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Li, Shyi-Shyang. "Comparing the ability of subjective quality factor and information theory to predict image quality /." Online version of thesis, 1994. http://hdl.handle.net/1850/11880.
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Culhane, Dylan. "Bumper to bumper: photographing across the class divide in post-apartheid South Africa. A photographic essay and analysis." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12000.
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Includes bibliographical references.The eponymous collection of 64 photographs accompanying this text constitutes the creative research component of my M.A. in Media Theory & Practice. I chose to photograph the men (and to a lesser but nonetheless significant degree women) that we see being transported in bakkies and trucks on our roads on a daily basis, compiling a photographic essay engineered to provoke contemplation of current societal discrepancies.
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Câmara, Fernanda Dália Moniz da. "Olhar a fotografia-um lugar onde a ausência se faz presença." Master's thesis, Instituições portuguesas -- -Universidade Aberta, 1994. http://dited.bn.pt:80/29920.
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Shanks, Sarah M. "Re:Visions : A Mother's Secondary Images." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417785128.
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Perry, Shannon. "The Eastman Kodak Co. and the Canadian Kodak Co. Ltd : re-structuring the Canadian photographic industry, c.1885-1910." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/13060.
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Within the accepted historiography of photography, the importance of George Eastman and the Eastman Kodak Company (EKC) has become unassailable. They have been placed as the key, and often sole, agent in “revolutionizing” the amateur photography market in the late nineteenth century. While the photographic landscape and market of 1885-1914 was indeed radically altered, the historiographical dominance of what can be identified as the “Kodak story” has obscured the means through which EKC’s successful re-structuring of the existing manufacturing and distribution networks of photographic materials occurred. I argue that the changes effected by Eastman and the EKC began not with imaging desires, but with their acknowledgment, and profound understanding of the existing and competing interests within the photographic industry. This thesis focuses on the EKC’s re-structuring of the extant and evolving communities involved in the manufacturing and distribution of photographic materials in Canada between 1885-1910. Focusing particularly on the period immediately surrounding the establishment of the Canadian Kodak Co. Limited in 1899, I demonstrate the re-structuring processes at work, including: market and financial diversification; governmental lobbying; purchase and mergers; and other business and marketing-based strategies. I frame my theoretical positions and analysis of network re-structuring through the experiences of Ottawa professional photographer and photographic business owner William James Topley (active 1868-1907), and CKCoLtd manager John Garrison Palmer (active 1886-1921). Topley and Garrison’s professional experiences and interactions with expanded communities of photographic consumers and industry participants provide an opportunity for specific and detailed findings which challenge understandings of the evolution of the practice of photography during this transitional period. In doing so, I provide evidence of the primary role network re-structuring played in the EKC’s ability to shape the wider international photographic industry to their advantage in the early twentieth century.
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Herrerias, Cuevas Vesta Mónica. "Le masque social ou la representation de la bourgeoisie mexicaine dans le portait photographique (1854-2008)." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030058.
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Loin de la dénonciation sociale ou d’un exercice strictement historique, le présent travail cherche à comprendre comment se construit l’image du personnage bourgeois à travers l’étude de portraits de la bourgeoisie mexicaine entre 1854 et 2008. Le concept de masque permet de rendre compte du portrait en tant que construction d’un modèle de représentation sociale. La première partie propose un aperçu général des origines et de l’évolution du portrait pictural, de son influence sur le portrait photographique, des conséquences des idées humanistes sur l’art, enfin de l’histoire de la bourgeoisie mexicaine et du portrait photographique bourgeois au Mexique. La deuxième partie s’intéresse au phénomène de la carte-de-visite en tant que source et modèle du portrait photographique de la bourgeoisie mexicaine, avant d’examiner la question de la figure : l’interprétation de la pose et du visage en tant qu’éléments constitutifs de la construction d’une identité sociale. La troisième partie étudie le fond, c'est-à-dire les différents espaces dans lesquels le personnage bourgeois se fait photographier, les objets qui l’entourent et son rapport à eux. Cette recherche s’appuie sur les contributions théoriques de philosophes, d’écrivains, d’historiens et de photographes tels qu’André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Parmi les photographes mexicains abordés dans cette étude, l’on citera les frères Valleto, Cruces et Campa, les Archives Casasola, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell et Ivonne VenegasFar from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas
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McNary, Erin L. "Using the social cognitive theory of mass communication an examination of article and photographic content of a youth sport magazine from 1989-2008 /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380111.
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Thesis (Ph.D.)--Indiana University, School of Health, Physical Education, and Recreation, 2009.Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4508. Adviser: Paul M. Pedersen.
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Sasián, José. "Joseph Petzval lens design approach." SPIE-INT SOC OPTICAL ENGINEERING, 2017. http://hdl.handle.net/10150/627184.
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Shanks, Sarah M. "The Memory Yields: B.F.A. Thesis Exhibition." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1401583720.
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Baptista, Maria Emília Moreira Tavares Samora. "João Martins (1898-1972)-imagens de um tempo "descritivo desolador"." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2000. http://dited.bn.pt:80/29482.
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Scansani, Andréa Carla. "A imagem explícita: a materialidade do cinema sob o olhar da fotografia." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-11092018-160508/.
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Este trabalho tem como objetivo pensar a fotografia cinematográfica dentro dos estudos do cinema como um modo de ampliar as perspectivas de abordagem sobre sua imagem. A partir da explicitação de seus aspectos físicos e sua potência em fazer reverberar uma série de questionamentos acerca da dimensão imaterial de seu corpo, traçamos um percurso heterogêneo pelos domínios da filosofia, da teoria da imagem e do cinema para desenvolver um pensamento que tenha como base a conjugação de saberes que constituem o olhar fotográfico. Nossa ênfase está no ato cinematográfico e nas relações recíprocas de seus elementos, isto é, no momento em que os gestos [humanos e técnicos] são acolhidos pela câmera e constroem as camadas do corpo fílmico, sua carne.This work aims to approach cinematography within film studies as a way to broaden our perspectives on cinema image. Starting from making explicit some of its physical aspects and their potential to reverberate a series of questions about the immaterial dimension of its body, we trace a heterogeneous path through the domains of philosophy, image and cinema theory in order to develop a thought based on the conjugation of knowledge that constitutes the photographic gaze. Our emphasis is on the cinematographic act and the reciprocal relations of its elements, meaning to say, the moment in which gestures [human and technical] are sheltered by the camera and build the layers of the filmic body, its flesh and blood.
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Harris, Philip. "Photographing landscape : a theory of the experience of making." Thesis, Birmingham City University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573685.
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Existing photographic theory prioritises the image over any account of making. To date there is no theory that engages with the making of photographs and photographic works. Where the critical theory of the late 1970s and early 1980s saw major developments towards more culturally inclusive accounts of photography, it did little to address and even avoided the conditions of how photographs and photographic works of art came into being. As a consequence making has been consistently overlooked in photographic theory, leaving the issue of making images and photographic works absent of any constructive theory that could be used to describe and account for the complex activities and thought processes that are involved. My research aims to address this and to work towards providing a theoretical approach that accounts for making, specifically within the context of making photographs of the landscape. In an attempt to provide this I have turned to a late essay by Martin Heidegger - The Question Concerning Technology (1956) - as a philosophical model since he addresses many issues related to making in a culture defined by its reliance on technology. In this essay Heidegger provides a rereading of Aristotleʼs theory of the causes of making (350 B.C.) to provide a rich potential for a constructive, though not unproblematic, account of how making takes place and is embedded in v culture. I adopt the model of four causes as a means to provide a hermeneutic description of the stages of making photographs and a completed work. I discuss at length my experiences of photographing, post-production and the construction of a book of photographs as a coherent work of art. In conclusion, I find that the theory of causation offers much potential in providing a means of theorising the drawing together of the things that have been photographed, the mode of their representation and presentation, the discourse that circumscribes making and the purpose of the work. A potential weakness is that in providing a model for excellence it does not fully account for failure, doubt and uncertainty, aspects that seem intrinsic risks when making art work. On the other hand it does seem to provide a method for navigating a way towards the construction of a work, albeit one framed within a particular genre, that accounts for the pre-existence of a greater world and history. In this way, it provides a promising theory for making in the absence of critical debate related to how photographers make work.
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Kirkpatrick, Erika Marie. "Photography, the State, and War: Mapping the Contemporary War Photography Landscape." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/35723.
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This dissertation explores the ways in which media, visuality, and politics intersect through an analysis of contemporary war photography. In so doing, it seeks to uncover how war photography as a social practice works to produce, perform and construct the State. Furthermore, it argues that this productive and performative power works to constrain the conditions of possibility for geopolitics. The central argument of this project is that contemporary war photography reifies a view of the international in which the liberal, democratic West is pitted against the barbaric Islamic world in a ‘civilizational’ struggle. This project’s key contribution to knowledge rests in its unique and rigorous research methodology (Visual Discourse Analysis) – mixing as it does inspiration from both quantitative and qualitative approaches to scholarship. Empirically, the dissertation rests on the detailed analysis of over 1900 war images collected from 30 different media sources published between the years 2000-2013.
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Dunn, Geoffrey. "Deconstructing documentary : theory and practice in documentary film and photography /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.
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Bartel, Paul R. "Analysis of Umberger's theory for subtractive color reproduction /." Online version of thesis, 1990. http://hdl.handle.net/1850/10963.
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MELO, MARIA ISABEL AFONSO. "GOLDEN RATIO AND FIBONACCI NUMBERS: FROM THEORY TO PRACTICE THROUGH PHOTOGRAPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=33080@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE MESTRADO PROFISSIONAL EM MATEMÁTICA EM REDE NACIONAL
Este trabalho teve o intuito de conciliar o ensino de matemática com práticas muito presentes no cotidiano dos alunos nos dias atuais: o uso da tecnologia e a comunicação através da fotografia. Com esse objetivo, foram selecionados conteúdos matemáticos que historicamente estão relacionados com a beleza e harmonia: a razão áurea e a sequência de Fibonacci. Tais enfoques permitem associações diretas em outros campos do conhecimento como por exemplo, a arte, a natureza, o estudo do corpo humano que trouxeram significância, cultura, interdisciplinaridade e criticidade ao presente estudo. Por outro lado, a fotografia também carrega na sua essência conceitos de harmonia, beleza, composição e enquadramento e possibilita o desenvolvimento da criatividade e da inovação propiciando uma quebra dos métodos tradicionais na sala de aula. Por fim, a proposta aqui apresentada defende o uso da tecnologia a favor do desenvolvimento de propostas pedagógicas que incrementem o processo de ensino e aprendizagem, através do incentivo ao uso orientado de celulares na escola. A proposta foi experimentada com alunos do nono ano de uma escola da rede municipal de ensino do Rio de Janeiro e, pôde-se perceber que, a dinâmica empregada motivou os alunos, possibilitou um crescimento acadêmico e social e permitiu a construção de aulas criativas e cooperativas. Conceitos básicos, matemáticos e históricos, dos temas escolhidos assim como a descrição da proposta e os resultados alcançados na experimentação são expostos ao longo desse trabalho que pretende ser mais uma proposta a colaborar para o crescimento da educação básica no país.
This work had the intention to conciliate the teaching of mathematics with very common practices in student s daily routine nowadays: the use of technology and communication through photography. With this objective, mathematical topics historically related to beauty and harmony were selected: the golden ratio and the Fibonacci sequence. Such approaches allow direct associations in other fields of knowledge like art, nature, the study of the human body which brought significance, culture, interdisciplinarity and criticism to the present study. On the other hand, photography also brings in its essence concepts of beauty, harmony and framing, making the development of creativity and innovation possible and allowing a break of the traditional methods in classroom. At last, the presented proposal defends the use of technology favoring the development of pedagogic proposals that boost the process of teaching and learning through the incentive of the guided use of cellphones in school. The proposal was experimented with 9th (ninth) grade students from a Rio de Janeiro municipal school and, it can be noticed that, the employed dynamics motivated the students, enabled academical and social growth and allowed the construction of creative and cooperative classes. Basic, mathematical and historical concepts of the chosen themes, as the proposal description and the results achieved in the experiments are exposed in the course of this work, which intends to be one more proposal to collaborate to the growth of basic education in the country.
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Postlewait, Mariah A. "Miniatures Matter: Agency and Affect in Photographs by Lori Nix." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395676896.
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Page, Paul Scott. "Maps to Non-Existent Places." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430858356.
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Lu, Wei Yuan. "Is image analysis based on Gestalt theory a valuable approach to teaching photography?" Thesis, Durham University, 2008. http://etheses.dur.ac.uk/1922/.
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The general aim of the thesis is to justify the claim that image analysis based on Gestalt psychology can be helpful in improving students' understanding and practice in photography. The thesis firstly identifies the technique-led curriculum as the major problem in photographic education in Taiwan as well as in the teacher-researcher's classroom. A new teaching programme integrating image analysis with Gestalt theory was formulated at the beginning of the target semester, in an attempt to develop students' ability to produce and appreciate photographs.
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Paz, Anita. "Against indexicality : photography as a formation of thought." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:2a69c52b-0827-48ae-aa99-cd9143b31f64.
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Guided by the question of what does photography bring into being, 'Against Indexicality' is a proposition to rethink the foundation of the philosophy of photography - to rethink the supposed relation of truth between the photograph and the world. Taking Indexicality as a messy and convoluted conceptual field comprised of the notions of pointing, stillness, and fragmentation, this study works to untangle the three from each other, separately challenging each individual notion. In analysing each of the three through their conceptualisation by prominent thinkers, including Charles S. Peirce, Susan Sontag, Henri Bergson, Walter Benjamin, André Bazin, Rosalind Krauss, Jacques Derrida, and Roland Barthes, and examining them against and through examples of photographic images, this study points to the imprecisions, insufficiencies, and incompatibilities of Indexicality in relation to the photographic image and form. Undoing Indexicality as a field, this study resists Indexicality as a paradigm, proposing a new theoretical framework for photography: rather than looking at photographic images as truth bearers that can evidence the photographed, it proposes to look at photographic images as formations that form a thought out of the photographed. In that, this study works to remedy the Indexicality fever, or compulsion, which it identifies as the root cause of theoretical mess within the philosophy of photography. By evincing that Indexicality is a wrong, albeit necessary, solution to a problem that is to do with identifying the relation of the photograph to the world, it not only lifts photography out of a Procrustean bed in which it was never comfortable, but also allows for a new solution to develop. This solution is the theory of photo-poiesis: a move beyond the materiality and away from the referentiality of photography towards its being in the world and the thought that it forms and brings-forth - towards thinking.
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Harper, Stephen Bryce. "Investigations into Social Game Theory." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/812.
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Investigations into Social Game Theory is a document that describes my two-year exploration of the ritual encapsulated in our societal framework. It discusses the thoughts and processes that accompanied the three bodies of work that led to the creation of my final thesis exhibition.
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Johansson, Åsa. "Photographing in the Safari of Lapland." Thesis, Linköpings universitet, Tema Genus, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-162899.
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This essay is about the photographer Lotten von Düben and her photographing of the Samí people in a research expedition to Lapland in 1868 in which she took part as the expedition photographer. This expedition is taking place in the mountainous area of Kvikkjokk [Huhttán in Lule-samí]. Lotten von Düben´s husband Gustaf von Düben is a Medical doctor, Anthropologist and Professor at the Karolinska Institutet and is the head of the research expedition. Lottens´s role in the expedition is to document for her husband who has taken on his ageing colleague Anders Retzius work of cataloguing his well-recognized collection of Lapp-skulls, and in addition conducts his own research of what he refers to as “the people as such”. The essay is also about my own personal heritage as a Samí descendent where I in particular analyze Lotten von Düben´s photographs taken of my far distant relatives, representatives of the family Granström. The aim of my research is to explore the expedition and the scenery of Lotten von Düben´s photographing, which I refer to as “Photographing in the Safari of Lapland”. Through picture analysis and based on a post-human, new materialist feminist approach, I deconstruct the very moment of photographing and image development with the aim to develop new narratives, stories which are previously not told. The picture analysis includes also photographs relating to Lotten and her photographs in the post-safari phase, emphasizing the photography´s and the public. With an intersectional approach I also deconstruct Lotten von Düben as female photographer and the context relating to this. The essay is about imagining the activity of thinking differently and wandering and get off the beaten track. It is about skilled hands and esthetics, technical innovations, modern science and social political movements; a melting pot of phenomena’s which cannot be taken apart, but binds each other sequence through sequence. The essay is about a camera and sensitive meetings, about binary social relations, power structures and unquestioned science, about otherness and self and moving in between.It is very interesting and appealing that the focus is put on the female photographer Lotten von Duben and the role of the camera in the knowledge production. Furthermore, the student’s urge to go beyond the known narratives and to try to think and write differently is highly appreciated and relevant. Interesting, appealing and important thesis that contributes to the field of knowledge of Gender Studies. It is also a creative thesis in terms of the chosen methods that promote different narratives that may add to new ways of thinking.
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Harada, Misao. "La Cohérence du texte chez André Breton. Une étude de quatre oeuvres : Nadja, Les Vases communicants, L’Amour fou et Arcane 17." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030038.
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Dans cette étude nous nous proposons de mettre au jour ce qui assure la cohérence du texte dans quatre récits autobiographiques d’André Breton : Nadja, Les Vases communicants, L’Amour fou et Arcane 17. Nous proposons de les appeler « tétralogie » bretonienne. Après avoir montré que les approches en narratologie ne sont pas adaptées à cette fin, nous verrons que l’argumentation ayant pour but de transmettre l’idée du surréalisme donne un cadre intégrateur à ces récits pour en assurer la cohérence. Chaque texte doit selon nous être considéré comme une situation de communication entre le lecteur et l’auteur, c’est-à-dire dans sa dimension pragmatique et énonciative. L’illustration photographique, présente dans trois récits de la « tétralogie », fait partie des moyens mis en œuvre par l’acte d’argumenter. Elle contribue au mieux à cette communication-argumentation. Nous démontrons que ces récits doivent être considérés comme des « livres illustrés » modernisés par la photographie. Dans cette optique, nous examinons le rôle et l’évolution de la photographie à travers la « tétralogie ».Nous montrons que la situation de communication est figurée dans chacun des quatre récits comme un espace théâtral car chacun d’eux est construit comme un théâtre virtuel et fantasmatique. La théorie freudienne du rêve et du théâtre nous permet d’explorer la théâtralité de la « tétralogie » tout en résolvant le paradoxe du théâtre chez BRETONThis study aims at clarifying the textual coherence in four autobiographical narratives of the Surrealist Poet André Breton: Nadja, Les Vases communicants, L’Amour fou and Arcane 17, which we propose to call “bretonian tetralogy”. Our main thesis is the central importance, in this “tetralogy”, of acts and means of convincing the reader of the genuineness of Surrealism. And the author succeeds in establishing a dynamic tête-à-tête relation with his reader, which endows each narrative with its inward coherence. Photography plays a key role in this rhetoric scheme, and we put forward the interpretation of “bretonian tetralogy” as a variation of 19th century’s illustrated book modernized by the medium and visualization device. On the basis of Freud’s theory about dream and theatricality, we demonstrate that these narratives must be considered as virtual theatres since incorporated theatricality is a way of reminding and exploiting, in the shape of a text, the discourse situation underway between communication partners; Breton and his reader
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Huang, Yi-hui. "An Interpretivist Study of Knowledge Provided by Seamless Digital-Synthesized Photographs." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1214941623.
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Hölzl, Ingrid. "Der autoporträtistische Pakt zur Theorie des fotografischen Selbstporträts am Beispiel von Samuel Fosso." Paderborn München Fink***5105586, 2008. http://d-nb.info/986681377/04.
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Tendero, Yohann. "Mathematical theory of the Flutter Shutter : its paradoxes and their solution." Phd thesis, École normale supérieure de Cachan - ENS Cachan, 2012. http://tel.archives-ouvertes.fr/tel-00752409.
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This thesis provides theoretical and practical solutions to two problems raised by digital photography of moving scenes, and infrared photography. Until recently photographing moving objects could only be done using short exposure times. Yet, two recent groundbreaking works have proposed two new designs of camera allowing arbitrary exposure times. The flutter shutter of Agrawal et al. creates an invertible motion blur by using a clever shutter technique to interrupt the photon flux during the exposure time according to a well chosen binary sequence. The motion-invariant photography of Levin et al. gets the same result by accelerating the camera at a constant rate. Both methods follow computational photography as a new paradigm. The conception of cameras is rethought to include sophisticated digital processing. This thesis proposes a method for evaluating the image quality of these new cameras. The leitmotiv of the analysis is the SNR (signal to noise ratio) of the image after deconvolution. It gives the efficiency of these new camera design in terms of image quality. The theory provides explicit formulas for the SNR. It raises two paradoxes of these cameras, and resolves them. It provides the underlying motion model of each flutter shutter, including patented ones. A shorter second part addresses the the main quality problem in infrared video imaging, the non-uniformity. This perturbation is a time-dependent noise caused by the infrared sensor, structured in columns. The conclusion of this work is that it is not only possible but also efficient and robust to perform the correction on a single image. This permits to ensure the absence of ''ghost artifacts'', a classic of the literature on the subject, coming from inadequate processing relative to the acquisition model.
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Barr, Sue. "The architecture of transit : photographing incidents of sublimity in the landscapes of motorway architecture between the Alps and Naples." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2851/.
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The aesthetics of motorway architecture has not received attention within theoretical photographic discourse and has never been the subject of an academic photographic research project. This project begins from the understanding of the motorway as one continuous piece of architecture that crosses international boundaries on its route across Europe – an architecture so large that it cannot be perceived in its entirety. As a research-by-practice PhD, photography is used to identify and record incidents of the sublime in the route of the motorway. The photographs are produced with a large field study from the Swiss Alps to Naples, where numerous complex topographical and spatial conditions are found. This results in incidents of the sublime within its architecture when the motorway is forced to negotiate these conditions during its route. The research domain was chosen for its significance within the history of art and literature in European cultural history. Travelling in these regions was and is strongly related to the development of cultural concepts of the sublime. The questions that this research investigates are: Is it possible to make a depiction of architectural, spatial, topographical factors combined in a sublime incident? Can a methodology be defined to photograph these structures? How can photographs be made of large-scale architecture that cannot be seen or experienced in their entirety? The meaning of the term sublime has become diluted in contemporary usage, often being used inaccurately in description of something exquisite or delightful. This project revisits 18th-century formulations of this aesthetic categorisation, alongside historical travel literature, representations of landscape in painting and photography and contemporary architectural and photographic discourses. These references enable a thorough understanding of principles of aesthetic composition, resulting in the creation of a new understanding of the sublime and methodology for photographing large-scale motorway architecture. Employing a photographic aesthetic that embraces representation and post-production enhancement of Fine Art practice, the project culminates in the production of 29 photographs that form a narrative series exploring incidents of the sublime within motorway architecture between the Alps and Naples.
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Michelkevičius, Vytautas. "Photography as medium dispositif in the 1960s–80s in Lithuania." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20101001_150550-76904.
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The doctoral thesis deals with a methodological problem of analyzing photography. The argumentation is built on assumption that analysis of a content of a medium (in this case: photography) alone is unable to reveal important social and political aspects of the medium. Therefore an integral analysis of medium and its context is indispensable. Combination of approaches used in communication and media studies, philosophy, and art history lets to define the notions of dispositif and medium, which lead to construction and operationalization of a model of medium dispositif. The model is used for research and analysis of power relations around photographical discourse in Lithuania in 1960s–1980s.
Research material gathered while interviewing relevant actors in the field and analyzing visual and textual archives lets to define the dispositif of photography of the time period chosen as the a particular actor-network. The analysis reveals how the network of art photography developed, how it became stable and irreplaceable, what was its impact on specific mode of use of photography, so called photo-art, and formation of common photographical style, The School of Lithuanian Photography. The institutional role of Society of Art Photography, its interaction with communicational conventions (eg. Social Realism), philosophical statements, and the whole photographical discourse are taken into particular account. The analysis and combination of different elements, constituting photographical... [to full text]Disertacijoje sprendžiama kompleksiškos fotografijos analizės metodologijos problema. Remiamasi prielaida, kad analizuojant vien medijos (šiuo atveju fotografijos) turinį, neįmanoma atskleisti svarbių socialinių ir politinių medijos aspektų. Todėl siekiama analizuoti pačią mediją kartu su jos kontekstu. Derinant komunikacijos bei medijų mokslų, filosofijos ir menotyros prieigas suformuojamos dispozityvo ir medijos sampratos, kurias jungiant sukonstruojamas ir operacionalizuojamas medijos dispozityvo modelis. Šis modelis yra taikomas Lietuvos fotografijai XX a. septintajame–devintajame dešimtmetyje analizuoti ir diskursą formavusiems galios santykiams atskleisti. Pasitelkiant interviu su fotografijos veikėjais ir fotografijų bei tekstinių šaltinių interpretaciją išanalizuojamas pasirinkto laikotarpio fotografijos dispozityvas, kuris apibrėžiamas kaip veikėjas-tinklas. Disertacijoje atskleidžiama, kaip formavosi fotografijos meno tinklas, kaip jis tapo stabiliu ir nepakeičiamu, kaip jis konstravo ir reguliavo specifišką fotografijos vartojimo būdą – fotomeną ir vientisą stilių – Lietuvos fotografijos mokyklą. Analizuojant ir jungiant skirtingus fotografijos medijos elementus, siekiama parodyti priežastingumo ryšius tarp estetinių, politinių ir socialinių fotografijos aspektų. Disertacijoje nagrinėjamas institucijos (Fotografijos meno draugijos) vaidmuo bei jos sąveika su komunikacinėmis konvencijomis (pvz., socrealizmo stiliumi), filosofinėmis nuostatomis ir fotomeno diskursu.
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Knox-Williams, Charlotte. "Slip, split, snag : diagramming the time image between Deleuzean theory and fine art practice." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/346353/.
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The project has engaged critically and reflectively in a series of investigations through Deleuzean theory and fine art practice. It has explored the functions of the diagram in relation to direct images of time, identifying novel perspectives on these aspects of Deleuzean theory through interconnections and a reciprocally transformative engagement with art practice. The research offers fresh insight into the complicated temporal shifts that become apparent through practice by layering visual and discursive elements. The work is concerned with the interrelation and transformation of different temporalities across surfaces and screens, and is situated in the intersections between text, film and drawing. <- Text functions in, about and as practice, and theory feeds and folds through processes of making. The interactions between analogue and digital, and the superposition and overlaying of the surfaces of drawings with projection are of particular importance. Digital film projections are traced and drawn, and the resulting layered surfaces are filmed again, repeatedly marked over and superimposed. The research addresses how these complex interrelationships might be understood as time images, and how different functions of the diagram can be seen to activate or make possible these direct perceptions of time. The diagram, in a Deleuzean sense, is characterised by a continual splitting that is simultaneously a divergence. Coming apart just as it runs together, the diagram is a marking out or working through that is provisional, temporal and engages with what is yet to be. The time image is identified as an instance in film where the virtual, or pure past and possibility, is perceived in the present. A stable, interwoven structure is developed through Bergson's theories of perception, recognition and memory, and this acts as a surface across, on and within which the main body of the text takes place. This is separated into three parts and each section proposes the interrelationship of a different diagrammatic function and a particular imaging of time. These are seen to arise through: slips, or loose, errant linkages; splits, or simultaneous bifurcations between
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McDowell, Felice. "Photographed at ... : locating fashion imagery in the cultural landscape of Post-War Britain 1945-1962." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/7174/.
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This thesis explores a history of fashion and art in post-war Britain. The historical analysis of this study focuses on how institutions and spaces of public culture – such as museums, galleries, exhibitions and art schools – were used as locations for editorial photo-spreads published in the British editions of Vogue and Harper’s Bazaar between 1945 and 1962. Fashion magazines participate in the cultural production of art by depicting its institutions, its products and producers as fashionable. This thesis interrogates the ways in which the field of fashion, and fashion media in particular, thereby gives symbolic value to the field of art through its mediation. In its examination of the ways in which representations of art and fashion have been meaningfully constructed for a high fashion magazine readership, the thesis contributes to a further understanding of the relationship between fashion and art, and affords new insights into the cultural history of post-war Britain. The theoretical framework of this study engages with Agnès Rocamora’s model of ‘fashion media discourse’, which brings together the work of Michel Foucault and Pierre Bourdieu. This thesis draws upon Foucault’s work on ‘discourse’ and Bourdieu’s concept of ‘cultural production’ in order to conduct an ‘archaeology’ of post-war British fashion media and its participation in the cultural production of art. This thesis has developed Rocamora’s concept in its application to a specific historical study of fashion media. In doing so, this thesis contributes to a wider understanding of how the theoretical work of Foucault and Bourdieu can be applied in the scholarly research of fashion media and histories of fashion. This thesis contributes to the further knowledge of practices in history concerning methodologies of archival research and textual analysis.
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Gallagher, Meghan M. "Claiming Images: The Production and Preservation of Desire in Richard Prince's Re-Photography." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/679.
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This thesis explores the re-photography of contemporary artist, Richard Prince. Using Lacanian theories of the gaze and of the drive cycle, it attempts to establish desire as the central theme of Prince's work. It looks primarily at the Cowboys, Girlfriends, and New Portraits, in order to combat the dominant perception of Prince's work as critical commentary on contemporary consumer culture.
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Laing, Morna. "The 'woman-child' in fashion photography, 1990-2015 : childlike femininities, performativity, and reception studies." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9818/.
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The childlike character of ideal femininities has long been critiqued in feminist literature, from Mary Wollstonecraft (1792) to Susan Faludi (1992). Yet, despite the partial gains of feminism the ‘woman-child’ continues to be a prominent subject-position in fashion photography of the West. This thesis builds upon earlier feminist critiques of the infantilisation of women by considering the meaning of childlike femininities in the period spanning 1990 to 2015. In particular, it questions whether representations of childlike femininities can shed their dehumanising, ‘second sex’ connotations and be resignified to a more progressive end in the contemporary context. The possible appeal of ‘girly’ subject-positions to women, following several waves of feminism, is explored through reception studies carried out with female participants in focus groups, as well as theory on the ‘female gaze’. Images were principally drawn from three British fashion magazines: Vogue (UK), i-D, and Lula. Drawing on the work of Michel Foucault and Judith Butler, this thesis demonstrates the ways in which discourses on childhood, girlhood and womanhood overlap and intersect to produce the figure of the ‘woman-child’ in the fashion media and beyond. This subject-position is shown not to be singular but rather as appearing in a number of guises. The many permutations of childlike femininity are subsumed into four overarching categories: the Romantic woman-child; the femme-enfant-fatale; Lolita style; and the Parodic woman-child. This thesis thereby contributes to existing debates in fashion studies by considering in greater detail the different discourses on childhood and femininity that come into play when women are positioned as childlike. A multi-faceted visual methodology is employed, combining visual analysis of imagery with experimental reception studies. Reception studies were conducted in focus groups with female participants and provide insight into the way these women made sense of the ‘woman-child’. In addition, they provide an indication as to whether the participants liked or disliked childlike femininities in the fashion media, thus pointing to the possible investments women might have in childlike subject-positions. Finally, including an element of social research served to challenge and/or reinforce the researcher’s own readings of the imagery, pointing to new avenues of research and expanding the discursive field of enquiry. This aspect of the thesis makes a methodological contribution to literature on the reception of still media imagery in fashion studies, magazine studies and feminist media studies.
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Kiteley, Robin J. "An investigation of intersections between reanimation practice and queer theory in a moving image work." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27014/.
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This practice-informed research establishes points of intersection between reanimative practices within moving image work and queer theoretical positions. It frames this within autoethnographic understandings of memories pertaining to my adolescent experience of gay acculturation via textual sources. A bricolage methodology deriving from the work of Kincheloe and Berry (2004) is used. Multiple methods of investigation are employed including alternative archive creation, moving image tests and prototypes, processes of reading and re-reading and autoethnographic, reflective and academic writing practices. Analysis and evaluation are informed by selected queer theoretical concepts which correspond to the broad structural phases of reanimation. Research outputs deriving from these processes are i) moving image tests, ii) autoethnographic vignettes, iii) a moving image piece entitled Unbounded and iv) a written thesis. The research aims to build on current understandings of the term “reanimation” (Cholodenko, 1991, 2004, 2007a, 2007b, 2007c, 2009; Skoller, 2013; Wells, 1998; Wells & Hardstaff, 2008), particularly within moving image practices using “found” material, and to articulate these within a queer perspective. A contextual review assesses previous work on reanimation in research, scholarship and queer-related animation. A series of moving image tests establish a relationship between animation, deanimation and reanimation which, I propose, constitutes the reanimative process. I consider this practice-informed understanding in relation to analogous patterns and motifs in queer theoretical literature. Finally, evaluation of the evidence from my practice tests and the terminal piece, Unbounded, corroborate a proposed set of intersections. The conclusion offers a conceptualisation of the process of reanimation in my moving image practice and establishes that the reanimated outcome attests to its reanimated status through the “temporal composite” (Skoller, 2013). I build on work concerning queer forms of evidence (Muñoz, 1996, 2009), alternative archive creation (Cvetkovich, 2003), queer temporality (Freeman, 2010; Rohy, 2009; Stockton, 2009) and futurity (Bansel, 2012; Edelman, 2004; Muñoz, 2009) to demonstrate that this reanimative principle is reflective of contemporary queer concerns with historicity. This practice-informed research contributes to knowledge by extending a modest body of animation literature addressing sexuality (de Beer, 2014, 2015, January 21; Griffin, 1994; Halberstam, 2011; Padva, 2008; Pilling, 2012b; Takahashi, 2014; Wells, 1998; Wood, 2008) through its focus on the formal aspects of reanimation and interconnections with the queer, as opposed to the more frequently addressed issue of queer representation.
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Owen, Daniel M. "Citizen Photojournalism: Motivations for Photographing a Natural Disaster and Sharing the Photos on the Web." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1362739905.
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Reidinger, Bobbi. "Weight as Status: An Expansion of Status Characteristics Theory." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1586629807299555.
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Le, Guen Laurence. "Littératures pour la Jeunesse et photographie, mise à jour et étude analytique d’un corpus éditorial européen et américain, des années 1860 à aujourd'hui." Thesis, Rennes 2, 2019. http://www.theses.fr/2019REN20029.
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Si la littérature pour la jeunesse est fréquemment illustrée de dessins, qu’advient-il lorsque ces illustrations sont des photographies ? Le corpus d’œuvres pour la jeunesse illustrées de photographies, dont la recension était à peine entamée et qui s’avérait plus conséquent que supposé, requérait d’être étudié sous divers angles. L’ambition de cette thèse est de mettre en évidence les liens étroits entre les livres pour la jeunesse et l’illustration par la photographie et de mesurer les incidences des relations entre ces deux arts ou genres « mineurs », selon des perspectives historiques et géographiques larges. En circulant dans les littératures européennes et nord-américaines, de 1860 à nos jours, cette thèse démontre que la production photolittéraire pour enfants se constitue comme un véritable genre éditorial, même si aujourd’hui encore ces productions sont occultées sous l’appellation de « Littérature de jeunesse » ou, dans le monde anglo-saxon, sous celle de « Picturebooks ». Cette étude, s’inscrivant dans le champ de la photolittérature, met à jour les agencements des dispositifs phototextuels et examine comment texte et photographies s’articulent pour faire sens pour un jeune lecteur. Elle retrace aussi les liens entre quelques théories pédagogiques et la réception critique de ces ouvrages, exposant la façon dont elles sont solidaires de certaines options éditorialesLiterature for the young is often illustrated by drawings, but what happens when the illustrations are photographs? Only recently has the corpus of photographically-illustrated children’s literature begun to be examined. It is proving to be much more extensive than had previously been imagined, and necessitates a study from several different angles. The aim of this thesis is to highlight the close links between children’s books and photographic illustration and to measure the implications of the relationship between these two arts (considered ‘minor’ from a broad historical or geographical perspective) Covering European and North American literature from 1860 to the present day this thesis shows that photoliterary production for children is in fact a publishing genre in its own right, although today many such productions are still filed under the label “Picturebooks” or in French, “Littérature de jeunesse” [children’s literature]. By invoking the field of photoliterature, this study brings to light the layout of various phototextual devices and examines how text and photographs combine to create meaning for a young reader. It also retraces the relations between certain pedagogical theories and the critical reception of these works, revealing the manner in which both are inextricably bound up with particular publishing decisions
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Hodgson, Philip. "Oppositional spaces : an evaluation of post-nationalist film theory using the work of migrant, exilic and diasporic filmmakers." Thesis, Northumbria University, 2013. http://nrl.northumbria.ac.uk/26289/.
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This thesis evaluates the usefulness of post-nationalist theory in developing and understanding existing debates around national cinemas in film studies. Whilst a great deal of research has focused on the significance and importance of national cinemas, changes in the international landscape have offered challenges to the value of national cinema as a concept. To date, these challenges have been primarily addressed within discussion of transnational cinema which, although useful, has yet to fully interrogate the power relationships between nations. The importance of post-nationalist theory in this regard is that it deliberately seeks out texts which explore these power structures and often focuses on contact zones in which the dominant nationalism, and therefore national cinema, is being overtly opposed and undermined. The central question addressed by this thesis is ‘How can post-nationalist theory advance cinematic debates concerning national and transnational cinemas?’ In order to address this, the films of several migrant, exilic and diasporic filmmakers will be discussed as case studies. This is because their hyphenated identities offer access to a greater number of nationalisms, and also highlight a state of rootlessness in which oppositional positions can be more easily adopted. The filmmakers discussed are: Fatih Akin, whose work offers representations of migrant figures and literal border crossings; Ferzan Ozpetek, who expands these migrant representations to include issues of sexuality and class as non-official nationalisms; Atom Egoyan, whose cinematic style opposes cinematic forms, conventions and nations; Michael Haneke, whose films engage in an overtly oppositional style; and Gurinder Chadha, as a filmmaker who not only uses gender to advance these debates, but also enters them into discussion with mainstream cinema. The thesis will apply close textual analysis to each of the directors’ work in order to illustrate how post-nationalist theory can be used to understand the oppositional spaces they create in relation to nations and national cinemas. This will demonstrate not only the relevance of post-nationalist theory to cinema, but also develop current understanding of the strengths and limitations of the conceptual and theoretical work associated with national and transnational cinemas.
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Morales, Hernandez Mauricio. "Médiatisation technologique et voix du réel. : une anthropologie historique du regard — de la trace à l'écran." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0041.
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Nous partons du constat de l’importance de l’image dans le processus d’anthropogénèse, car la fixité de l’image se dévoile comme une médiation temporelle, c’est-à-dire, comme la création d’un temps rapporté médiatisant notre rapport au réel et transgressant par là notre champ perceptif. À ce titre, l’histoire de l’image apparaît comme le développement de divers modèles eidétiques statiques qui vont être en négociation et relation permanente avec les modèles eidétiques dynamiques : le langage, les gestes, l’outillage, la musique, la danse, l’habitat ; modèles qui en contrepartie sont des médiations nous permettant d’investir l’espace et de le délimiter. L’interpénétration des deux types de modèles, dynamiques et statiques, constituerait, dans la pléthore et la diversité d’éléments composant chaque culture, le caractère définissant l’homme comme animal politique. C’est ainsi que l’on a pu discerner une différence ontologique lors de l’apparition de la trace photographique, trace résultant, non d’une idéalisation formelle et symbolique, mais de l’idéalisation d’une distance, à partir de laquelle se matérialise l’écran en articulant le regard depuis une nouvelle échelle opératoire. L’apport essentiel de l’image serait entré donc dans une nouvelle phase qui, au bout de presque deux siècles, aurait transformé l’homme en animal médiatique. C’est là que l’histoire de la nouvelle trace, sous l’essor de la technologie numérique, centre tout enjeu politique dans sa manifestation la plus conséquente, celle de l’expression cinématographique.Dans ce cadre nous avons abordé et privilégié une histoire du cinéma à des moments où celle-ci développe des enjeux spécifiques dans son rapport au réel, comme notamment dans l’exemple de l’œuvre du cinéaste mexicain Téo Hernández, réalisée pour l’essentiel en Europe entre 1968 et 1992. Sa forte dimension phénoménologique, l’importance du corps dans l’acte de filmer, tout autant que sa fine réflexion sur le médium et son rapport au réel, nous ont fournit une clé de voûte nous permettant de comprendre les grands changements médiatiques qui sont survenus dans les années 80, et qui ont déterminé le regard politique du monde actuelWe begin by observing the importance of the image in the anthropogenesis’ process because the fixed image reveals temporal mediation, namely, the creation of reported time, mediatizing our relation to the real and thus, transgressing our fields of the perceptual. On this basis, the image’s history appears as a development of various static eidetic models that are going to be in a negotiation and permanent relationship with dynamic eidetic models: language, gestures, equipment, music, dance, the habitat; models that, in return, are mediations enabling us to invest the space and divide it up. The intermingling of the dynamic and static models would constitute the character defining man as a political animal, in the myriad and diversity of the elements that are components for each culture. That is how we are able to detect an ontological difference at the time when the photographic trace appears, a trace not resulting from a formal, symbolic idealization but from an idealization of distance, from which the screen materializes by articulating the eye from a new operative scale. The image’s essential contribution would thus have entered a new phase that would have transformed man into a media animal after almost two centuries. That is where the history of the new trace becomes the core of all political issues in its most consistent manifestation, under the surge of digital technology, that of cinematographic expression.In doing so, we have addressed and favoured one of cinema’s histories at a time when there was a development of specific issues in relation to the real, notably using the work of a Mexican filmmaker, Téo Hernández, mainly done in Europe between 1968 and 1992 as an example. Its powerful phenomenological dimensions — the importance of the body while filming — and also the deep reflexion on the medium and its relation to the real, have provided us with a keystone that enables us to understand the major changes in media that happened during the 1980s and determined the political outlook of the world today
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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.
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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstrationBased on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
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Leffler, Laura Sutton. "Life in the Dollhouse: Laurie Simmons’s Early Work as a Display of Constructed Hierarchies." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116938975.
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Adam, Zoé. "Praxis Queer : les corps queers comme sites de création et de résistance." Thesis, Lille 3, 2018. http://www.theses.fr/2018LIL3H034/document.
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Praxis queer s'intéresse à l'utilisation de pratiques artistiques au sein du militantisme queer. La réflexion s'organise en trois axes : artistique, militant, et quotidien. L'axe artistique analyse les techniques d'invention de soi, de subversion des normes corporelles, sexuelles et de genre. Les militant-es établissent des jeux entre la performativité et la performance. L'axe militant met en évidence l'utilisation de l'art en tant qu'outil de lutte queer, ce qui questionne les stratégies de lutte et l'efficience politique de l'art. Le troisième axe se concentre sur les pratiques quotidiennes de résistance. Ces pratiques sont analysées à la fois sous l'angle de la micropolitique et de la performance artistique, questionnant les limites de l'art. Certains thèmes transversaux se retrouvent dans ces trois axes : la performance, l'enjeu des archives au sein des luttes queers, l'utilisation militante des nouvelles technologies et la figure du cyborg. De nouveaux enjeux du militantisme queer, comme les affects, l'écologie et l'anticapitalisme, sont abordés. Cette thèse est un geste militant. Elle s'adresse autant au monde universitaire qu'aux activistes et elle correspond à un engagement personnel. Elle se base sur des entretiens réalisés avec des militant-es de France et d'Espagne. Ces entretiens sont utilisés de façon à valoriser les savoirs militants et à les mettre en parallèle du savoir "légitime" que représentent les auteur-es comme Judith Butler, Jack Halberstam, Paul Preciado ou Amélia Jones. Les outils de l'histoire des arts sont utilisés pour analyser des actions militantes. La dimension politique ou militante des oeuvres est systématiquement analyséePraxis queer questions the use of artistic practices in queer activism. The reflection is organized around three lines of thought : artistic, militant, and daily life resistance. The artistic axis analyses the techniques of self-invention and subversion of corporal, sexual and gender norms. Activists establish games between performativity and performance. The militant axis highlights the use of art as a tool of queer activism, which interrogates the strategies of struggle and the political efficiency of art. The third axis focuses on daily life resistance practices. These practices are analysed from both a micropolitical and artistic performance point of view, questioning the limits of art. Some cross-disciplinary themes can be found in these three areas : performance, the issue of archives in queer struggles, the militant use of new technologies and the figure of the cyborg. New issues of queer activism, such as effects, ecology and anticapitalism, are discussed. This thesis is a militant act. It is dedicated to academics as well as activists and is a personal involvement. It is based on interviews with activists from France and Spain. These interviews are analysed in such a way that it enhances militant knowledge and put it in parallel with the "legitimate" knowledge represented by authors such as Judith Butler, Jack Halberstam, Paul Preciado or Amelia Jones. The tools of art history are used to analyse militant actions. The political or militant dimension of works is systematically analysed
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Leal, Pedro Germano Moraes Cardoso. "The invention of hieroglyphs : a theory for the transmission of hieroglyphs in early-modern Europe." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5167/.
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The present dissertation investigates the process of transmission of hieroglyphs from Egypt to Early-Modern Europe. This phenomenon has been studied by Egyptologists and Art Historians, mostly from a historical and descriptive standpoint, but here an original theoretical perspective was adopted: Grammatology or the study of writing. In order to understand this process of stimuli diffusion, and its outcome, it was deemed necessary to delve into both the Egyptian writing-system and the hieroglyphic phenomenon in the Renaissance, which led the dissertation to be divided into two parts. The First Part is devoted to The Ancient Hieroglyph: Chapter One addresses the mechanics of Egyptian hieroglyphs, their grammatological functions and the outline of a theory for the text-image dynamics in this context; Chapter Two examines the terminology of “hieroglyph” in Egypt, and its conceptual difference from the Greek and Contemporary views on the matter; Chapter Three describes the historical development of the Egyptian writing and a hypothesis for the emergence of a “hieroglyphic hermeneutics”; Chapter Four is dedicated to Horapollon’s Hieroglyphica, which is regarded as the main vector of diffusion between Ancient and Modern hieroglyphic traditions. The Second Part focuses on The Early-Modern Hieroglyph: Chapter Five outlines the early process of diffusion and the first ideas of hieroglyph in the Renaissance; Chapter Six discusses the creation of new hieroglyphic codes; Chapter Seven tackles the role of hieroglyphs in the birth of the emblematic tradition and its continuous relationship on different culture levels; Chapter Eight look into the Spanish jeroglificos, regarding it as a hybrid genre of hieroglyphs and emblems; Chapter Nine explores the impact of Renaissance hieroglyphs on the cultural perception of writing; and finally, in Chapter Ten, the process of convergence between hieroglyphs, alchemical iconography and emblems is analysed in the light of the previous chapters. It was found that there is an objective relationship between Ancient and Modern hieroglyphs, not easily perceptible and often downplayed as a result of a certain logocentrism, but of great importance – especially in terms of its impact on the establishment of a European text-image tradition. Another conclusion is that, if Renaissance scholars, artists and poets thought it possible to write through images, and in fact created speaking pictures, visual compositions can be considered as a form of writing - being therefore a potential subject of Grammatology. This finding does not exclude other instruments of analysis, but creates a number of theoretical solutions in the field of text-image studies that have been employed in the present study.
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Reid, David. "'Just looking' : gazing at the male gaze; the representation of women in the films of Michelangelo Antonioni and Rainer Werner Fassbinder, and in the photography of Jeff Wall and Thomas Struth." Thesis, University of Derby, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322598.
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Jayaram, Vikram. "Reduced dimensionality hyperspectral classification using finite mixture models." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Kutesko, Elizabeth. "Fashioning Brazil : globalization and the representation of Brazilian dress in National Geographic." Thesis, Courtauld Institute of Art (University of London), 2016. http://ualresearchonline.arts.ac.uk/12111/.
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As a popular ‘scientific’ and educational journal, National Geographic, since its founding in 1888, has positioned itself as a voice of authority within mainstream American print media, offering what purports to be an unprejudiced ‘window onto the world’. Previous scholarship has been quick to call attention to the magazine’s participation in an imperialist representational regime. Catherine A. Lutz and Jane L. Collins, Tamar Rothenberg and Linda Steet have all argued that National Geographic’s distinctive, quasi-anthropological outlook has established hierarchies of difference and rendered subjects into dehumanised objects, a spectacle of the unknown and exotic other. A more nuanced understanding can be reached by drawing upon Mary Louise Pratt’s concept of the ‘contact zone’. Pratt defined the contact zone as ‘spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power’. Photographs since National Geographic’s centenary edition in September 1988 have traced the beginnings of a different view of encounters within the United States-Brazil contact zone, driven by the forces of globalisation, which have resisted the processes of objectification, appropriation and stereotyping frequently associated with the rectangular yellow border. This is because they have provided evidence of a fluid and various population, which has selected and experimented with preferred elements of American and European dress, and used it to fashion their own, distinctly Brazilian identities. This thesis will examine both the visual and textual strategies that National Geographic and National Geographic Brasil (the Portuguese-language version of the magazine, established in Sao Paulo in May 2000) have used to fashion Brazil, but also the extent to which Brazilian subjects can be seen to have self-fashioned, through the strategic appropriation of clothing and ideas derived from an existing and dominant global culture. It will approach dress not simply as cloth but as a system of communication, whose many meanings are not fixed but continually informed and to an extent, even performed, by its visual, material, and textual representation. This thesis employs a multidisciplinary mode of analysis that draws on five Brazilian scholars, each of whom have used dress and fashion metaphors in their writings, which have encompassed poetry, film studies, poststructuralist theory, literary criticism and anthropology.
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Axelsson, Östen. "Aesthetic Appreciation Explicated." Doctoral thesis, Stockholms universitet, Psykologiska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-53385.
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The present doctoral thesis outlines a new model in psychological aesthetics, named the Information-Load Model. This model asserts that aesthetic appreciation is grounded in the relationship between the amount of information of stimuli and people’s capacity to process this information. This relationship results in information load, which in turn creates emotional responses to stimuli. Aesthetic appreciation corresponds to an optimal degree of information load. Initially, the optimal degree is relatively low. As an individual learns to master information in a domain (e.g., photography), the degree of information load, which corresponds to aesthetic appreciation, increases. The present doctoral thesis is based on three empirical papers that explored what factors determine aesthetic appreciation of photographs and soundscapes. Experiment 1 of Paper I involved 34 psychology undergraduates and 564 photographs of various motifs. It resulted in a set of 189 adjectives related to the degree of aesthetic appreciation of photographs. The subsequent experiments employed attribute scales that were derived from this set of adjectives. In Experiment 2 of Paper I, 100 university students scaled 50 photographs on 141 attribute scales. Similarly, in Paper II, 100 university students scaled 50 soundscapes on 116 attribute scales. In Paper III, 10 psychology undergraduates and 5 photo professionals scaled 32 photographs on 27 attribute scales. To explore the underlying structure of the data sets, they were subjected to Multidimensional Scaling and Principal Components Analyses. Four general components, related to aesthetic appreciation, were found: Familiarity, Hedonic Tone, Expressiveness, and Uncertainty. These components result from the higher-order latent factor Information Load that underlies aesthetic appreciation.
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Winston, Summer D. "Not Just a Symbol But a Status Symbol." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1505.
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I create art, not out of a deep understanding of the world around me, but out of a lack of one. Human psychology, motives, behaviors, stressors, intentions and identity are the themes that boggle me the most. Therefore, it is only natural that my work would be fueled by the questions these themes pose. In the past I sought to understand what pushes people to make certain choices and how can the world around us affect the formation of identity. Currently I wonder about identity in terms of what do people use to form and reinforce identity both real and fabricated. In addition to this I am working through the question of what creates worth for an object; it’s function or its fabricated identity. Through the use of photography, video, sculpture and installation I explore the possibilities of questions and also understandings that my work can create.
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Feliciano, André Allessandrini. "A natureza fotográfica da arte." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-06022014-145333/.
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Neste texto apresento um modo de perceber o ambiente da arte sob o ponto de vista da filosofia da fotografia. Inicialmente, elaboro a noção de uma natureza fotográfica da arte utilizando como base os pensamentos de Malraux, Dubois e Flusser. Em seguida, ao relacionar os três autores, desenvolvo a ideia de uma sistema de funcionamento para a arte baseado na própria fotografia. Para finalizar, utilizo meu trabalho visual como ponto de partida para cultivar a filosofia da fotografia e essa natureza da arte específicaIn this text I present a way of perceiving the art environment from the point of view of the philosophy of photography. Initially, I elaborate a notion of an photographic art nature based on the thoughts of Malraux, Dubois and Flusser. Then, I relate these three authors to develop the idea of an art system based on photography itself. Finally, I use my visual work as a starting point to cultivate the philosophy of photography and the nature of this particular art.
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Bogue, Elinor E. "A study of the gatekeeping role of chief photographers : the social identity theory and in-group bias in the assignment of sports photos." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1538076.
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Anderson, Carlos. "INDIVIDUAL IDENTIFICATION OF POLAR BEARS BY WHISKER SPOT PATTERNS." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3274.
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Many types of ecological studies require identification of individual animals. I developed and evaluated an automated identification system for polar bears (Ursus maritimus) based on their whisker spot patterns. First, I measured the reliability of using whisker spot patterns for identification from polar bear photographs taken in western Hudson Bay. This analysis involved estimating the complexity of each whisker spot pattern in terms of its information content. I found that 98% of patterns contained enough information to be reliable, and this result varied little among three different observers. Based on these results, I implemented a computer-aided identification system for polar bears based on whisker spot pattern recognition. I used standard computer vision techniques to pre-process images and the Chamfer distance transform to compute similary scores between images. In addition, I evaluated the system by testing the effects of photographic quality and angle on system accuracy. I found that excellent and moderate quality/angle provided best results, with system accuracy of 90-95%. These findings suggest that individual identification of polar bears in the field based on whisker spot pattern variation is possible. Researchers studying polar bear behavior or estimating population parameters should benefit from this noninvasive technique.M.S.
Department of Biology
Sciences
Biology MS