serres (1993). Estes estudiosos são importantes porque favorecem uma forma inovadora de conceber a tecnologia e/ou o trabalho com imagens. Na significância da imagem fotográfica, como um campo vivo da linguagem, os estudantes desenvolveram conceitos, reinventaram o aprender na escola, o que foi constituindo formas de intervir na realidade. A tessitura das redes de conversações com estudantes nos espaços das oficinas potencializaram o conhecimento acerca do fenômeno da aprendizagem na escola, das circunstâncias que muitas vezes negam a legitimidade dos sujeitos. A produção dos estudantes com imagens fotográficas e as redes de conversação permitiram observar transformações cognitivas quando produziam as imagens e quando procuravam explicar o que emergia neste fazer. Como resultado do trabalho, pudemos distinguir que, em um percurso de produção fotográfica, os estudantes puderam significar os diferentes espaços da escola, distinguindo as experiências que criam obstáculos para o conhecimento e aquelas em que se percebem como autores em percursos de aprendizagem
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Coelho, André Leite [UNESP]. "Antotipia: processo de impressão fotográfica." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/86943.
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coelho_al_me_ia.pdf: 3987728 bytes, checksum: 372a0c136117bae0a6fd9f8d3426685a (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Esta pesquisa tem como propósito investigar uma técnica de impressão fotográfica chamada antotipia. Praticamente esquecida pela história da fotografia, a antotipia se vale de fotossensibilidade dos pigmentos vegetais contidos nas flores para produzir impressões que se caracterizam por sua qualidade monocromática, baixa gama de contraste e efemeridade. A partir da perspectiva historiográfica de Walter Benjamin, testemunhos como manuais de fotografia e artigos científicos oriundos do século XIX são observados, criticados e analisados historicamente. Os procedimentos artesanais envolvidos na prática da antotipia são então testados e organizados numa metodologia prática, de modo a resgatar este processo de impressão para o contexto contemporâneo. Os conteúdos estudados ao longo da pesquisa são então interpretados e traduzidos visualmente na série de fotografias impressas em antotipia chamado Atlas Oblivione
This research has the purpose of investigate a photographic printing technique called anthotype. Pratically olivious to the History of Photography the anthotype uses the photosensitivity of vegetable dyes found in flowers to produce prints notable by its monochromatic quality, low range of contrast and ephemerality. Based on the historiographical perspective formulated by Walter Benjamin, evidences as photographic manuals and scientific papers from the nineteenth century are historically observed, criticized and analyzed. The handmade proceidures involved on the anthotype are tested and organized in a practical metodology in order to rescue this photographic printing process from oblivion to the contamporaneity. The subjects studied throughout the research are then interpreted visually in the series of anthotype photographs named Atlas Oblivione
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Tannus, Flaviana Machado. "A legibilidade do visível : as imagens de Oliviero Toscani, um processo de ruptura /." Bauru : [s.n.], 2008. http://hdl.handle.net/11449/89354.
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Orientador: Nelyse Apparecida Melro SalzedasBanca: Suely Fadul Villibor Flory
Banca: Luciano Guimarães
Resumo: Em um momento em que as imagens publicitárias povoam nosso cotidiano, influenciando diretamente nossos desejos, através de recursos visuais convidativos, apresentamos como proposta a análise das imagens fotográficas do publicitário italiano Oliviero Toscani, produzidas para as campanhas da marca Benetton. Para isso, lançamos nossa investigação a partir do surgimento da fotografia e suas reverberações na modernidade, principalmente no espaço publicitário, pois acreditamos que tais episódios orientam o nosso entendimento sobre a inundação que as imagens publicitárias foram operando na contemporaneidade. A partir dessa perspectiva, apresentamos o desenvolvimento iconográfico de Oliviero Toscani desde a sua infância até o encontro com o fundador da empresa, Luciano Benetton. Partindo desse pressuposto, assumimos como objetivo lançar um olhar mais atento sobre um conjunto de imagens que subvertem concepções e moldes habituais, com o intuito de perceber de que maneira elas podem convocar os sujeitos na busca de outros códigos de leitura. Na presente pesquisa, escolhemos como corpus quatro imagens que marcaram a campanha publicitária da Benetton entre os anos de 1988 e 1992. Analisamos como as imagens propõem outro viés comunicativo, em que o consumidor é assaltado por uma nova forma de leitura. Identificamos como as mensagens transmitidas podem estabelecer rupturas e assumir novos formatos de comunicação que não promovam apenas o consumo que elas geram. Pretendemos contextualizar historicamente como tais imagens estão enredadas com questões políticas, sociais e culturais. Acreditamos com isso que tais imagens, a partir da ruptura que elas promovem, propõem novos códigos de comunicação, que, mais do que informação, podem despertar no sujeito reflexões a respeito da realidade que presenciamos diariamente
Abstract: In a moment which we have publicitary images crowding our daily life and influencing directly in our wishes through visual and inviting resources, we project as propose the analysis of photographic images of the Italian publicitary Oliviero Toscani, made for the campaign of the trademark Benetton. For this, we started our investigation from the beginning of the photograph and yours reflections on modern time, meanly on the publicitary way, once we believe that those facts guide our understanding about abundance that publicitary images were taking over on contemporary times. From this perspective we show since the iconography development of Oliviero Toscani, since his childhood, until his met with Luciano Benetton, the funder of the mark. Going through this presupposed, we adopted as an objective throw an attentive look for one group of images which subvert conceptions and usual patterns, with the intention to realize which way they can convoke the people on the search of others reading codes. On the present search, we chose as corpus four images which marked the publicitary campaign from Benetton in outdoors between 1989 and 1999, are going to be our group of research objects. We analyzed how the images propose another communicative way that the consumer is attacked for a new form about reading. We indentified how the messages transmitted can settle ruptures and new shapes of communication which does not promote only consume that they produce. We aspire to historically context how those images are tangled with political, social and cultural questions. We believe with this, that those images, starting for the ruptures they promote, propose "new codes" of communication when mores than just information, they aroused people to quest about the reality we face daily
Mestre
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Tedesco, Elaine Athayde Alves. "Um processo fotográfico em sobreposição no espaço urbano." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17034.
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A instalação de projeções no espaço urbano é o tema desta pesquisa, que aborda um processo de criação artística realizado no período 2002-2007. Construções arquitetônicas precárias e/ou abandonadas situadas em cidades brasileiras foram fotografadas e, posteriormente, retornaram às cidades como imagens projetadas sobre paredes de outras edificações. Ao longo do texto observo e analiso o campo experimental da prática artística onde os diferentes estatutos do conceito operatório sobreposição - tal como é operado e que lugar ocupa no processo de criação - são tratados como desdobramentos do mesmo. A fotografia tem um papel fundamental na pesquisa, pois é através dela que são operadas as articulações com a arquitetura. Ao não ser entendida apenas enquanto dispositivo, nem havendo a preocupação em redefinir sua ontologia, a fotografia aqui é material de trabalho inserido em um processo de criação. A projeção de fotografias sobre as paredes das edificações escolhidas para servirem como tela produz uma fusão entre as imagens projetadas e a arquitetura, transformando ambos - diapositivo e lugar - temporariamente. Este efeito, que é provocado pela baixa luminosidade dos projetores, propõe aos observadores a experiência da percepção visual sobre o espaço físico e a duração. A sobreposição da fotografia projetada em contato com a arquitetura transforma-se em documento do trabalho, além de ser potencializada como material passível de uso em outras propostas artísticas que desenvolvo.The subject of this research is the installation of projections in the urban environment, which addresses a process of art practice carried out from 2002-2007. Fragile and/or abandoned architectural constructions in Brazilian cities were photographed and then returned to the cities as images projected onto the walls of other buildings. The text observes and analyses the experimental field of art practice in which the different usages of the operational concept of superimposition - such as how it is brought about and its place in the creative process - are treated as developments of that process. Photography plays a key role in the research, as that is the medium through which the connections with architecture are established. While not considered merely as a device, nor concerned with redefining its ontology, photography is here the working material inserted into the creative process. The projection of photographs onto the walls of buildings chosen to act as a screen produces a fusion between the projected images and the architecture, temporarily transforming both slide and place. This effect is caused by the low illumination of the projectors and offers spectators the experience of visual perception and duration on the physical space. The superimposition of the photograph projected onto the architecture transforms it into a working document and also enables it to be used as material in the development of other art practices.
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Gonçalves, Marcos Tadeu Fabris. "Correspondências - arte, técnica e processo histórico." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-15122011-152141/.
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O objetivo desta tese é identificar alguns dos momentos da tradição artística visual moderna que pretenderam mapear a ascensão, a consolidação e a devastação do projeto de modernização do ponto de vista de suas vítimas no âmbito de um mercado no qual a arte e a cultura se consolidam, em passo acelerado, como mercadorias. A partir das demandas para a arte moderna codificadas na obra de Charles Baudelaire e das conquistas técnicas sedimentadas na pintura de Gustave Courbet, Jean-François Millet, Edgar Degas e Édouard Manet, examinaremos as configurações sociais e artísticas que permitirão a ampliação do quadro dos artistas trabalhadores. Tomaremos em seguida as obras dos fotógrafos Eugène Atget e Weegee como exemplos de produções artístico-fotográficas que ao elegerem o Trabalho como a categoria central na reflexão sobre o processo de modernização em curso ampliam ainda mais os horizontes artísticos, alçando-os a instrumentos de avaliação crítica de sua hora histórica.The aim of this thesis is to identify some of the moments within the modern artistic tradition that intended to map the ascension, consolidation, and devastation of the process of modernisation from the point of view of its victims in the realm of a market in which culture and the arts were rapidly becoming commodities. Taking into account both the demands for Modern Art codified in the oeuvre of Charles Baudelaire and the technical advances in the works of Gustave Courbet, Jean-François Millet, Edgar Degas, and Édouard Manet, we will examine the social and artistic considerations that allowed the increase in number of working artists. The photographic oeuvre of Eugène Atget and Weegee will follow as examples of productions that, by electing Labour as its main theme, broaden even more the artistic horizons, making them critical instruments of their historical hour.
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Liao, P. "An inquiry into the creative process of Butoh : with reference to the implications of Eastern and Western significances." Thesis, City University London, 2006. http://openaccess.city.ac.uk/11883/.
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This thesis investigates the creative processes of Butoh choreography. A phenomenological perspective is used in this thesis to explore the implications for choreographers of the choreographic options employed in Butoh creative processes. Phenomenology corresponds to the Japanese philosophical context which gave birth to Butoh, elucidating the worldview merging with the universe which underpins Butoh. In terms of phenomenology, merging with the universe is firstly understood as a state of inter-subjectivity or transcendental consciousness, and secondly as the interweaving through actions of individual woridviews and a greater world of shared socio-cultural significances contributed by different people. The inter-subjective relationship between self, other self and objects is used to examine and elucidate the juxtaposition of various kinds of imagery in Butoh. The phenomenological notion of actions is used to examine bodily movement with respect to a greater world in Butoh. Phenomenology particularly corresponds to some of the fundamental processes used by Butoh choreographers. The choreographers' initial options for treating materials, namely visceral sensations as media for merging with the universe, texts as media for perception, paintings as media for presenting images, and actions as building blocks of an inter-subjective world, are inclined to guide the creative processes to develop the manifold of a spiritual imagery and bodily actions. These options and treatments are elucidated in this thesis through the network of perception and the phenomenological notion of graded fulfillment. The choreographer's treatment of the materials requires that the network of perception operates differently for different materials. The results of the operations are then integrated by the choreographer, through a process of graded fulfillment, into a holistic perception of the imagery or into a greater world, of which every image on stage is a part. In contrast the dialectical choreographic options, namely texts as tools for reasoning, paintings as representative structures of the subjects, and actions as representative units of social structure and cultural patterns, are inclined to guide the choreographers towards a focus on the development of formalised postures and gestures. The dialectical options are underpinned by rationalist, sociological or anthropological perspectives. It is argued that both the initial and dialectical options have value. The initial and dialectical options have co-existed and merged over the course of Butoh's development. Through their use different significances are incorporated into dance through the creative processes. Those significances can be identified as mainly rooted in Eastern philosophy, but later expanded to include Western philosophy when Butoh began to develop in a global context. Accordingly, Butoh creative processes are enriched by the use of a variety of choreographic options and by incorporating viewpoints from different people and perspectives.
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Casanova, Ramón 1974. "La epifanía de la imagen. El proceso fotográfico como paradigma de la creación." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398146.
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La ontología de la fotografía ha sido instituida en su capacidad de fijar e inmovilizar las imágenes producidas por efecto de la luz. Para nosotros, sin embargo, el núcleo de ser de la imagen fotográfica radica precisamente en su epifanía, esto es: en todos aquellos momentos en que la imagen se manifiesta desde su origen luminoso, desestabilizando cualquier fijación y atravesándose de sentido transubstancial.
Este planteamiento nos ha llevado a revisar el proceso fotográfico atendiendo a su fenomenología, a la disposición de los actores implicados y sus productos resultantes. Para ello, nos hemos apoyado en textos teóricos sobre la imagen y la percepción; contrastándolos con la experiencia directa de diversos creadores del ámbito de la imagen fotográfica y también de otras disciplinas plásticas o visuales, estableciendo entre ellos correspondencias de sentido. En paralelo a estos estudios comparativos, hemos desarrollado experiencias propias de creación; para enfrentar sin intermediación los fenómenos y las vivencias asociadas al material sensible, al recogimiento de la cámara y al acto expansivo y consciente de lo luminoso.
Como resultado de estos desarrollos, hemos desterrado las habituales perspectivas materialistas que centran el interés de lo fotográfico en los objetos finales, estabilizados y siempre remitentes a un evento pasado.
Como conclusión, hemos revelado un doble sentido en la imagen. Uno, la imagen se ofrece como acontecimiento y nos exige desplazamiento hacia ella para devolvernos conciencia de existir con ella. Dos, ese desplazamiento hacia un cuerpo compartido con la imagen es un desimaginarse nuestro y de la imagen, a través del cual se activa y expresa el origen latente que nos preexiste.
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Soares, Camila Mangueira. "A fotografia sob a ótica processual: Antropologia da Face Gloriosa de Arthur Omar." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/5313.
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Previous issue date: 2010-05-24Conselho Nacional de Desenvolvimento Científico e Tecnológico
The present research approaches a procedural analysis of the photo shoot Anthropology of the Glorious Face , by Brazilian artist Arthur Omar, from materials connected to his work, such as books, videos, sites and texts that present part of his production and discussions involving photographic nature. We will observe aspects of the creation of the artist that include the articulation of languages (music and video), cultural networks, inter-relations among some of his work, creative tendencies, relations to raw material, interactions to the anthropological field, among others. To be able to embrace a work that acquires several versions and therefore addresses to certain time continuity from actions of non linear gestures of the intervention of the artist, we will recur to the theoretical basis of fundaments in the Process Critique articulated by Cecilia Salles, based on Charles Sanders Peirce's semiotics. We will also build, during this research, dialogues with researchers of image and communication such as Roland Barthes, Philippe Dubois, Arlindo Machado, Rubens Fernandes, among others; and researchers of culture, such as Mikhail Bakhtin and Iuri Lotman; as well as anthropologists such as Massimo Canevacci and José da Silva Ribeiro. This is an interdisciplinary research that creates dialogues among Process Criticism, Anthropology, Semiotic and Communication. Therefore, within the modern complexity that involves Brazilian photographic productions, we propose to present investigative ways to analyze photographic images that comprehend creative processes, enriching the ways to reflect upon photography and its relations to other areas, such as anthropology
A presente pesquisa trata de uma análise processual do ensaio fotográfico Antropologia da Face Gloriosa do artista brasileiro Arthur Omar, a partir dos materiais ligados a obra, como livros, vídeos, sites e textos que apresentam parte de sua produção e discussões sobre a natureza fotográfica. Observaremos aspectos da criação do artista que incluem a articulação de linguagens (música e vídeo), redes culturais, inter-relações entre algumas de suas obras, tendências criativas, relações com a matéria-prima, interações com o campo antropológico, dentre outros. Para dar conta de uma obra que adquire várias versões e portanto, remete a certa continuidade no tempo a partir das operações de gestos não lineares de intervenção do artista, recorremos a base teórica dos fundamentos da Crítica de Processo de Cecilia Salles, apoiados pela semiótica de Charles Sanders Peirce. Também teceremos, ao longo do trabalho, diálogos com estudiosos da imagem e da comunicação como Roland Barthes, Philippe Dubois, Arlindo Machado, Rubens Fernandes, dentre outros; da cultura como Mikhail Bakhtin e Iuri Lotman; e com antropólogos como Massimo Canevacci e José da Silva Ribeiro. Trata-se de uma pesquisa interdisciplinar que trava diálogos entre Crítica de Processo, Antropologia, Semiótica e Comunicação. Deste modo, dentro da complexidade atual que envolve as produções fotográficas brasileiras, propõe-se apresentar caminhos investigativos de análise da imagem fotográfica que compreendem os processos de criação, enriquecendo assim as maneiras de se refletir sobre fotografia e suas relações com outras áreas, como a antropologia
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Lopez, Iris Valencia, Emma Axgart, and Catia Alves Fernandes. "Säger en bild mer än 1000 ord? : En studie om skapandet av en fototeknisk metod med hjälp av 360° fotografering." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-167.
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Språkliga och kulturella skillnader kan leda till komplikationer i den textila tillverkningen med tanke på att kommunikationen mellan beställare och producent ibland kan missförstås. Syftet med denna uppsats är att undersöka hur man, med hjälp av avancerad fotografi, kan förenkla den sömnadstekniska kommunikationen mellan producent och leverantör. Framtagningen av resultatet har gjorts med hjälp av kvalitativa intervjuer med två experter inom områdena fotografi samt produktion. Det har även utförts intervjuer med en inköpsassistent på ett stort internationellt svenskt modeföretag och en intervju med designer/inköpare vid ett mindre företag. Det har vid sidan av intervjuer utförts experimentella observationer där framtagning av en fungerande manual för 360° fotografering har skett. Uppsatsen tar upp delar av produktionsprocessen där producent och leverantör måste kommunicera. Det har i studien utformats en 360° metod som kan förbättra kommunikationen mellan producent och leverantör. Studien tar även upp huruvida en kvalitetsförbättring kan ske med hjälp av en 360° fotografering. I uppsatsen finns en framtagen manual på en komplett 360° metod som tydligt beskriver tillvägagångssätt. Författarna till denna studie har kommit fram till att tre av fyra prover som skickas mellan producent och leverantör kan ersättas av bilder från en 360° fotografering.Lingual- and cultural differences can lead to complications in the textile manufacturing process, due to misunderstandings in communication between supplier and producer. The purpose of this thesis is to examine how the technical communications between producer and supplier can be simplified through usage of photography. The results have been reached through interviews with two experts in the fields of photography and textile production. Interviews have been conducted, with an assistant buyer from a multinational Swedish cooperation and a buyer/designer from a smaller company. An experimental observation has also been carried out, where the development of a manual for the 360° photo shooting occurred. The thesis discusses the production process, in which the communication between the producer and the supplier takes place. A 360° method, which can improve the communication between producer and supplier have been designed in the study. The study also addresses the possibility of achieving a quality improvement through the usage of 360° photography. In the paper there is a manual designed for a complete 360° approach that clearly describes the procedure. The authors of this study concluded that three out of the four samples sent between producer and supplier can be replaced by images developed through 360° photography.
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Mendes, Cassiano Cordeiro. "Coletivos fotográficos e processo de criação na fotografia: processos de interação na construção da imagem fotográfica." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4639.
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Previous issue date: 2014-07-02This research proposes the theme of analyzing the interaction as a creative resource for photographers working in collectives, noting the route of organizing photographic work as a process of creating networks. The project objective is to discuss the process of building the collective picture trials of photography: Cia de Foto, Garapa and Rolê, which call themselves collectives photography. The hypothesis is that the construction of the photographic essay is systematized as knowledge networks built on constant collaborative interactions. And the final delivery of the test is strengthened in the process of editing material collected by members. Collecting the course of work documentation from files left on the internet and interviews will be taken. These documents are records of group discussions, click the collective (compared with camera) and the publishing group (compared with software and selection). The study of each group process will enable comparative mapping modes of collective action in a more general way, as regards the establishment of authorship. The research aims to contribute to both the research process and for discussions on new directions in contemporary photography
A presente pesquisa propõe como tema a análise da interação como recurso criativo de fotógrafos no trabalho de coletivos, observando o percurso de organização das atividades como um processo de criação em redes. O objetivo do projeto é discutir o processo de construção de ensaios autorais dos grupos de fotografia: Cia de Foto, Garapa e do Rolê, que se autointitulam coletivos de fotografia. A hipótese é que a construção do ensaio fotográfico sistematiza-se como redes de conhecimentos, sistematizados por constantes interações colaborativas e a finalização do trabalho é fortalecida no processo de edição dos materiais coletados pelos integrantes. A coleta da documentação do percurso de trabalho dos coletivos será levantada a partir arquivos deixados na internet e por entrevistas. Esses documentos são os registros das discussões em grupo, do clique coletivo (relação com a câmera) e o da edição em conjunto (relação com software e seleção). O estudo do processo de cada grupo viabilizará o mapeamento comparativo dos modos de ação dos coletivos de uma maneira mais geral e também, no que diz respeito autoria e sua instauração. A pesquisa busca contribuir tanto para as pesquisa de processos como para as discussões sobre novos rumos da fotografia contemporânea
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Tiu, Glacialle. "Classification of Drill Core Textures for Process Simulation in Geometallurgy : Aitik Mine, Sweden." Thesis, Luleå tekniska universitet, Mineralteknik och metallurgi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-65207.
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This thesis study employs textural classification techniques applied to four different data groups: (1) visible light photography, (2) high-resolution drill core line scan imaging (3) scanning electron microscopy backscattered electron (SEM-BSE) images, and (4) 3D data from X-ray microtomography (μXCT). Eleven textural classes from Aitik ores were identified and characterized. The distinguishing characteristics of each class were determined such as modal mineralogy, sulphide occurrence and Bond work indices (BWI). The textural classes served as a basis for machine learning classification using Random Forest classifier and different feature extraction schemes. Trainable Weka Segmentation was utilized to produce mineral maps for the different image datasets. Quantified textural information for each mineral phase such as modal mineralogy, mineral association index and grain size was extracted from each mineral map. Efficient line local binary patterns provide the best discriminating features for textural classification of mineral texture images in terms of classification accuracy. Gray Level Co-occurrence Matrix (GLCM) statistics from discrete approximation of Meyer wavelets decomposition with basic image statistical features[PK1] (e.g. mean, standard deviation, entropy and histogram derived values) give the best classification result in terms of accuracy and feature extraction time. Differences in the extracted modal mineralogy were observed between the drill core photographs and SEM images which can be attributed to different sample size[PK2] . Comparison of SEM images and 2D μXCT image slice shows minimal difference giving confidence to the segmentation process. However, chalcopyrite is highly underestimated in 2D μXCT image slice, with the volume percentage amounting to only half of the calculated value for the whole 3D sample. This is accounted as stereological error. Textural classification and mineral map production from basic drill core photographs has a huge potential to be used as an inexpensive ore characterization tool. However, it should be noted that this technique requires experienced operators to generate an accurate training data especially for mineral identification and thus, detailed mineralogical studies beforehand is required.Primary Resource Efficiency by Enhanced Prediction (PREP)
Center for Advanced Mining and Metallurgy (CAMM)
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Lemos, Aníbal F. Simões Nogueira de. "The metamorphosis of a place : photographing the process of change : from hat factory to industrial museum, Empresa Industrial de Chapelaria - Museu da Indústria de Chapelaria, S. João da Madeira, Portugal." Thesis, University of Derby, 2007. http://hdl.handle.net/10545/200009.
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Paternostro, Raquel C. C. "O uso da fotografia como instrumento no processo de orientação vocacional para adolescentes." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/15541.
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Previous issue date: 2006-10-18This dissertation intends to reflect upon and illustrate the importance of the use of photography as a procedure of intervention in the process of vocational orientation, by means of theoretical concepts and fragments of a clinical case. The use of this resource in the process of vocational orientation enables the young to experience transitionality, allowing them to express creative aspects. This refers to the moment when the adolescent has to choose a profession, which causes him/her deep anguish and is many times dealt with denial. I want to point out the contribution of the experience of photography as an enabling instrument in the process, so that the choice results from an internal elaboration of the adolescent. The theoretical approach includes an historical overview of vocational orientation and of the concept of adolescence. I will emphasize Bohoslavsky s contributions as I agree with this author on the fact that professional and personal identity characterizes the individual, including different aspects of his/her development. I will also address the theory of human maturation of Winnicott, pointing out the concepts of potential space, transitional objects and phenomena; furthermore, I intend to include photography as a facilitative instrument to understand some aspects of the self. I will give a brief presentation of the work of some photographers who made use of the experience of photography in order to express their creativity inserted in culture, trying to base the use of photography on my clinical experience. The choice of this object of culture also reflects my personal experience as a photographer, which allowed me to be in touch with many aspects of myself until then unknown.
A proposta desta dissertação é refletir e ilustrar, através de conceitos teóricos e de fragmentos de um caso clínico, a importância do uso da fotografia como procedimento interventivo no processo de orientação vocacional. A utilização deste recurso no processo de orientação vocacional, possibilita ao jovem uma experiência na área da transicionalidade permitindo a expressão de aspectos criativos.Trata-se de um momento no qual o jovem precisa decidir por uma profissão, o que lhe acarreta intensa angústia a qual é lidada muitas vezes através da negação. Procurarei salientar ao longo do meu trabalho a contribuição que a experiência de fotografar traz neste processo, consistindo em um instrumento facilitador para que a escolha seja resultante de uma elaboração interna do adolescente. O caminho teórico percorrido inclui uma visão histórica da orientação vocacional, bem como, do conceito de adolescência. Ressaltarei as contribuições de Bohoslavsky, por concordar com o autor com o fato da identidade profissional e pessoal caracterizarem o indivíduo abarcando diferentes aspectos do seu desenvolvimento. Tratarei também sobre a teoria do amadurecimento humano de Winnicott, ressaltando os conceitos de espaço potencial, objetos e fenômenos transicionais bem como incluirei a fotografia como instrumento facilitador na compreensão de alguns elementos do self. Farei uma breve apresentação de alguns trabalhos de fotógrafos buscando fundamentar o uso da fotografia na minha experiência clínica, os quais utilizaram a experiência de fotografar como meio de sua expressão criativa inserida na cultura. A escolha deste objeto da cultura reflete também a minha experiência pessoal como fotógrafa, na qual vivenciei através deste meio a possibilidade de entrar em contato com aspectos meus até então desconhecidos.
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Moreira, Reginaldo. "Memoria, loucura e velhice : os ganhos no processo de envelhecimento pos reforma psiquiatrica (Serviço de Saude Dr. Candido Ferreira - Campinas/SP)." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252949.
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Orientador: Olga Rodrigues de Moraes von SimsonAcompanha 1 CD-R
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A pesquisa investiga os ganhos e as perdas dos idosos, moradores do Serviço de Saúde Dr. Cândido Ferreira - uma instituição psiquiátrica localizada no interior de São Paulo - após a implementação da reforma psiquiátrica. Com a utilização da Metodologia da História Oral, foram coletados registros das pluralidades de memória dos velhos e de informantes colaboradores. As pessoas consideradas "normais" na sociedade ocidental, pertencentes a uma família e rede social, apresentam um declínio, com perdas sociais e cognitivas consideráveis quando envelhecem. Na contramão deste declínio, a pesquisa mostra que a maioria dos idosos desta instituição tiveram ganhos sociais importantes, como aumento de qualidade de vida, justamente na velhice de suas vidas. Estas pessoas que passaram a vida apartadas de direitos e convívio social, somente na velhice iniciam o processo de ressocialização, conquistando documentação, moradia, trabalho, benefício social e uma vida minimamente digna. Apesar disso, ainda existem na instituição idosos com problemas clínicos que não conseguiram desfrutar dos benefícios desta reforma, pois os recursos financeiros são escassos. A instituição inaugurada em 1924, passou por todos os tipos de tratamento manicomial. No ano de 1990 iniciou-se a reforma psiquiátrica: grades foram retiradas, portas foram abertas, foi abolido o uso da camisa de força, do eletrochoque e o uso indevido de medicamentos. A forma mais humanizada de tratar deu início à capacitação dos internos para um possível convívio social
Mestrado
Gerontologia
Mestre em Gerontologia
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Reichhardt, Ricardo. "Experimentações da fotografia contemporânea nas redes da criação de Rodrigo Braga, Nino Cais e Berna Reale." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19114.
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The objective of this dissertation is a reflection about the moment of contemporary experimentation which artists make use of language interaction and the critic about its comunicative aspects, and the formation of the individual, through the process of creation. We utilize the theorical reference of creation in process on the net, of semiotic basis (Peirce), developed by Cecília Salles; and the evolutive process of image production, developed by Lúcia Santaella. With the presentation of many expanded language theories, the reader is presented to the knowledge of the contemporary experimentation, the main pont of this work with which afterwards we can think about the context where each artist is and analise them. Subsequently we present and reflect about three brazilian artists that are in this “contemporary field”: Rodrigo Braga, Nino Cais and Berna Reale. The information explored is composed by a few works of them, photography and videography, analised by the technic point of view – or know-how – and the subjective quality of character – how its constitute. The artists that we have chosen develop very interesting works, each of them articulating information by themselves, serching for the real meaning of art: creation freedom to re-invent, innovate and to experiment different languages
Essa dissertação tem por objetivo uma reflexão sobre o momento de experimentação contemporânea, em que artistas se utilizam de interações de linguagens e o questionamento dos aspectos comunicativos e da constituição do sujeito, ao longo dos processos de criação. Utiliza-se o referencial teórico sobre processos de criação em rede, de base semiótica (linha peirceana), desenvolvido por Cecília Salles; e sobre o processo evolutivo de produção de imagem, desenvolvido por Lúcia Santaella. Com a apresentação e exposição das teorias que tratam da questão da expansão da linguagem, o leitor foi introduzido no conhecimento das bases da experimentação contemporânea, foco principal do nosso trabalho e requisito necessário para que nós pudéssemos entender o contexto em que os artistas analisados se encontram. Foram apresentados e estudados os trabalhos de três artistas brasileiros que se lançaram nesse campo da experimentação contemporânea: Rodrigo Braga, Nino Cais e Berna Reale. O corpus explorado é composto por algumas obras deles, fotográficas e videográficas, analisadas sob o ponto de vista técnico – o modo de fazer – e da subjetividade – como ela se constitui. Os artistas por nós escolhidos desenvolveram trabalhos bastante interessantes, cada qual articulando de uma maneira própria informações e recursos, no sentido de buscar, com suas obras artísticas, os verdadeiros caminhos do que é arte: liberdade de criação numa perspectiva de reinventar, inovar e experimentar linguagens
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Hellström, Lisbeth. "On the wood chipping process : a study on basic mechanisms in order to optimize chip properties for pulping." Doctoral thesis, Mittuniversitetet, Institutionen för naturvetenskap, teknik och matematik, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-11911.
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In both the chemical and mechanical pulping process, the logs are cut into wood chips by a disc chipper before fibre separation. To make the wood chipping process more efficient, one have to investigate in detail the coupling between process parameters and the quality of the chips. One objective of this thesis was to obtain an understanding of the fundamental mechanisms behind the creation of wood chips. Another objective with the thesis was to investigate whether it was possible to, in a way tailor the chipping process so as to reduce the energy consumption in a following mechanical refining process. Both experimental and analytical/numerical approaches have been taken in this work. The first part of the experimental investigations, were performed with an in-house developed chipping device and a digital speckle photography equipment. The results from the experimental investigation showed that the friction between the log and chipping tool is probably one crucial factor for the chip formation. Further more it was found that the indentation process is approximately self-similar, and that the stress field over the entire crack-plane is critical for chip creation. The developed analytical model predicts the normal and shear strain distribution and to be more specific, the model can predict the compressive stresses parallel to the fibre direction for an assumed linear elastic and orthotropic material. The analytical distributions were found to be in reasonable agreement with the corresponding distributions obtained from a finite element analysis. To be able to study the chipping process under realistic conditions, which for example means to use chipping rates representative for a real wood chipper, a laboratory chipper was developed. Details regarding the chipper and how to evaluate the force measurements are given together with an example of how the force on the cutting tool (the knife) varies with time during cutting. To investigate the influence of a certain chipping process parameter, the chips were after production in the laboratory chipper, refined in a pilot refiner during conditions optimized for TMP (thermomechanical pulp) and CTMP (chemithermomechanical pulp) processes. It was concluded that the details concerning the chip process had a large impact on e.g. the energy consumption in both first stage and second stage refining. Results showing this are given in this thesis.För både kemisk och mekanisk pappersmassa så tillverkas flis av trädstockar med hjälp av en skivhugg innan fibrerna separeras. För att göra flisningsprocessen mer effektiv, måste kopplingen mellan processparametrar och fliskvalitet studeras. Ett mål med denna avhandling är att ge fundamental kunskap om mekanismerna bakom bildandet av träflis. Både experimentella och analytiska/numeriska metoder har använts i detta arbete. De experimentella undersökningarna har gjorts med hjälp av egen utvecklad utrustning. Resultaten från den experimentella undersökningen visar att friktionen mellan stammen och flisningsverktyget har betydelse vid flisning. Vidare observerades det att inträngnings processen är approximativt självlik (self similar) och att det är spänningsfältet över hela sprickplanet som är kritiskt för bildandet av en flis. Den utvecklade analytiska modellen förutsäger normal- och skjuvspänningsfördelningen över sprickplanet och kan mer specifikt förutsäga den kompressiva belastning som verkar parallellt fiberriktningen i ett linjärt elastiskt och ortotropt material (trä). De analytiskt bestämda fördelningarna stämmer relativt väl överens med motsvarande fördelningar beräknad med finit element analys. För att kunna studera flisningsprocessen under realistiska förhållanden, vilket bl.a. betyder att skärhastigheter som är representativa för en verklig process skall användas, så utvecklades inom ramen för avhandlingsarbetet, en laboratoriesflishugg. Detaljer rörande flishuggen samt hur uppmätta lastsignaler skall utvärderas ges tillsammans med ett exmpel på hur kraften på skärverktyget (kniven) varierar under ett skärförlopp. Inverkan av en viss flisningsprocessparameter undersöktes genom att flis tillverkades i laboratorieflishuggen varefter de raffinerades i en pilotraffinör under förhållanden som var optimerade för TMP (termomekanisk massa) och CTMP (kemitermomekanisk massa) processerna. Det konstaterades att detaljer i flisningsprocessen hade stor inverkan på t.ex. energiåtgången i både första stegs – och andrastegsraffinering. Resultat som verifierar detta ges i avhandlingen.
At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 3: Submitted. Paper 4: Submitted. Paper 5: Submitted.