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1
Cleveland, Larissa. « Collector : collection/possession/persona / ». Online version of thesis, 2008. http://hdl.handle.net/1850/6186.
Texte intégral
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Schrader, Julie Ann. « The Morgan collection of Southwest pottery website : research and photography : a project / ». Click here to view virtual exhibition, 2005. http://www.holmes.anthropology.museum/southwestpottery/index.html.
Texte intégral
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Wang, Han-Chih. « The Profane and Profound : American Road Photography from 1930 to the Present ». Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.
Texte intégralRésumé :
Art HistoryPh.D.
This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank’s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank’s commentary on postwar America during his cross-country road trip—the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha’s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander’s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank’s snapshot. Shore’s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore’s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore’s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans’s and Frank’s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie’s Freeway Series, 1994–1995; Andrew Bush’s Vector Portraits, 1989–1997; Martha Rosler’s The Rights of Passage, 1995; and Amy Stein’s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.
Temple University--Theses
4
Stead, Sarah. « PLACE, SPACE, AND FORM CAPTURED THROUGH PHOTOGRAPHIC MEDITATION ». Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4193.
Texte intégralRésumé :
Inspired by Buddhist philosophy, the photographic series Architectural Zen attempts to beautify banal and pragmatic architecture through limiting and preexisting artificial light conditions. The selective illumination of artificial light eliminates the non-essential details and enhances the pure forms and saturated color presented by the camera lens. This encourages the photographer and the viewer to enter a state of meditation. The resulting process is similar to a Zen approach to image making. The ancient Zen artist s compositions are strengthened by a meditation on form and subsequent elimination of the non-essential elements of the subject. Through embracing this Zen mentality and mindfulness,aspects of Eastern aesthetic and balance also appear through the work. The warm glow of artificial lights, long recessed shadows, and surreal colors contribute to the feeling of rest, contemplation, isolation, and solitude. Although the work in Architectural Zen is not directly about Buddhist doctrines, the process of creating the art parallels the ideas and practices of Zen Buddhism and meditation, finding the Buddha nature of typically unappealing architectural forms during a different time of day.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
5
Walton, Elizabeth. « TRUTHS, REALITIES AND THE EASILY TRANSMITTED IMAGE ». Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3922.
Texte intégralRésumé :
By the documenting and examining things that are often overlooked in everyday life, I try to find the beauty of these objects, of people, their lives and their homes. I am interested in the current technology and the influence of the easily transmitted image. What is the truth and reality of the images shared by the current youth culture because of the use of camera phones, digital image takers, and the constant image transmissions through online social networking venues such as My Space and FaceBook? The current digital image is no longer a precious object as it was in the past. The easy accessibility of technology and the growing popularity of an affordable camera have made these images a common object, easily replaced. It is my interest or concern with this technology that led me to my final body of work, images of this youth culture.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
6
Fullerton, Jeanay. « VISUAL STAMP ». Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4017.
Texte intégralRésumé :
I create images in a painterly manner illustrating a visual dialog, which suggests simultaneous moments, yet are actually a separated collision of moments and time. I have stretched these ideas from a slowed manipulation of time, to a calculated capture of segmented moments. My work undermines the importance of the decisive moment theory. This theory was the catalyst for my new series, VISUAL STAMP. "The decisive moment, it is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression." - Henri Cartier-Bresson I am conveying space and time on a single plane in a similar way to how we perceive, process, and retain information visually. The discarded moments in our perception are what I am interested in capturing. We do not view life in a frozen millisecond. Contemporary modes of perception involve the sensorial experience of viewing thousands of movements in small bursts of time that are often left behind, and forgotten. By layering images I am illustrating gaps from one moment to the next. My interest in using the insignificant event to create an aesthetic has become a personal visual stamp. This series embraces the discarded aspects of our visual interpretation of the objects and places we see in everyday life.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
7
Van, Camp April. « MEMORIES AND MILESTONES : THE BRIGHTON SEMINOLE TRIBE OF FLORIDA AND THE DIGITIZATION OF CULTURE ». Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3415.
Texte intégralRésumé :
This dissertation project discusses individual photographs of the Brighton Seminole Tribe of Florida from the early 1900s to the current period, each organized by way of their institutional significance, not their place in chronological history. Following Jean Mohr and John Berger's model in Another Way of Telling, I create a narrative for the pictures with a discussion of historical information, current data from interviews, Tribal members' stories, and my own personal story as it is tethered to the tribe. The research addresses the following questions: Can photography offer a technological means to communicate culture in a vital, organic way? Can photos communicate culture as identity and not something merely to identify with? Can this cultural identification include me, an outsider, and is it possible that a colonialist viewpoint is actually beneficial to the tribe? John Berger, Roland Barthes, and Gregory Ulmer's theories allow opportunity for new perspectives, and even would-be answers at times. Admittedly, there is no frame large enough to hold all of the truth, but these theorists' works push the frame's boundaries to look at the pictures from other perspectives, other as both different and from the outside. These critics offer light and air, posing questions such as, what assumptions help a viewer transcend the normally limited perspective of a superficial observer? What possible contributions might an outsider bring to the interpretation?Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD
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balas, simona. « SERIES OF DISINTEGRATED MEMORIES ». Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3461.
Texte intégralRésumé :
Being absent from things or places for a period of time, we try to connect by revisiting our memories. There is always a vivid remembrance of certain objects or surroundings, but when we try to connect them, the truth in our mind deviates from the reality. The disintegration of the memories and the morphing of our imagination create a different reality in our minds that we begin to believe, considering that the truth becomes almost completely abstracted and obscured as time passes.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
9
Kulbaba, Brian. « WITHOUT A CAMERA ». Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4046.
Texte intégralRésumé :
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
10
Ebner, Bonnie. « MANY TELLING MOMENTS:THE ESSENCE OF FRAGMENTED IMAGE CULTURE ». Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3376.
Texte intégralRésumé :
My purpose in entering the UCF MFA program was to further explore and develop my passion for photography. During my time in the program, I developed my methodology--from having the traditional photography paradigm ingrained in my mind (and wanting to fit into it) to accepting and valuing my own unique process. I construct installations using diverse imagery and non-traditional presentation. In my installations, one may witness a reflection of the contemporary pace of image perception--fragmented, complex, abundant, and disordered. Together, images and their arrangements are used to create a unified piece that satisfies a new system within apparent disorder. The resulting installations summon the sensation of thinking and processing information in a new way, allowing for re-contextualization of fragmented imagery. Technology has pushed photography to evolve. Previously held traditional notions of photography as art (e.g., "single telling moment" photographs and similar subject matter) are now being confronted by a vernacular of "many telling moments". The current state of the art world is in flux, and is greatly influenced by the faster pace set by technology; I coin our new vernacular Image Culture.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
11
Weber, Kaylin Haverstock. « The studio and collection of the 'American Raphael', Benjamin West, P.R.A. (1738-1820) ». Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4307/.
Texte intégralRésumé :
When the history painter Benjamin West (1738-1820) died in March 1820, he left behind a remarkable monument to his life and work in his residence at 14 Newman Street, in London’s fashionable West End. Here, he had created an elaborate ‘palace’ of art, dedicated to history painting and to himself – his artistic genius, his artistic heroes, and his unique transatlantic identity. This impressive establishment was nearly fifty years in the making and part of an elaborate strategy to develop an artistic reputation as the pre-eminent history painter of his generation. While his studio has been considered by scholars as a place of pilgrimage for dozens of American students, its physicality and contents have never been thoroughly explored. Using a variety of evidence, including bank records, contemporary descriptions, and visual material, this thesis reconstructs much of this important space and collection to reveal how it was shaped and utilised by West. It combines a documentation of the spaces and objects with an analysis of their use and meaning in terms of the painter’s engagement with art theory, pedagogy, practice, collecting, display, and legacy. West, who was History Painter to George III, inhabited 14 Newman Street from 1774 to 1820, a period of dramatic expansion and cultural ambition in the London art world. Indeed, this thesis argues that 14 Newman Street and its impressive contents were more than just a history painter’s ‘palace’ of art but a place symbolic of the ideals and ambitions of British art. Following an introduction that more fully defines the aims and scope of this thesis, four chapters explore the significance of West’s house, his collections, and their display in this context. Chapter one provides an overview of his home and studio, and considers how it was designed with West’s various audiences in mind. The scope and character of his impressive collection is examined in the second chapter with a particular focus on a selection of Old and New World objects that represent particular areas of strength within the corpus of the collection. Chapter three examines the collection as a public and private artistic resource for West and his students as well as a statement of his commitment to the grand tradition. In chapter four, West’s self-promotion and exhibition strategies at Newman Street are addressed, highlighted by his exhibition of The Death of Lord Nelson in 1806. Developed in the dynamic context of the establishment of the Royal Academy, the proliferation of public exhibitions, and ongoing debates about national art, West’s collection and studio at 14 Newman Street exemplified the aspirations of British art.
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Lommen, Candice M. « How does the use of digital photography affect student observation skills and data collection during outdoor field studies ? » Montana State University, 2012. http://etd.lib.montana.edu/etd/2012/lommen/LommenC0812.pdf.
Texte intégralRésumé :
The purpose of this project was to determine if adding digital photography as a tool for collecting data during outdoor field study would increase student engagement and also improve the quality of the data students brought back to the classroom. Too often my students would come in from the field with data that focused on surface or irrelevant features. They were unable to use their data to make connections to the ecology concepts we were learning in the classroom. During the non-treatment phase of the study, students recorded all of their data through drawings and written observations. While at their plots, students inventoried the vegetation present and also took specific measurements such as tree circumference, canopy cover and invasive plant cover. Before taking the cameras out to the field, students practiced with the macro settings to take close up pictures of vegetation brought into the classroom. During the treatment phase, students took digital cameras out to their new plots to inventory and measure plants. Student engagement data was measured using a self-assessment questionnaire, outside observer behavior checklist and teacher field journal. Although interest and engagement were high for most students during the entire study, students who were not initially engaged in the field study activities reported higher engagement levels when cameras were used. The outside observer and teacher journal data supported this finding. The quality of student data was measured using both the student self-assessment questionnaire and drawing or photo rubrics. Rubric scores increased when students used photographs, rather than drawings, to write observations. Students felt they had more to write about when looking at their pictures as compared to their drawings. Interestingly, students reported they wrote less while at their plots when they had the camera, relying on their pictures to tell the story of their plot. Using photos only slightly increased students' ability to positively identify their plants. Pictures lacked those complex features that would enable students to easily work their way through a basic key. To increase the complexity of observations, additional content knowledge about plant structure and ecology is needed.
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Daniels, Aisha J. « The What If Collection ». VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5865.
Texte intégralRésumé :
The What If Collection is a visual narrative that confronts white supremacy, the social, economic, and political ideology used to subjugate black civilization via colonial rule and enslavement in history and via structural racism today. Many white people have been socialized into a racial illiteracy that fosters white supremacy. This racial illiteracy fails to realize and understand the destructive effects of Western dominance on the rest of the world, particularly on past and present Africa and her diaspora. In response, utilizing discursive design, the collection constructs a counter-story that depicts a shift in the power structure in which the white oppressor is placed in the historical experience of the black oppressed. Moving forward from the past, a contemporary society is visualized where black people are the dominant force.
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Iepson, Sarah M. « Postmortem Relationships : Death and the Child in Antebellum American Visual Culture ». Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236801.
Texte intégralRésumé :
Art HistoryPh.D.
Since Roland Barthes published Camera Lucida: Reflections on Photography in 1982, the prevailing theory about photography has revolved around its primary role as a manifestation of transience, death, and mortality. Whether one promotes the philosophy that the photographic image steals away the soul and promotes death, or that it simply captures images of those that have died or will die, the photograph has been commonly interpreted as a visual reminder of the finality of human life. At no time does such an interpretation appear to be more tangibly true than during the mid-nineteenth century when the photograph was commonly used to preserve the actual visage of death in post- mortem portraiture. Here, death is not suggested or implied, but is vividly present. However, the theoretical emphasis that Barthes placed on death has limited our understanding of such images by eliding other meanings historically associated with them. As an addendum to Barthes, I propose that post-mortem images - particularly those of children - represent a more complex relationship between life and death as it pertained to nineteenth-century American culture. Moreover, I believe that it is important to consider post-mortem photography in tandem with painted mourning portraiture, and to contemplate both within a larger visual and cultural context in order to gain a more holistic understanding of these images in antebellum America. My dissertation will re-situate post-mortem representations of children within the material and religious culture of antebellum America, amid evolving historical beliefs about the life of children, the concept of childhood, and ideas about child-rearing, not just postmodern theoretical notions of death. My particular focus on children responds to the poignancy of childhood death in antebellum America and the way in which these images particularly embody the belief in continued existence through the afterlife. By placing such images within the wider context of nineteenth-century culture, I will demonstrate that life existed in death for antebellum Americans through the physical or material presence of the photograph along with Christian spiritual associations regarding the soul and the afterlife. In other words, belief in an ongoing relationship between material and immaterial "bodies" was exteriorized in the painted or photographic representation of the physical corpse, enabling antebellum Americans to interpret the image as both the icon and physical residue of the soul. I will demonstrate that the materiality of the post- mortem image allowed antebellum Americans to preserve that sense of life within death. While the material presence of the image acted as a reflection of "being," spiritual beliefs in a heavenly afterlife permitted nineteenth-century viewers to meditate on the perpetuation, rather than the impermanence, of existence. While this complex historical dimension of post-mortem imagery - a dimension largely ignored by Barthes - provides the central focus of my dissertation, I will also analyze how these images were produced, commissioned, displayed, viewed, touched, cherished, and otherwise utilized in antebellum American culture.
Temple University--Theses
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Collier, Shannon. « Constructing a Memory House : Preserving the Past through Personal Relics ». Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/750.
Texte intégralRésumé :
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfB.F.A
Bachelors
Arts and Sciences
Art
16
Midberry, Jennifer. « Visual Frames of War Photojournalism, Empathy, Compassion, and Information Seeking ». Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/377417.
Texte intégralRésumé :
Media & CommunicationPh.D.
Although it has long been assumed that pictures depicting the human suffering of war evoke empathy and compassion, which leads to social action, there is little empirical evidence of that claim. This study aimed to fill the gap in visual communication theory about the effects of war photojournalism on media consumers' emotional and behavioral responses. This mixed methods design included a between-subjects experimental design tested whether photos (from conflicts in Afghanistan and the Democratic Republic of Congo) with a human-cost-of-war visual frame had significantly different effects on participants' levels of empathy, compassion, personal distress, other-oriented distress, and information seeking than pictures with a militarism visual frame. A second study used series of focus group discussions, to investigate how media consumers make meaning out of images of conflict. The findings expand our understanding about the way audiences react to conflict photos, and they have implications for how photo editors might present audiences with images of war that will engage audiences.
Temple University--Theses
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Bellettiere, Giovanna Marie. « AMERICAN FEMINISM : THE CAMERA WORK OF ALICE AUSTEN, ALFRED STIEGLITZ, AND BERENICE ABBOTT ». Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/578947.
Texte intégralRésumé :
Art HistoryM.A.
This thesis explores the work of photographers: Alice Austen, Alfred Stieglitz, and Berenice Abbott in relation to the American landscape of New York from approximately 1880 through 1940. Although the artwork of Georgia O’Keeffe is not addressed specifically, her role as an artist communicating her modern self image through Stieglitz’s photography is one area of focus in the second chapter. Previous scholarship has drawn parallels between women artists and photographers solely in terms related to their gender identity. In contrast, my project identifies a common theoretical thread that links the work of these artists: namely, that photography allowed professional women of this time to react and rise above the constrictions of gender expectations, and moreover, how their own attitudes based in feminist sensibility enabled them to fashion and broadcast bold, liberated self-images. Inspired by the radical transformations of women’s social roles in the United States, each artist produced photographs that represented the evolving role of women in the late nineteenth and early twentieth centuries. Using visual analysis and historical context associated with the “New Woman” movement, I argue that each artist discussed in this thesis not only challenges the domestic sphere conventionally assigned to women photographers, but also makes new strides by engaging in work that allows for them to autonomously travel within their own territories or new expansive locations. This thesis gives fresh insight as to how photography provided novel opportunities for elevating women’s place in society, as well as in the artistic realm. Overall, photography was an important tool for each artist as these three women act as agents of change by demonstrating a control of womanhood while the role of a female was beginning to become less constrained by the domestic and social norms of society.
Temple University--Theses
18
Joseph, Caberbe. « DEEP WITHIN ». Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2794.
Texte intégralRésumé :
As a contemporary photographer, I focus most on light and color to bring out the uniqueness of my images. Photography is about lighting and I manipulate lights to raise questions in my viewers. Manipulating light is my way of being curious about how it may change mood physically and emotionally. Inspired by classical paintings, I have developed a body of photographs that can be admired by anyone. Although the main focus of my work is light and color, this body of work is also intended to empower those with little confidence in themselves and those who have been rejected, abused, or mistrusted.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
19
O'Malley, Jennifer. « Life Support : Sustaining a Personal Aesthetic ». Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/785.
Texte intégralRésumé :
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfBachelors
Arts and Sciences
Fine Art
20
Bowles, Laurian Rebekah. « WIDENING THE LENS : EMBODIMENTS OF GENDER, WORK AND MIGRATION WITH MARKET WOMEN IN GHANA ». Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/114250.
Texte intégralRésumé :
AnthropologyPh.D.
Women have legendary roles as traders who financially dominate the sale of various market goods in West Africa. Head porters are young women from Ghana's rural northern region who work as human transporters in the various markets in urban areas throughout the country. Kayayei (female head porters) who work at these famed markets are the focus of this dissertation. The north of Ghana is the agricultural breadbasket of the country, with strong Islamic influences that thrive in dispersed, mostly rural ethnic enclaves. This contrasts sharply with the service manufacturing and trade economies that mark Christian influenced southern Ghana. As young women migrants arrive in Accra, this dissertation focuses on narratives of head porters as they confront the multi-ethnic, hierarchical social climates of the city, particularly Accra's largest shopping venue, Makola Market. This dissertation uses theories in phenomenology, informed by feminist anthropology, to consider the political economy of Ghana in order to examine how head porter's lives are grounded with the development history and the spread of capitalism in the nation-state. Throughout this dissertation, attention is given to the widespread informalization of the economy in the nation-state and the role of head porters in these processes. Using a methodology of collaborative photography with kayayei, this dissertation examines the politics of visibility and analyzes the kinds of skills these women develop in order to survive and negotiate the socio-economic hierarchies of urban space. By situating the theoretical and methodological concerns of this research within the social realities of rural-urban migrants, this dissertation explores migration as a sensibility that acts upon various social terrains at markets in Accra, Ghana.
Temple University--Theses
21
Comparetto, Heather. « The Bed as Object and Metaphor ». Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5170.
Texte intégralRésumé :
This series of work explores the nature of the bed as object and metaphor. The bed is an object where an action, such as thinking and laying awake takes place. In a metaphorical sense, the bed in my work represents moods and emotions that are psychologically tied to the bed. In this body of work I explore the relationship between the person and the bed. The bed represents not only an intimate space, but also a hiding place of retreat and self-imposed alienation. This series pulls from personal experience, influences such as Alison Brady and Sophie Callie, and select films that focus on the problems, issues, and decisions of the human condition. In my work I bring together formal qualities and conceptual content to create juxtaposition between beauty and mood. I am interested in visual poetry and formalism in photographs. Throughout all the photographic work I have created, I focus on using existing light and composing an image intuitively.ID: 031001562; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed August 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 32).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
22
Nienass, Sherri. « The Fabricated Shopping Experience : An Impersonal Impression on Consumerism ». Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5356.
Texte intégralRésumé :
I have a compulsion to document my surroundings. I do this in all forms possible; through a picture text-message, a point-and-shoot camera, or through a high end camera. Like most women in contemporary society, I feel an expectation to be gorgeous. While I do not feel this pressure directly from my boyfriend or close friends, I am constantly surrounded by advertisements for beauty products enforcing the importance of being attractive. My current occupation as a cosmetic counter makeup artist relies on convincing women to enhance their appearance. I am fascinated by how easily I can persuade clients to purchase unnecessary products. My art is both a celebration and commentary on the beauty industry and contemporary consumerism. My approach to this series is varied and complex. The individuals photographed are unaware of their participation in the creation of my work. I do not intend to exploit the subjects or places that I photograph, rather my work comes from a very natural understanding of this environment based on several years working in a major department store. I attempt to attach multiple emotions of — empathy, humor, and sometimes sympathy — to the moments I capture. My work is not fabricated or recreated, — it is documentary. I am aware of the times I live in, and the people that inhabit these times and places. Once documented, the captured moments in time can be reflected on from a multitude of perspectives at a later place and time. Because I also contribute to the general shopping and grooming experience, the details of these images come from a trained eye and attentive approach. I have chosen to write this thesis in an auto-biographical narrative because I play many roles. I am the retail specialist, the artist, the photographer, and the consumer.ID: 031001429; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Carla Poindexter.; Title from PDF title page (viewed June 24, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 53-54).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
23
Wampler, Carson A. « Ideas of space ». Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1051.
Texte intégralRésumé :
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Art
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Beltramim, Fabiana Marcelli da Silva. « Entre o estúdio e a rua : a trajetória de Vincenzo Pastore, fotógrafo do cotidiano ». Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-06102015-163400/.
Texte intégralRésumé :
Esta pesquisa segue a trajetória do fotógrafo italiano Vincenzo Pastore, que atuou em São Paulo entre os anos de 1899 e 1918. Se Pastore, por um lado, viveu produzindo retratos comerciais em estúdio, por outro, a sua produção mais emblemática foi a série de fotos realizadas nas ruas e nos arredores da capital paulista. O percurso trilhado por Vincenzo Pastore se entrelaçou nesta análise com o de suas imagens, numa investigação voltada para os processos sociais que constituíram as duas trajetórias: a do fotógrafo e a de suas fotos. Este estudo tentou compreender duas questões principais. A partir de um ponto de vista histórico, documentamos a prática e a vivência de Pastore como um fotógrafo retratista de notável inclinação para o foto-pictorialismo. Observamos o percurso de Pastore no métier do retrato em São Paulo, mas também em Potenza e Bari, cidades italianas onde o fotógrafo atuou. A pesquisa realizada também nos acervos e arquivos na região da Puglia e da Basilicata, proporcionou uma abordagem histórica que delineou os muitos desafios dos retratistas italianos que buscavam incessantemente condições mais favoráveis para sobreviver da produção de retratos ao sul da Itália, forçados, muitas vezes, a vivenciarem a experiência da imigração. Documentamos mais profundamente, o processo de agenciamento sobre as imagens produzidas nas ruas da cidade de São Paulo, entre os anos de 1908 e 1914, mas submetidas a um circuito de apropriação e circulação somente após 1996, depois da doação feita ao Instituto Moreira Salles pelos descendentes do fotógrafo.This research follows the trajectory of Italian photographer Vincenzo Pastore, who lived in São Paulo between 1899 and 1918. If Pastore, on the one hand, produced commercial portraits in studio during his life, on the other, his most emblematic production was the series of photographs taken on the streets and surroundings of São Paulo\'s capital. The path trodden by Vincenzo Pastore entwines with that of his images in this analysis, in a research focused on the social processes that built both paths: that of the photographer and of his pictures. This study tried to understand two main issues. From a historical point of view, we document the practice and the experience of Pastore as a portrait photographer of remarkable penchant for photo-pictorialism. We followed Pastore\'s path not only in the métier of the portrait in São Paulo, but also in Potenza and Bari, Italian cities where the photographer worked. The research, also carried out on the collections and archives in the region of Puglia and Basilicata, provided a historical approach, which outlined the many challenges of Italian portrait painters, who were constantly searching for more favorable conditions to live by the production of portraits in south of Italy, often forced to undergo the experience of migration. We documented more deeply the agency process on the images produced on the streets of São Paulo, between 1908 and 1914, but that entered an appropriation and circulation circuit only after 1996, when the photographers descendant\'s donated the photos to the Moreira Salles Institute.
25
Martins, Thaís Menna Barreto. « A fotografia de Luiz Arthur Ubatuba de Faria : o olhar de um urbanista ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170059.
Texte intégralRésumé :
Este trabalho de pesquisa investiga o uso da fotografia como ferramenta de trabalho para o urbanismo a partir da análise de um estudo de caso: a atuação do urbanista e fotógrafo gaúcho Luiz Arthur Ubatuba de Faria (1908-1954), cuja relevância de sua atuação profissional em muito contribuiu para a constituição e consolidação do urbanismo no Rio Grande do Sul como campo profissional, e, de maneira pioneira fez uso sistemático da fotografia em seus trabalhos de urbanismo. Como “recorte serial”, foi estabelecida a série documental do conjunto iconográfico que conforma o Acervo Fotográfico de Luiz Arthur Ubatuba de Faria – Acervo LAUF. Foram analisados grupos de imagens que, através de suas narrativas, puderam contribuir com o seguinte questionamento de pesquisa: de que maneiras Luiz Arthur Ubatuba de Faria fez uso da fotografia como instrumento de trabalho para seu métier de urbanista no Rio Grande do Sul no período de 1926 a 1954? A partir de uma abordagem historiográfica a pesquisa assume como aporte teórico estruturador a indissociabilidade da tríade sujeito (fotógrafo), tecnologia (equipamento) e assunto (tema abordado) descrita por Kossoy. Nortearam a investigação as hipóteses de que Ubatuba de Faria tivesse feito uso de sua técnica de fotografar para o desempenho de seu trabalho enquanto urbanista, e da possibilidade de toda a produção fotográfica de Ubatuba de Faria tivesse contribuído de forma direta ou indireta para sua produção como urbanista. Ainda, considerou-se que o exercício de fotografar pudesse ter aguçado sua leitura do espaço urbano e das relações sociais inerentes ao urbanismo e que esta leitura realizada através de suas lentes, tenha, inclusive, contribuído na construção de seu entendimento do urbano e das questões relacionadas ao urbanismo em um processo de retroalimentação. O método contemplou duas dimensões de aproximação: uma dimensão laboratorial e uma dimensão analítica/ classificatória. A primeira abordou o conjunto de procedimentos técnicos que promoveu a salvaguarda do acervo. A segunda desenvolveu um quadro analítico constituído pela articulação das estratégias de análise de conteúdo e semiótica de imagens, através de uma abordagem qualitativa. Foram objetivos da pesquisa contribuir para o conhecimento do trabalho e da trajetória de Luiz Arthur Ubatuba de Faria enquanto urbanista com ênfase na sua produção fotográfica, bem como identificar as formas de uso da fotografia como ferramenta de trabalho para o urbanismo praticadas pelo urbanista. Por fim, objetivou-se dar visibilidade ao vasto acervo fotográfico identificado, visto que o trabalho de pesquisa empreendido apresenta e investiga um acervo inédito, com significativo valor documental e artístico.This research investigates the use of photography as a work tool for urbanism from the analysis of a case study: the performance of the Gaucho urbanist and photographer Luiz Arthur Ubatuba de Faria (1908-1954). The relevance of his professional activity contributed greatly to the constitution and consolidation of urbanism in Rio Grande do Sul as a professional field, and he, in a pioneering way, made a systematic use of photography in his endeavors of urbanism. As a "serial clipping", the documental series of the iconographic set that constitutes the Photographic Collection of Luiz Arthur Ubatuba de Faria (LAUF Collection) was established. Groups of images were analyzed, who, through their narratives, could contribute to the following research inquiry: in what ways Luiz Arthur Ubatuba de Faria made use of photography as a working tool for his urbanist métier in Rio Grande do Sul in the period of 1926 to 1954? From a historiographical approach, the research assumes as a theoretical and structuring contribution the indissociability of the triad: entity (photographer), technology (equipment) and subject (subject matter) described by Kossoy. The investigation was based on the hypotheses that Ubatuba de Faria made use of his photographic technique for the performance of his work as an urbanist, and the possibility of all his photographic production to have contributed directly or indirectly to his production as a city planner. In addition, it was considered that the exercise of photographing could have sharpened his reading of the urban space and of the social relations inherent to urbanism, and that this reading realized through his lenses could have contributed to the construction of his urban understanding and of the issues related to urbanism in a feedback process. The method contemplates two dimensions of approach: a laboratorial dimension and an analytical/classificatory one. The first dealt with the set of technical procedures which promoted the safeguarding of the collection. The second one developed an analytical framework constituted by the articulation of the strategies of content analysis and semiotics of images, through a qualitative approach. The objectives of the research were to contribute to the knowledge of the work and of the trajectory of Luiz Arthur Ubatuba de Faria as an urbanist with an emphasis on his photographic production, as well as to identify his ways of using photography as a work tool for urbanism. Finally, it was aimed to give visibility to the vast photographic collection identified, as the research undertaken presents and investigates an unpublished collection, with significant documental and artistic value.
26
Klicnarová, Dita. « Sběratel krystalů ». Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232385.
Texte intégralRésumé :
This dissertation entitled Crystals Collector is concerned with the phenomenon of collecting, and more specifically with crystals as objectes in an imaginary collection. The objects are selected based on a personal fascination of the author. However, the collection always has, similarly as a crystal, a predetermined internal structure. The meaning of individual parts only become apparent when they are viewed as a whole. The main artefacts of the collection are paintings on canvas - with the painting becoming a similar 'fetish' as a collected crystal. Mineral it the key artefact and as such it is subjected to deeper examination (experiments with growth of crystals, studies of crystals, artefacts having a close relationship to crystals...).
27
Kramer, Alice. « DIMENSIONS OF IDENTITY ». Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2896.
Texte intégralRésumé :
Imagination and fantasy environments created by writers and artists have always drawn people into their worlds. Advances in technology have blurred the lines between reality and imagination. My interest has always been to question the validity of these worlds and their cultures and to transcend the evolving virtual dimension by fusing it with what we perceive to be reality.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
28
Leedy, Alison J. « Interpretations of the Politics of Fictive Landscapes in Context : A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series ». Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197472.
Texte intégralRésumé :
Art HistoryM.A.
Interpretations of the Politics of Fictive Landscapes in Context: A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series Throughout this thesis project I examine the geopolitical context(s) of the photographs featured in Martha Rosler's 'In the Place of the Public Airport Series' (1983) and Allan Sekula's series, 'Sketch on a Geography Lesson' (1982). I investigate the manner in which they question the legitimacy of the genre of documentary photography within the post-modern age by emphasizing the documentation of an actual physical place, presenting an alternative to the post-modern notion of photograph merely as another component of simulacra, or the intentional creation of an image without meaning or origin. By looking at photographs that Rosler and Sekula made during the burgeoning stages of post-modern theory, presents a broader interpretation of the development of Marxist documentary photography from the early 1980's to today. One way in which I dialogue with the discourse surrounding documentary photography in the 1980's is to focus on Rosler's and Sekula's intentional choice of material that emphasizes the political dialogue rather than concepts that are abstract and maintain no reference to real life. Furthermore, the period of the 1980's is considered a point in contemporary art history when the political fervor of the 1960's and early 1970's diminished greatly. Departing from this trend, Rosler's and Sekula's work continues to address political ideas throughout the 1980's, creating a bridge to today's photographers, such as Edward Burtynsky and Andreas Gursky who consider aesthetics from a socio-political perspective.
Temple University--Theses
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Mendes, Menezes Lucas. « Images voyageuses : photographie amateur brésilienne dans la collection de la Société française de photographie ». Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H080.
Texte intégralRésumé :
La collection de photographies brésiliennes de la Société française de photographie (SFP) est composée de 150 photographies, produites entre les années 1940 et 1950 par des photographes amateurs, formellement associés à des photo-clubs au Brésil. Au-delà des appartenances esthétiques, géographiques et institutionnelles, ces images peuvent, d’abord, être divisées en deux groupes différents : celles envoyées pour la participation au Salon International d’Art Photographique en 1951 et celles exhibées en février 1960, dans le cadre d’une exposition sur la photographie brésilienne, organisée à Galerie Montalembert, espace soutenu par la SFP. L’enquête autour de collection brésilienne va impliquer l’articulation des différents parcours d’analyse. La première correspond au processus de création et d'articulation des premiers photoclubs du pays, en passant par l'organisation de la première foire nationale et la création d'un réseau entre différentes entités. Concernant la notion de photographe amateur retenue comme référence, le point de départ est le binôme "dévots" et "déviants" proposé par Pierre Bourdieu. Le deuxième parcours aborde la question de la vocation internationale, caractéristique chère aux premières institutions de ce type et qui reste un élément fondamental au milieu du XXe siècle. La principale manifestation publique du monde l’art photographique amateur concerne les salons. Les principes qui relient des différents groups de photographes amateurs se voient réfléchis dans l’organisation de ces évènements fondés par l’échange, grâce à une intense circulation d’images, mais aussi par la reconnaissance éphémère. Pour le troisième chapitre, l'échelle de l'analyse est modifiée, passant de grands événements avec des centaines d'exposants à la lecture d'images de la collection en spécifique. C'est le moment où il sera possible de mettre en évidence les principaux produits du processus de circulation et d'appropriation qu'implique l'insertion dans le monde de l'art photographique amateur. Le quatrième chapitre se concentre principalement sur l'analyse de la production des photographes présents dans les deux séries (1951 et 1960). L'intention est d'identifier les changements et les permanences, en cherchant à les relier à d'autres aspects qui ont influencé la production au cours de cette périodeThe Brazilian photography collection of the Société française de photographie (SFP) consists of 150 photographs, produced between 1940 and 1950 by amateur photographers, formally associated with photo clubs in Brazil. Beyond aesthetic, geographical and institutional affiliations, these images can be divided into two different groups: those sent for participation in the International Salon of Photographic Art in 1951 and those exhibited in February 1960, as part of an exhibition on Brazilian photography, organized at Galerie Montalembert, supported by the SFP. The investigation around the Brazilian collection will involve the articulation of the different analytical paths. The first one corresponds to the process of creating and articulating the first photoclubs in the country, including the organization of the first national fair and the creation of a network between different entities. Concerning the notion of amateur photographer as a reference, the starting point is the "devout" and "deviant" duo proposed by Pierre Bourdieu. The second route addresses the question of the international vocation, a characteristic dear to the first institutions of this type and which remained a fundamental element in the middle of the 20th century. The main public event in the world of amateur photographic art is the fairs. The principles that link different groups of amateur photographers are reflected in the organization of these events based on exchange, thanks to an intense circulation of images, but also by ephemeral recognition. For the third chapter, the scale of the analysis is modified, moving from large events with hundreds of exhibitors to reading images from the specific collection. This is the moment when it will be possible to highlight the main products of the circulation and appropriation process involved in the insertion of amateur photographic art into the world. The fourth chapter focuses mainly on the analysis of the production of the photographers present in the two series (1951 and 1960). The intention is to identify changes and permanencies, seeking to link them to other aspects that have influenced production during this period
30
Nuss, Patricia Lois. « The individual behind the image female idols in their various forms ». Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4997.
Texte intégralRésumé :
The research investigated the artistic and photographic processes corresponding with two studies motivated by the artist's personal history and focused on the role, affect, and history of various female idols represented in art, religion, and modern American popular media. The first part of the study documented female models as they were simultaneously asked by the artist to think of a range of personal but nonspecific moments from her life, the women were asked not to share their thoughts, only the moment spent thinking, with the artist. The second part of the study documented aspiring models as they awoke during sunrise in the nightwear they slept in. This study incorporated landscapes near the models home. A similar notion is exemplified between the two studies as the models are asked to procure an intimacy with the photographer and in consequence with the viewer. The written part of the study gathered information regarding the female idols presence in a variety of cultures and eras, which transitioned to question the female idols current role in western culture. Findings showed that all idols stress an approved appearance, behavior and morality; furthermore research shows that the modern female idol stresses an importance on appearance more than any other factor. The research continued by breaking down the importance of a viewer-subject relationship in iconography and other artworks. A focus was made on what factors might create this viewer-subject relationship, and furthermore what do the subtleties of the subject tell the viewer. Reference of the artist's memories of an inconsistent female role model in her own life combined with the idols that were constantly solicited by the media resulted in this investigation. A positive relationship was found between the photographic process and the study of models in personal moments.ID: 029809280; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 37-39).
M.F.A.
Masters
Visual Art and Design
Arts and Humanities
Studio Art and the Computer
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Jones, Danielle. « Perceptions of Cuteness and Beauty ». Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4160.
Texte intégralRésumé :
Upbringing and psychological make-up inspire individual norms for beauty and cuteness. The mannerist approach in my work is a product of the figural liberties found in cartooning, illustration and art history. By altering facial and bodily features, I relate the proportions of an infant to cuteness and innocence. However, I tailor the photographs to empower the subjects all the while mirroring trends in contemporary pop culture. I'm interested in themes of everyday life, vitality and emotion placed in obscure, imaginary or exaggerated venues. I fictionalize subjects of my reality to compel viewers to identify with and fancy emotions, circumstances, moods and relationships. The intent is to amplify, yet be truer to their existence and idiosyncrasies through figural adaptations.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
32
Reynolds, Patrisha. « Temporal trends in grave marker attributes an analysis of headstones in Florida ». Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/607.
Texte intégralRésumé :
Grave markers reflect a wealth of information and collectively epitomize society's historic, social, and economic patterns over time. Despite an abundance of cemetery research in other parts of the country, little research has been undertaken to evaluate grave marker attributes in Florida. The purpose of this research was to determine how grave marker attributes have changed over time in north-central, central, and southeast Florida. Data were collected from ten cemeteries in five counties in Florida, representing the grave markers of over 1,100 individuals. Data collection involved visiting each cemetery, photographing markers, and cataloging grave marker attributes. Attributes analyzed included marker type, marker material, epitaphs, iconographic images, memorial photographs, footstones, and kerbs. A number of important trends were noted. Marker material exhibited the clearest example of a temporal trend, shifting over time from 73% marble to 73% granite. Marker type varied greatly from upright and flat ground markers to a variety of customized markers and vaults. Cultural differences were also noted with in-ground vaults dominating traditionally black cemeteries. There were clear differences in marker style between affluent and less affluent cemeteries, with numerous hand-cast cement markers observed in less prosperous areas. Furthermore, beginning in the early 1980's there is an increase in customized laser engraved markers. Overall, Florida's cemeteries offer a rich history of the state's mortuary practices and further research should be conducted to preserve this history.B.S.
Bachelors
Sciences
Anthropology
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Eldridge, Jeremy. « Investigation of The Home, a Metaphor for Belonging ». Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5630.
Texte intégralRésumé :
The written portion of this investigation gathers materials and information that deals with the conception of the family unit and the house that is literally, and metaphorically, utilized in the notion of home. This focus on the structure as a metaphor for home has further reaching implications than the structure itself. Findings show that a Western view of community and belonging is rooted in a place of stability in one's community. The basis for personal growth within that community has a direct impact on an individual's development in it. (Goldburgh, 67) The fractured nature of my experience and emotions tied with the notions of home, are expressed through both A Home Divided and the Chez Moi series photographic series. Within this investigation there are references to the artist's memories and experiences that are in contrast and discord with the traditional concept of acceptance and belonging.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
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Nabozny, Andrea Rita da Silva. « A composição da paisagem urbana de Ponta Grossa-PR nas fotografias do acervo Foto Elite ». Universidade Estadual de Ponta Grossa, 2018. http://tede2.uepg.br/jspui/handle/prefix/2688.
Texte intégralRésumé :
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Esta dissertação aborda a composição da paisagem urbana de Ponta Grossa por meio da iconografia de Domingos Silva Souza. Desta maneira, objetiva-se investigar as transformações e as permanências dos elementos urbanos significativos para a população ponta-grossense como marcas que caracterizam a paisagem. O contexto desta discussão é baseado pelas narrativas dos seguidores do perfil Foto Elite na rede social Facebook, em relação à visualidade da cidade por meio da divulgação das fotografias produzidas pela empresa fotográfica Foto Elite, no decorrer dos 64 anos de sua existência. Também, o estudo aponta métodos de análise para a exploração científica das relações entre paisagem e fotografia. A metodologia fundamenta-se em trabalhos de observação da paisagem urbana, entrevistas com o fotógrafo responsável pela produção iconográfica do acervo Foto Elite, além de investigações e interpretações constituídas por meio das manifestações dos seguidores do acervo digital no Facebook. Estas observações estão associadas às interpretações de análise de conteúdo conforme Bardin (1979) e também em relação ao aspecto visível da paisagem como forma de pensamento geográfico. Como resultados salienta-se que a paisagem urbana de Ponta Grossa é compreendida como uma composição constituída por múltiplos textos provenientes da interpretação dos símbolos urbanos analisados por quatro dimensões fundamentais: o ato fotográfico de Domingos e seus percursos espaço-temporais na cidade fotografada; a disponibilidade de um conjunto imagético intencional na rede social Facebook; os possíveis sentidos „compartilhados‟, ‟comunicados‟ e „curtidos‟ pelos seguidores do „perfil Foto Elite‟ em relação ao material fotográfico disponível na internet e os recursos teórico-metodológicos utilizados para a interpretação simbólica da paisagem urbana. Resultantes das escolhas intelectuais, ancoradas nas bibliografias recentes (BESSE, 2014; COLLOT, 2013; GOMES, 2013) sobre as manifestações e representações da paisagem sob os aspectos da percepção, visão e memória de indivíduos que fazem parte desta pesquisa. A ênfase simbólica da paisagem vem ao encontro da perspectiva de identidade, na medida em que a paisagem é vista e vinculada pelos aspectos significativos atribuídos por seus sujeitos, criando uma dimensão de identidade emblemática a partir de seus imaginários. Sendo assim, nota-se que a paisagem urbana de Ponta Grossa se constituiu ao longo do tempo por meio de um processo determinado pelos desejos de seus habitantes ao reconhecimento de projeções grandiosas como fortificações de um sentimento de cosmopolitismo, que podem ser traduzidos por meio do intenso paradoxo manifestados nos desejos de progresso e nos sentimentos de nostalgia, almejando a cidade de Ponta Grossa como uma cidade protagonista da história.
This dissertation approaches the composition of the urban landscape of Ponta Grossa through the iconography of Domingos Silva Souza. Its main goal is to investigate the transformation and the permanence of urban elements that are significant to the population of Ponta Grossa as marks that characterize its landscape. The context of this discussion is based on the narratives of followers of the Foto Elite page on Facebook, regarding the city's visibility through the divulgation of photographs produced by the photography company Foto Elite over its 64 years of activity. The study also points out methods to analyze the relationship between landscape and photograph scientifically. The methodology is based on works of urban landscape monitoring and it involves interviews with the photographer responsible for the production of the Foto Elite image collection, in addition to investigations and interpretations of the followers' reactions on Facebook. These observations are related to interpretations of content analysis according to Bardin (1979) and to the visible aspect of the landscape as a form of geographical thought. As the result, we found that the urban landscape of Ponta Grossa can be comprehended as a configuration of multiple texts related to the interpretation of urban symbols, analyzed through four fundamental dimensions: the photographic act of Domingos and his journeys through space and time in the city; the availability of an intentional image collection on Facebook; the possible meanings conveyed, “shared”, and “liked” by the followers of the Foto Elite page about the photographs available online; and the theoretical-methodological resources employed in the symbolic interpretation of the urban landscape, which resulted from our intellectual choices based on recent publications (BESSE, 2014; COLLOT, 2013; GOMES, 2013) on the manifestations and representations of the landscape, considering the aspects of perception, sight and memory of individuals that took part in this research. The emphasis on the symbolism of the landscape meets the perspective of identity, in the degree that the landscape is seen and linked to significant aspects attributed by its subjects, creating a dimension of emblematic identity based on their ideals. Thus, we observed that the urban landscape of Ponta Grossa was constructed over time in a process determined by the wishes of its inhabitants, recognizing grandiose projections as a way to strengthen a feeling of cosmopolitanism, while manifesting an intense paradox regarding the desire for progress and the feelings of nostalgia, aiming to have the city of Ponta Grossa as a protagonist in history.
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Garcia, Camila Lopes. « Coleções de imagens flutuantes : álbuns fotográficos digitais on-line ». Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/4229.
Texte intégralRésumé :
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Previous issue date: 2010-10-18Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The research Collections of floating images: digital online photo albums analyzes the photo collections in the passage of the secondary media to the tertiary media, that is, the transition of the traditional photo album to the digital online photo album put in the social network services, such as Orkut, Facebook and Flickr. The transformations on the amateur photographic habits are analyzed, concerning the filing logic and its social function, due to the technological substitution and the individualization of the machine that produces images. To do so, based on historical and theoretical perspectives, the image is taken in relation to death from the rupestrian paintings to the techno-images, part of Ivan Bystrina s, Edgard Morin s, Régis Debray s and Hans Belting s studies and the sharing of private life photo albums in digital environment, sustained on Vilém Flusser s concepts of no thing , greed and cosmic brain , Norval Baitello s iconography, Dietmar Kamper s visibility crisis , Eugênio Trivinho s ideia of real time existence and Jean Baudrillard s concept of simulacrum . Three digital online photo albums were analyzed, which made possible the identification of two different analyses categories of photo collections on the internet: the ones that give real existence to the network member s profile and the ones that contribute to a common world mapping, due to the use of a search model, or information recovery, by folksonomy tags
A pesquisa "Coleções de imagens flutuantes: álbuns fotográficos digitais on-line" analisa o colecionismo fotográfico na passagem da mídia secundária para a mídia terciária, isto é, na transição do álbum de fotos tradicional para o álbum de fotos digital on-line alocado em redes sociais como o Orkut, o Facebook e o Flickr. São estudadas as transformações ocorridas no hábito fotográfico amador, no que tange à lógica de arquivo e sua função social, em virtude da substituição tecnológica e da individualização do aparelho produtor de imagens. Para tanto, a partir das perspectivas históricas e teóricas, pensa-se a imagem e sua relação com a morte - desde as pinturas rupestres às tecno-imagens, presente nos estudos de Ivan Bystrina, Edgard Morin, Régis Debray e Hans Belting - e o compartilhamento dos álbuns de fotos da vida privada em ambiente digital, apoiando-se nos conceitos de não coisa , gula e cérebro cósmico de Vilém Flusser, na iconofagia de Norval Baitello, na crise da visibilidade de Dietmar Kamper e na ideia de existência em tempo real e simulacro de Eugênio Trivinho e Jean Baudrillard, respectivamente. Três álbuns de fotos digitais on-line foram analisados, o que possibilitou a identificação de duas categorias diferentes de colecionismo fotográfico na internet: os que conferem existência real ao perfil do integrante da rede e os que contribuem para um mapeamento coletivo do mundo, em função da utilização de um modelo de busca, ou recuperação das informações, por meio de tags folksonômicas
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Abelha, Sandra Isabel dos Santos. « Baú da memória : coleção Pereira & ; Próstes (1886-1888) e coleção Lopes Fragoso (1868-1930) do Arquivo Fotográfico da Câmara Municipal de Évora (1839-1930) ». Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/17547.
Texte intégralRésumé :
No presente Relatório de Estágio, a arte fotográfica foi objeto de estudo tendo
como base uma metodologia que identifica os principais atores da produção fotográfica
em Portugal e as suas ligações com outros fotógrafos. Assim, foi elaborada uma
proposta de valorização patrimonial de duas coleções fotográficas – LFR (1868 – 1930)
e PEP (1886 – 1888) -, cujo conteúdo visual nos permite preservar uma memória
coletiva e identitária.
O AF-CME enquanto lugar de memória cultural é um espaço para concretizar o
projeto de valorização das coleções fotográficas nunca antes estudadas a nível
patrimonial e histórico. A coleção LFR permite explorar a fotografia de retrato e a
coleção PEP permite identificar os monumentos da cidade de Évora.
Duas coleções que pertencem ao baú da memória do AF-CME e que abrem
caminhos a novas investigações acerca do património documental fotográfico, tendo
como balizas cronológicas, a divulgação oficial do primeiro processo fotográfico (1839)
e a última fotografia da coleção LFR (1930); Abstract:
Memory ark: Collection Pereira & Próstes [1886 - 1888] and Collection Lopes
Fragoso [1868 - 1930] of the Photographic Archive of the Municipality of Évora
(1839 - 1930)
In the present Internship Report, the photographic art was a study object through
a methodology that identifies the key actors of the photographic production in Portugal
and its links with other photographers. This allowed conducting a heritage valuation
proposal of two photographic collections - LFR (1868 - 1930) and PEP (1886-1888) -
whose visual content allows one to preserve a collective memory and identity.
The AF-CME, as a cultural memory space, it allows the valuation project of
photographic collections which until now have never been studied before at the heritage
and historical level. The LFR collection allows one to explore the portrait photographytype
while the PEP collection assists in the identification of Évora’s monuments.
These are two collections that belong to the AF-CME memory ark and open new
perspectives to further investigations on photographic documentary heritage. The
chronological boundaries are the official publication of the first photographic process
(1839) and the last shot of LFR collection (1930).
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Almeida, Carla Maria de. « Abram as portas da ciência para os mestres e as mestras passarem : a ressignificação da Jurema no Acervo José Simeão Leal ». Universidade Federal da Paraíba, 2017. http://tede.biblioteca.ufpb.br:8080/handle/tede/9714.
Texte intégralRésumé :
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work aims to understand how the information contained in the documents which constitutes the José Simeão Leal Collection contributes to the construction of the Jurema memories in the state of Paraíba. In assuming, in the 1940’s, the position in the Administrative Department of Public Service of the state of Paraíba, the doctor and intellectual José Simeão Leal José has focused in researching and registering the manifestations of popular culture of his state. In the midst of this study, informations were collected on the Jurema, Afro-Indian religiosity. The collected documents are in the form of photographs, a drawing, typewritten and manuscripts. Also, there are correspondences received by researchers on the subject, such as Roger Bastide. The documentation is in the José Simeão Leal Collection, located, since 2009, in the Núcleo de Documentação e Informação Histórico Regional. The collection constitutes both a space of memory of José Simeão Leal himself and of the people and practices that have had contact with him and left traces in his life, such as the religious and rituals of Jurema recorded in his research. We understand the importance of the sources for the construction of the memorialistic narrative of the religious / Afro-indigenous in Paraíba taking as theoretical-methodological foundation the studies inserted in the field of social sciences, specifically Information Science, which deal with social memory, Culture, identity, and documents used as memory mediums (ASSMANN, 2011), in addition to research on religion. The methodological assumptions are based on documentary analysis (ARÓSTEGUI, 2006) and, since the image, especially photography, constitutes the main document of the study, the resources of semiotics (SANTAELLA and NÖTH, 1997) directed the analysis of this documentary type. The documents about Jurema in the personal archive reveal the ethnographic methodology of the research of José Simeão Leal, as well as the complexity and richness of this religiosity, with a diversity of ritual, ornamentation, entities, objects, musicalities and spaces.
O presente trabalho tem como objetivo compreender como as informações constantes dos documentos que constituem o Acervo José Simeão Leal contribuem para a construção das memórias da Jurema no estado da Paraíba. Ao assumir, na década de 1940, o cargo no Departamento Administrativo de Serviço Público do estado da Paraíba, o médico e intelectual paraibano José Simeão Leal se debruçou em pesquisar e registrar as manifestações de cultura popular de seu estado. Em meio a esse estudo, foram levantadas informações sobre a Jurema, religiosidade afro-indígena. Os documentos levantados encontram–se em forma de fotografias, desenho, datilografados e manuscritos. Também, constam correspondências recebidas pelos pesquisadores sobre o tema, como Roger Bastide. A documentação consta no Acervo José Simeão Leal, situado, desde 2009, no Núcleo de Documentação e Informação Histórico Regional. O acervo se constitui tanto como um espaço de memória do próprio José Simeão Leal, quanto das pessoas e práticas que tiveram contato e deixaram resquícios em sua vida, como os/as religiosos/as e rituais de Jurema registrados em sua pesquisa. Compreendemos a importância das fontes para a construção da narrativa memorialística dos/das religiosos/das afro-indígenas na Paraíba tomando como fundamentação teórico-metodológica os estudos inseridos no campo das ciências sociais, especificamente da Ciência da Informação, que versam sobre a memória social, cultura, identidade e sobre os documentos utilizados enquanto médiuns de memória (ASSMANN, 2011), somado às pesquisas sobre a religião. Os pressupostos metodológicos partem da análise documental (ARÓSTEGUI, 2006) e, tendo em vista que a imagem, especialmente a fotografia, se constitui documento principal do estudo, os recursos da semiótica (SANTAELLA; NÖTH, 1997) direcionaram a análise desse tipo documental. Os documentos sobre a Jurema constantes no arquivo pessoal revelam a metodologia etnográfica da pesquisa de José Simeão Leal, bem como, a complexidade e riqueza dessa religiosidade, com diversidade de ritual, de ornamentação, de entidades, de objetos, de musicalidades e de espaços.
38
Edge, Sarah-Jane. « Photography and identities : a case study and related photographic practice : an investigation into the role of early photographic representations of working-class women from London (1860-1865) as represented in the photographic collection of Arthur J. Mu ». Thesis, University of Ulster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428807.
Texte intégral
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Carvalho, Fontes Larissa Yelena. « Anthropologie d'un musée silencieux : la Collection Persévérance et les enjeux de mémoire autour du "xangô alagoano" (Maceió - Brésil) ». Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2071.
Texte intégralRésumé :
La présente thèse a comme objet central la Collection Persévérance, un ensemble d’objets qui ont été volés des maisons de culte afro-brésilien à Maceió, capitale de l’État d’Alagoas, au Nord-est du Brésil. Le pillage de ces objets s’est produit dans un épisode de répression politique-religieuse survenu en 1912 et connu comme Quebra de Xangô. Cette Collection est abritée par le Musée de l’Institut Historique et Géographique d’Alagoas et depuis son pillage, elle n’a pas été objet d’études scientifiques. Ainsi, cette recherche a essayé de combler les lacunes existantes sur le sujet, en traçant son parcours jusqu’à présent et en démontrant les grandes transformations vécues par le culte du xangô alagoano, à la fois au niveau liturgique et rituel. Pour la production de l’inventaire de la Collection Persévérance, un travail d’investigation a été mené pour essayer de trouver les usages originaux et référencer dûment les pièces. Cette investigation a été réalisée avec la participation de la communauté religieuse afro-brésilienne, en privilégiant leur savoir traditionnel, leur mythologie et leur système cosmologique pour découvrir et construire la biographie de ces objets. De cette manière, le xangô alagoano est ici présenté, en retraçant ses particularités, fruit de mes dix ans d’expérience de terrainThe central object of this thesis is the “Persévérance” Collection, a group of pieces that were stolen from Afro-Brazilian houses of worship in Maceió, capital of the state of Alagoas, in the northeast of Brazil. The pillaging of these objects occurred in an episode of political-religious repression in 1912, known as Quebra de Xangô. This Collection is exposed by the Museum of the Historical and Geographical Institute of Alagoas and since its pillage it has not been subject of any scientific studies. In this way, this research has tried to fill the existing gaps on the subject, tracing its path so far and demonstrating the great transformations experienced by the worship of xangô alagoano, both at the liturgical and ritual levels. For the production of those objects inventory an investigation was carried out to try to find the original uses and toproperly reference the pieces. This investigation was produced with the participation of the Afro-Brazilian religious community, focusing on their traditional knowledge, mythology and cosmological system to discover and construct the biography of those objects. Therefore, the xangô alagoano is presented here, tracing its peculiarities, fruit of my ten years of field experience
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Carroll, Rowan Amber. « The acquisition of the Partington Collection by Whanganui Regional Museum : valuing relationships in museum policy & ; practice : a thesis presented in partial fulfilment of requirements for the degree of Master of Arts in Museum Studies at Massey University, Palmerston North, Aotearoa ». Massey University, 2008. http://hdl.handle.net/10179/881.
Texte intégralRésumé :
The purpose of this thesis is to underline the importance of developing useful and mutually beneficial relationships between local iwi and museums, and to consider the subsequent implications for museum practice. The thesis assembles a variety of contemporary sources in order to document and construct a chronological narrative of events: minutes and communications; interviews with staff and key participants in the process of acquiring the Partington Collection by the Whanganui Regional Museum; media reports; and a survey of recent literature. The Partington Collection of Whanganui Maori photographs is integral to this examination because of its importance to both Whanganui iwi and the Whanganui Regional Museum. The situation of colonial photography in museums has changed over the century from being viewed as a factual reflection of the cultural imperatives of indigenous peoples, to being viewed as a colonial construct consigning indigenous peoples to their past. Because this Collection is the most comprehensive photographic documentary of Whanganui Maori from the turn of last century it adds immense value to the Museum’s existing collections. However to Whanganui iwi the photographs of their ancestors are taonga tuku iho: far more than just photographic images they are demonstrably and undeniably imbued with the mana of their tupuna. The public auction in 2001 of the Partington Collection created a catalyst for action and an opportunity for Whanganui iwi and the Museum to work together to ensure the return of the photographs to Whanganui, an outcome that was finally achieved in 2002. The thesis concludes that the successful return of the Partington Collection to Whanganui could not have been possible without the long term evolving relationship between iwi and the Museum and in particular the more recent emergence of a bi-cameral governance structure. Furthermore the maintenance of relationships and communication is crucial to the evolution of museum practice. This would suggest a reversal of the traditional perspective that museum practice and procedure is pre-eminent. Instead, this case study demonstrates that relationships are at the heart of museum practice.
41
Kaschek, Bertram. « Augenmaß und Bildermasse : Christian Borcherts fotografisches Arbeitsarchiv ». Stadtmuseum Dresden, 2019. https://tud.qucosa.de/id/qucosa%3A35967.
Texte intégralRésumé :
Am 15. Juli 2000 ist der Fotograf Christian Borchert im Alter von 58 Jahren in einem See wenige Kilometer nördlich von Berlin ertrunken. So plötzlich und grausam er aus dem Leben gerissen wurde, so sorgfältig und umsichtig wurde nach seinem Tod sein Nachlass gesichert. Vor allem der Verleger und Fotograf Hansgert Lambers, Borcherts enger Freund und Vertrauter, hat sich hier verdient gemacht, indem er die Aufteilung des Nachlasses auf verschiedene Archive und Sammlungen geschickt koordiniert hat. Im Zusammenspiel mit Ulrich Domröse von der Berlinischen Galerie, Hans-Ulrich Lehmann vom Dresdner Kupferstich-Kabinett sowie vor allem Wolfgang Hesse, dem damaligen Leiter der Deutschen Fotothek Dresden, fanden Borcherts umfangreiche fotografische Hinterlassenschaften in den Monaten nach seinem Tod den Weg in Institutionen, die sich in angemessener Weise um den ihnen jeweils anvertrauten Nachlassanteil zu kümmern vermochten. Die Berlinische Galerie erhielt mit rund 4.000 Ausstellungsabzügen und Druckvorlagen zunächst jene Bilder, die nach landläufigem Verständnis Borcherts künstlerisches Vermächtnis ausmachen: darunter zahlreiche hochwertige Abzüge mit den Blattmaßen 30 x 40 cm – seit den 1980er Jahren Borcherts bevorzugtes Ausstellungsformat. Aus diesem Fundus hat sodann das Dresdner Kupferstich-Kabinett rund 900 Abzüge erworben, bei denen es sich teils um Arbeiten mit spezifischem Dresden-Bezug und teils um Dubletten handelt. Weitere Dubletten wurden von der Berlinischen Galerie auch an die Fotografische Sammlung des Kunstmuseums Moritzburg Halle/Saale abgegeben. [Aus der Einleitung.]
42
Kelly, Michael A. « Spatial association in archaeology. Development of statistical methodologies and computer techniques for spatial association of surface, lattice and point processes, applied to prehistoric evidence in North Yorkshire and to the Heslerton Romano-British site ». Thesis, University of Bradford, 1986. http://hdl.handle.net/10454/4397.
Texte intégralRésumé :
The thesis investigates the concepts of archaeological spatial
association within the context of both site and regional data sets.
The techniques of geophysical surveying, surface distribution
collection and aerial photography are described and discussed.
Several new developments of technique are presented as well as a
detailed discussion of the problems of data presentation and
analysis.
The quantitative relationships between these data sets are
explored by modelling them as operands and describing association in
terms of operators. Both local and global measures of association
are considered with a discussion as to their relative merits.
Methods for the spatial association of regional lattice and point
processes are developed. A detailed discussion of distance based
spatial analysis techniques is presented.
43
Kelly, Michael Anthony. « Spatial association in archaeology : development of statistical methodologies and computer techniques for spatial association of surface, lattice and point processes, applied to prehistoric evidence in North Yorkshire and to the Heslerton Romano-British site ». Thesis, University of Bradford, 1986. http://hdl.handle.net/10454/4397.
Texte intégralRésumé :
The thesis investigates the concepts of archaeological spatial association within the context of both site and regional data sets. The techniques of geophysical surveying, surface distribution collection and aerial photography are described and discussed. Several new developments of technique are presented as well as a detailed discussion of the problems of data presentation and analysis. The quantitative relationships between these data sets are explored by modelling them as operands and describing association in terms of operators. Both local and global measures of association are considered with a discussion as to their relative merits. Methods for the spatial association of regional lattice and point processes are developed. A detailed discussion of distance based spatial analysis techniques is presented.
44
Reiß, Robert. « Vom Umgang mit archäologischen Fundmassen : Genese und Dokumentation, Erkenntnismöglichkeiten und Erkenntnisgewinn ». Stadtmuseum Dresden, 2019. https://tud.qucosa.de/id/qucosa%3A35970.
Texte intégralRésumé :
Sprechen wir vom Archäologischen Archiv Sachsen (AAS), meinen wir damit die ungeheure, derzeit rund 22,5 Millionen (Stand: 31.12.2018) Objekte umfassende Sammlung vor- und frühgeschichtlicher Altertümer des Landesamtes für Archäologie Sachsen (LfA Sachsen). Dabei hat auch diese Sammlung einst klein angefangen. Den Grundstock legte 1802 der Großenhainer Rentamtmann Karl Benjamin Preusker (1786–1871), der Begründer der sächsischen Ur- und Frühgeschichtsforschung, in Form einer Privatsammlung. Sie fand 1853 Aufnahme in das Königliche Antikenkabinett, das bereits 1786 im Japanischen Palais eingerichtet worden war. Nachdem der Direktor des Königlich Mineralogischen Museums, Hanns Bruno Geinitz, 1874 eine Prähistorische Abteilung an seinem Hause gründen konnte und 1879 Johannes Deichmüller mit der Leitung dieser Sammlung beauftragt wurde, konnten alle prähistorischen Bestände der seinerzeitigen Königlichen Sammlungen in die Obhut des nunmehr (seit 1877) Königlich Mineralogisch-Geologischen Museums übernommen werden. [Aus der Einleitung.]
45
Malherbe, Johanna Francina. « Die rol van neentiende-eeuse fotografie in eietydse bewaring : William Roe en Graaff-Reinet ». Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95870.
Texte intégralRésumé :
Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This study aims to understand the role that 19th century photography can play in the reconstruction of an era and in the conservation of cultural heritage in the 21st century. The photo collection of William Roe, a photographer from Graaff-Reinet, is used as an example. The origin and development of Graaff-Reinet is used as background information and major events such as the Great Trek, the arrival of the railway, the Anglo-Boer War, the First World War and the Great Flu are touched upon. Aspects such as education, churches, the library and the hospital in Graaff-Reinet complement the study. An overview of the development of photography covers several early photo-making processes. These include the daguerreotype process, Talbot's paper negative process, collotype and the popular carte de visite photographs. Photography specifically in South Africa is also conferred, with particular reference to the first photographers working in the country. Reference is made to the important influences major events like the discovery of diamonds and gold as well as the Anglo-Boer War had on photography. The discussion of William Roe as human being and his legacy as a photographer forms an integral part of the study. The Victorian period is discussed since this was the period in which Roe worked and lived. It had a formative influence on his workmanship. An overview of the Victorian period in England is followed by specific focus on South Africa during this time. The rush to the diamond fields, issues with language and the trends of the times are pointed out. Many of these trends are specifically indicated and discussed as they appear in Roe’s photos. The photos have been categorized to clarify analysis of the different cultural phenomena. The architecture and historical background of Graaff-Reinet’s churches and public buildings are discussed. Streetscapes and images of the town as a whole show the development and daily activities that took place. Photos of clothing represent a reconstruction of the fashions of the concurrent Victorian era and those of public events such as sporting events, celebrations, plays and a gathering during the Anglo-Boer War, display the social life of the community. The role of human memory in the writing of cultural history is compared with the “memory” role of photographs. At the same time the ability of photographs to reflect not only physical culture, but also abstract concepts, receives attention. The use of these abilities of photography in the preservation of culture is a challenge for conservationists of the 21th century.
AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die rol wat 19de-eeuse fotografie kan vervul in die rekonstruksie van ’n era en in die bewaring van kultuurgoedere vir die 21ste eeu, aan te spreek. Die fotoversameling van William Roe van Graaff-Reinet word as voorbeeld gebruik. Die ontstaan en ontwikkeling van Graaff-Reinet word as agtergrond behandel en belangrike gebeurtenisse soos onder meer Die Groot Trek, die koms van die spoorlyn, die Anglo- Boereoorlog, die Eerste Wêreldoorlog en die Groot Griep word uitgewys. Aspekte soos opvoeding, kerke, die biblioteek en hospitaal is aanvullend bestudeer om ’n volledige beeld van Graaff-Reinet daar te stel. ’n Oorsig oor die ontwikkeling van fotografie dek verskeie vroeë fotoprosesse soos die daguerreoproses, Talbot se papiernegatief, die calotipe-fotoproses en die gewilde carte-devisite- foto's. Fotografie in Suid-Afrika word bespreek met spesifieke verwysing na die eerste fotograwe wat in die land werksaam was. Daar word verwys na die invloed wat belangrike gebeurtenisse soos die ontdekking van diamante en goud, asook die Anglo-Boereoorlog, op fotografie in Suid-Afrika gehad het. Die ondersoek na William Roe as mens sowel as sy nalatenskap as fotograaf vorm ’n belangrike onderdeel van die studie. Die Victoriaanse era word bespreek aangesien dit die tydperk was waarin Roe geleef en gewerk het, en dus ’n vormende invloed op sy werk gehad het. ’n Oorsig oor die Victoriaanse era in Engeland word gevolg deur ’n beskouing van dié era in Suid-Afrika. Die stormloop na die diamantvelde, taalkwessies en heersende modeneigings word uitgewys. Baie van die modeneigings word tydens die ontleding van die kultuurverskynsels op die Roe-foto’s opgemerk en bespreek. Die foto’s vir die ontleding van kultuurverskynsels is in kategorieë ingedeel. Die argitektuur en historiese agtergrond van kerke en openbare geboue word bespreek. Straat- en dorpsbeelde dui die ontwikkeling van en bedrywighede op die dorp aan. Kleredragfoto’s bied ’n rekonstruksie van die modes van die Victoriaanse era terwyl die foto’s van openbare geleenthede soos sportbyeenkomste, feesvieringe, toneelopvoerings asook ’n samekoms tydens die Anglo-Boereoorlog die sosiale lewe van die inwoners van die dorp aandui. Die rol van die menslike geheue in kultuurgeskiedskrywing word vergelyk met die rol van foto’s as “geheue”. Terselfdertyd word die vermoë van foto’s om nie net fisiese kultuur te weerspieël nie, maar ook abstrakte konsepte te verteenwoordig, behandel. Die aanwending van hierdie eienskappe van fotografie in kultuurbewaring is ’n uitdaging vir bewaringskundiges van die 21ste eeu.
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Hesse, Wolfgang, et Holger Starke. « Die Masse macht‘s ? Erschließungsmethoden und Erkenntnismöglichkeiten bei der Arbeit mit Massenbeständen : Vorträge der Tagung am 16. November 2018 im Stadtmuseum Dresden ». Stadtmuseum Dresden, 2019. https://tud.qucosa.de/id/qucosa%3A35306.
Texte intégralRésumé :
Der Band enthält die Beiträge der Tagung „Die Masse macht's? Erschließungsmethoden und Erkenntnismöglichkeiten bei der Arbeit mit Massenbeständen“ im Stadtmuseum Dresden am 16. November 2018. Auf Einladung der Veranstalter (Stadtmuseum Dresden, Kustodie der Technischen Universität Dresden, Sächsische Landesstelle für Museumswesen an den Staatlichen Kunstsammlungen Dresden) stellen Fachleute unterschiedlicher Disziplinen Probleme und Lösungen bei der Erschließung, Erforschung und Publikation von kultur-, natur- und wissenschaftshistorischen Massensammlungen zur Diskussion. Dabei ist der Blick über die realen Sammlungen hinaus auf virtuelle Verbundsysteme und digitale Publikationen erweitert worden.The volume contains the contributions of the conference “Do the masses make it? Development methods and knowledge possibilities when working with mass collections” in City Museum Dresden on 16 November 2018. At the invitation of the organizers (City Museum Dresden, Academic Heritage of Technical University Dresden, Saxon State Office for Museum Affairs on the Dresden State Art Collections), experts from various disciplines provide problems and solutions on the development, research and publication of mass collections of cultural, natural and scientific history that will be up for discussion. The view has been extended beyond the real collections to virtual network systems and digital publications.
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Hesse, Wolfgang, et Holger Starke. « Die Masse macht’s ? : Erschließungsmethoden und Erkenntnismöglichkeiten bei der Arbeit mit Massenbeständen : eine Einführung ». Stadtmuseum Dresden, 2019. https://tud.qucosa.de/id/qucosa%3A35965.
Texte intégralRésumé :
Im Stadtmuseum Dresden wird eine umfangreiche Sammlung Dresdner Bürgerporträts des 19. Jahrhunderts verwahrt. Der Bestand von 2.700 Fotografien auf 2.100 Trägerkartons ist vom Gründungsdirektor des Museums, dem Historiker und Stadtarchivar Otto Richter (1852–1922), zwischen 1892 und 1912 angelegt und von seinen Nachfolgern bis zum Ende der 1930er Jahre fortgeführt worden. Die seither vor allem als Ressource für die Illustration von Publikationen genutzte Sammlung ist in den vergangenen Jahren aus unterschiedlicher Fachperspektive erstmals intensiv erforscht worden. Die Ergebnisse sind unter dem Titel „Die im
Licht steh’n. Fotografische Porträts Dresdner Bürger des 19. Jahrhunderts“ in einer Sonderausstellung im Stadtmuseum Dresden (15.2.–12.5.2019) präsentiert und im gleichnamigen Begleitband vorgestellt worden. [Aus der Einleitung.]
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Fischer, Daniel. « Zugang zur Masse : Soziale Klassifikationen als Annäherung an die Sammlung Dresdner Bürgerporträts ». Stadtmuseum Dresden, 2019. https://tud.qucosa.de/id/qucosa%3A35966.
Texte intégralRésumé :
Das Stadtmuseum Dresden verwahrt eine Sammlung mit ca. 2.700 fotografischen Porträts, aufgezogen auf etwa 2.100 Trägertafeln aus Karton. Die auf den Fotografien abgebildeten Personen waren in ihrer großen Mehrheit Angehörige des vielschichtigen Dresdner Stadtbürgertums des 19., aber auch frühen 20. Jahrhunderts. Auf fast allen Tafeln finden sich biografische Informationen: Namen, Lebensdaten, Berufsangaben. Damit erweist sich die Sammlung Dresdner Bürgerporträts nicht nur als zu illustrativen Zwecken nutzbar. Vielmehr bietet sie Massendaten und bedeutet so eine Ressource zur Erforschung eines Ausschnitts der Dresdner Stadtgesellschaft im bürgerlichen Zeitalter. [Aus der Einleitung.]
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Thalheim, Klaus. « Mineralogische Sammlungen : Archive für die Forschung ». Stadtmuseum Dresden, 2019. https://tud.qucosa.de/id/qucosa%3A35968.
Texte intégralRésumé :
Nach Rösler (1988) sind in seinem Lehrbuch der Mineralogie „Minerale stofflich homogene, meist feste, kristalline und anorganische Grundbausteine der natürlichen Materie“. Die International Mineralogical Association (IMA) gab folgende Definitionen: „Minerale sind Elemente oder chemische Verbindungen, die normalerweise kristallin und die als Ergebnis eines geologischen Prozesses entstanden sind“ (Nickel 1995) und etwas erweiternd „eine Mineralsubstanz ist ein natürlich vorkommender Feststoff, der durch einen geologischen Prozess auf der Erde oder in einem extraterrestrischen Körper gebildet wurde“ (Nickel & Grice 1998). Natürliche geologische Prozesse auf der Erde, aber auch auf Himmelskörpern, und die Kristallinität sind also wichtige Merkmale. Kristalle sind feste Körper mit dreidimensional periodisch angeordneten Bausteinen. [Aus der Einleitung.]
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Rüdiger, Ralf. « Vom gedruckten zum digitalen Bestandskatalog : Ein Werkstattbericht ». Stadtmuseum Dresden, 2019. https://tud.qucosa.de/id/qucosa%3A35971.
Texte intégralRésumé :
Die Idee zur Erforschung und Veröffentlichung der seit 1892 vom Historiker und Gründungsdirektor des Stadtmuseums Dresden Otto Richter (1852–1912) angelegten und von seinen Nachfolgern fortgeführten Porträtfotosammlung entstand im Jahr des 800-jährigen Dresdner Stadtjubiläums 2006.
Die konkreten Vorarbeiten konnten dann, nach vielen Sonderausstellungen und anderen Projekten in den städtischen Museen, sechs Jahre später beginnen, als 2012 für die Digitalisierung der Sammlung und 2013 für die Überprüfung der Grunddokumentation mit der Sächsischen Landesstelle für Museumswesen ein öffentlicher Förderer gewonnen werden konnte. Zugleich wurde das Vorhaben in die mittelfristige Ausstellungsplanung des Stadtmuseums integriert. Dies eröffnete ab 2017 die Möglichkeit, die Sonderausstellung „Die im Licht steh’n. Fotografische Porträts Dresdner Bürger des 19. Jahrhunderts“ mit einer Begleitpublikation, einem Vortragsprogramm und einem Bestandskatalog zu erarbeiten. [Aus der Einleitung.]