Littérature scientifique sur le sujet « Images, Photographic – Social aspects »
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Articles de revues sur le sujet "Images, Photographic – Social aspects"
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Favaretto, Maddalena, Danya F. Vears et Pascal Borry. « On the Epistemic Status of Prenatal Ultrasound : Are Ultrasound Scans Photographic Pictures ? » Journal of Medicine and Philosophy : A Forum for Bioethics and Philosophy of Medicine 45, no 2 (14 janvier 2020) : 231–50. http://dx.doi.org/10.1093/jmp/jhz039.
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Abstract Medical imaging is predominantly a visual field. In this context, prenatal ultrasound images assume intense social, ethical, and psychological significance by virtue of the subject they represent: the fetus. This feature, along with the sophistication introduced by three-dimensional (3D) ultrasound imaging that allows improved visualization of the fetus, has contributed to the common impression that prenatal ultrasound scans are like photographs of the fetus. In this article we discuss the consistency of such a comparison. First, we investigate the epistemic role of both analogic and digital photographic images as visual information-providing representations holding a high degree of objectivity. Second, we examine the structure and process of production of ultrasound scans and argue that a comparison between two-dimensional (2D) ultrasound and photography is justified. This is in contrast to 3D ultrasound images that, due to the intensive mathematical processing involved in their production, present some structural issues that obfuscate their ontological and epistemic status.
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Thelander, Åsa, et Cecilia Cassinger. « Brand New Images ? Implications of Instagram Photography for Place Branding ». Media and Communication 5, no 4 (21 décembre 2017) : 6–14. http://dx.doi.org/10.17645/mac.v5i4.1053.
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The aim of this article is to develop an understanding of what happens when Instagram photography is used for branding a place. Questions raised are which photographs are taken and published, does the practice result in novel ways of representing a place, and, in turn the image of a place. A practice approach to photography is used where focus is directed to the performative aspect of photography. Fifteen qualitative interviews were conducted with participants in an Instagram takeover project concerning their photographs. The study shows that adopting a communication strategy based on visual social media is dependent on the participants’ competencies and that it is embedded in everyday life. Moreover, the participants’ photographic practices were found to be influenced by social conventions, which resulted in the city being imagined differently by different participants. To use visual social media such as Instagram for branding purposes does not necessarily mean that novel images are generated, but that they are choreographed according to the conditions of Instagram as medium.
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Mauad, Ana Maria. « Genevieve Naylor, a Good Neighbor Photographer in Brazil (1941-42) ». Revista Crítica Cultural 12, no 2 (19 décembre 2017) : 181. http://dx.doi.org/10.19177/rcc.v12e22017181-208.
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This article analyses historically the photographs taken by Genevieve Naylor, an American photographer commissioned by US State Department during the Second World War, when she travelled throughout Brazil, as a good neighbour photographer. In this sense, it is considered the elements of the form of expression and the content of the photographic message, emphasizing the three aspects of visual cultural strategies: firstly, the way in whichthe human subjects are depicted, understanding the representations of the body as support for social relationships. The body represented in Naylor’s photographs is the sign through which social relationships are revealed; secondly, how the places where Naylor travelled were depicted in the creation of a sensitive geography seeking to overcome the official protocols to show a multiple Brazil; fallowed by an evaluation of how her images were publicized throughout cross country exhibitions.
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Laine, Anna. « Complementarity between Art and Anthropology : Experiences among kolam makers in South India ». Suomen Antropologi : Journal of the Finnish Anthropological Society 34, no 2 (1 janvier 2009) : 58–60. http://dx.doi.org/10.30676/jfas.116522.
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As their first daily task, women in South India draw geometrical images, kolams, in front of their homes to greet the deities. These images engender and reinforce moods in the community, they construct feminine gender and they define the landscape as social. The paper describes how the employment of an artistic practice—photography—can affect the understanding of the kolam, an artistic practice in itself. Photography has a key role in that it has been used as a tool during field work, as well as in the presentation of research in the form of photographic essays. The expressive aspects in particular of this media are considered as means to address visual and sensory experience and as complementary to analytical texts. It is suggested that the use of artistic practice, in dialogue with texts, productively engages the tension between the sensory and the discursive, between intimacy and distance. The aim is to contribute to anthropological understandings of, and approaches to, images, aesthetics and artistic practice. The aesthetic aspect of the kolam is presented as local social aesthetics; an appreciation founded in local morality, and continuously reproduced as well as contested in a social environment.
Keywords: kolam, South India, visual anthropology, photography, art, aesthetics, gender
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Jirásek, Ivo, et Bohuslav Stránský. « Revealing invisibility : Interpreting social and behavioral aspects of the Coronavirus pandemic through student documentary photography ». Tuning Journal for Higher Education 9, no 2 (28 mai 2022) : 217–44. http://dx.doi.org/10.18543/tjhe.2185.
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Life for the population in the Czech Republic came to a standstill in spring 2020 due to measures enacted in relation to the Coronavirus epidemic: a travel ban and closed borders, the cancellation of physical lessons at all types of school, the closure of stores except those securing basic necessities, radical restrictions to free movement of people. This unprecedented situation became the inspiration for creative work by students at the Studio of Advertising Photography at Tomas Bata University in Zlin. Since joint work in the studio was not possible, the students were given their assignments as part of the Digital Photography classes in the form of a document reflecting the social situation during the Corona crisis. Selected visual narratives, or photo novellas, are a methodical component of arts-based research, meaning the use of art artefacts and imagination for a more complete knowledge of this mode of social reality. Verbal commentary complements the images’ topic by interpreting the main themes of the selected photographic images: Easter festivities without religious services, sewing facemasks and covering faces, newly discovered meanings of borders and emptiness, the social role of meals in family life. The Coronavirus crisis has revealed the hidden opportunities of a new way to see and discover again how to evaluate our everyday life, something which in the haste of each ordinary day can become subconscious routine.
Received: 30 August 2021Accepted: 20 April 2022
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Veikou, Mariangela. « Images of Crisis and Opportunity. A Study of African Migration to Greece ». Qualitative Sociology Review 9, no 1 (31 janvier 2013) : 58–75. http://dx.doi.org/10.18778/1733-8077.09.1.03.
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The economic crisis in Greece is becoming a way of life and it is affecting, among other things, the way the Greek society views immigration. Greek people are waking up to the reality that immigrants in the streets of big cities would not go back. The kind of economic state of emergency in need of all sorts of austerity measures the Greek society is entering, shockingly, brings about the fear even in liberal minds that the country cannot provide for all. In this paper I draw from my own newly conducted ethnographic study to explore two interconnected themes: the study of local aspects of integration of Sub-Saharan African migrants in the city center of Athens, Greece and the use of photographic images in ethnographic research. More specifically, the paper discusses the representations of difference via a series of contemporary street photographs depicting everyday life instances of African migrants in the city center of Athens. It thus creates a visual narrative of metropolitan life, which forms the basis for a discussion on three themes related to discourses on migrant integration in light of today’s economic crisis: a) the physical and social environment of marginalization, b) the migrant body, and c) the fear of the migrant.
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Szlezák, Klara-Stephanie. « The Ellis Island Experience : Through the Eyes of Lewis Hine ». aspeers : emerging voices in american studies 2 (2009) : 71–89. http://dx.doi.org/10.54465/aspeers.02-08.
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In a historical approach, this article examines the way immigration was captured by means of a medium that was just as new and astonishing as the social upheavals brought about by modernity of which immigration itself was a key factor: photography. To this purpose, photographs taken on Ellis Island by Lewis W. Hine, one of the major photographers of his time, are described, analyzed, and interpreted. After a short introduction to the photographer’s method and approach to the subject, an in-depth analysis of four examples from his Ellis Island series shall help to elucidate in how far his visualizations of the migration process convey a remarkably wide array of factual and emotional aspects linked to this chapter of US history. Not only do the photographs give a vivid impression of the daily proceedings immigrants and officials were involved in, they also shed light on the immigrants as not merely masses of foreigners but as human beings. It is Hine’s aim of countering prevalently negative opinions and images as well as the focus on the individual immigrant experience that makes his work social photography and thus situates his photographs on the threshold between social documentation and art.
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Nascimento, Rodolfo Gomes, Ronald Oliveira Cardoso, Denise Siva Pinto et Celina Colino Magalhães. « Por entre pontes e rios : a imersão nos papeis ocupacionais de idosos ribeirinhos amazônicos/Between bridges and rivers : immersion in the occupational roles of elderly amazonian rivers ». Revista Interinstitucional Brasileira de Terapia Ocupacional - REVISBRATO 3, no 1 (4 février 2019) : 9–20. http://dx.doi.org/10.47222/2526-3544.rbto19292.
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Esta criação foi inspirada nos registros fotográficos obtidos no processo de pesquisa de doutorado sobre interações ecológicas entre as condições de saúde e fragilidade, o modo de vida e o contexto ribeirinho amazônico. A abordagem transcultural adotada neste percurso de pesquisa permitiu a utilização de técnicas diferenciadas como a de fotografia. Assim, o acervo de imagens construído e posteriormente analisado de forma crítica e contextualizada pelos pesquisadores auxiliou na compreensão de diversos aspectos subjetivos envolvendo, especialmente, o modo de vida e os papeis ocupacionais desses idosos. Uma das principais percepções alcançadas foi o intenso desempenho das funções cotidianas, quase sempre moldadas por aspectos culturais muito peculiares, o que revelou tanto a preservação da funcionalidade desses idosos, quanto dos papeis ocupacionais nos ambientes domiciliares e/ou sociais, apontando para um envelhecimento nitidamente ativo às margens dos rios amazônicos. Abstract This creation was inspired by the photographic records obtained in the doctoral research process on ecological interactions between health conditions and fragility, the way of life and the Amazonian riverside context. The cross-cultural approach adopted in this research allowed the use of different techniques such as photography. Thus, the collection of images constructed and later analyzed in a critical way and contextualized by the researchers helped in the understanding of several subjective aspects involving, especially, the way of life and the occupational roles of these elderly people. One of the main perceptions reached was the intense performance of everyday functions, almost always shaped by very peculiar cultural aspects, which revealed both the preservation of the functionality of these elderly people and the occupational roles in the home and / or social environments, pointing to a marked aging active on the banks of the Amazonian rivers.Keywords: Health Behavior; Healthy Aging; Photography; Aged; Riverside
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Rose, Theda, Tanya L. Sharpe, Corey Shdaimah et Dante deTablan. « Exploring coping among urban youth through photovoice ». Qualitative Social Work 17, no 6 (20 février 2017) : 795–813. http://dx.doi.org/10.1177/1473325017693684.
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Adolescent perspectives on coping are often explored through quantitative methods within a problem-focused paradigm. To better understand how urban adolescents define, perceive, and experience coping, this research used photovoice, a qualitative research method that employs co-creation of meaning and knowledge around photographic images. Twelve adolescents in the 9th-11th grades at a Baltimore City High School photographed images representing coping. They participated in focus groups to discuss how their pictures reflected coping and its relationship to decision-making, development, and academic success. Participants identified different types of coping, as well as strategies and resources in their homes, school, and community. They classified coping as “good” or “bad,” depending on its impact on themselves and others. They described how coping evolves and noted long-term consequences of different coping strategies, suggesting a future-oriented aspect to their understanding of the concept. Students presented these findings to key stakeholders including a congressional representative, the Baltimore City School Board, community members, and their peers. Study findings elucidate the importance of adolescent perspectives to the coping research literature. Moreover, findings can inform the development of school and community-based programs designed to foster coping among urban adolescents.
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Soshnikova, Irina Anatol'evna. « St. Petersburg’s ballet in fashion photography ». Культура и искусство, no 5 (mai 2021) : 25–36. http://dx.doi.org/10.7256/2454-0625.2021.5.35687.
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The subject of this research is the St. Petersburg’s ballet in interpretation of the masters of fashion photography. The goal of this article consists in the analysis of specificity of modern fashion photography, and examination of the phenomenon of reference to the theme of ballet on the example of works of the prominent fashion photographers, such as Richard Avedon, Patrick Demarchelier, Deborah Turbeville, as well as certain Russian photographers. Special attention is given to examination of fashion photography not so much as the genre of photographic art, but as an important advertising tool. The relevance of fashion photography is associated with the increasing importance of visualization in life of a modern person; it plays a significant role in the social, cultural, and mythological life of the society. The article outlines the aspects of reference of fashion photographers to the theme of ballet; analyzes the peculiarities of using ballet images in photography; determines their role as a visual component of advertising campaigns in fashion industry; describes the advantages and effectiveness of their use in advertising and presentation of products. The author notes the frequency of referring to the theme of ballet in fashion photography, which leads to the increase of its artistic and cultural significance.
Thèses sur le sujet "Images, Photographic – Social aspects"
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Gavard, Sandra. « Photo-graft : a critical analysis of image manipulation ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/MQ54990.pdf.
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Scheffknecht, Sandra Art College of Fine Arts UNSW. « Doubledeath--the very presence of the absent ». Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.
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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
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Le, Febvre Emilie. « Tracing visual knowledge : the presence and value of images for Bedouin history and society in the Negev ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:d588d57f-2137-47b2-9ff2-3ac46799f6ad.
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Based on eighteen months fieldwork with Bedouin of the Negev, this thesis explores the varied presence of images as photographs and digital copies for local historicity in order to achieve a greater understanding of representational politics in southern Israel. It emphasizes pictures' ability to transmute, circulate, and acquire value in various social settings in contrast to popular academic treatments, which primarily focus on photographs' iconography and visual history in the Middle East. To do so, the thesis details the biographies of a series of 'significant images' (c. 1906-2010) circulating in this society. It describes their photographic and digital graphic contents as floating referents with the capacity to be coded and recoded by people but also their presence as historical evidence that acquire value in different contexts. The thesis builds on the concept of visual economy as opposed to visual culture in order to landscape images' meanings, material and digital transformations, and their influence for the making of Bedouin history over the last century amid Orientalist, national, and local imaginings. It argues that Bedouin in the Negev possess diverse representational repertoires and utilise a variety of techniques to pursue historical capital. In particular, local representations of the past are selective and instrumental but increasingly reliant on archival mediums such as photographs. Although it may be obvious, anthropologists of the Middle East have yet to adequately account for these occurrences among peripheral peoples and not merely urbanites in the region. Research found that Bedouin spokespersons treat photographs and digital images as evidentiary documentation during self-presentations of historical knowledge in the Negev. As they travel between visual economies, however, images become malleable proof for local history projects alternating between the tribal past, Islamic heritage, and ethnohistory. In conclusion, the thesis develops two theoretical themes in anthropology and visual culture studies of the Middle East: the material and visual efficacy of images for local historicity, and complicating self-representations among Bedouin in the Negev.
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Solinas, Stéphanie. « Photographie et identité : images du corps surveillé ». Paris 1, 2008. http://www.theses.fr/2008PA010709.
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Et si la photographie avait inventé l'identité ? Le corps, au moment de sa transformation en image, devient le lieu d'un affrontement entre le général et le particulier afin de définir l'identité. Il est interrogé, interprété, et remis en question, dans la perspective de ses rapports à l'Homme moyen. Mais l'individu, en cela même qu'il est un et irréductiblement différent de tous les autres, n'est jamais l'identité modèle que la société voudrait lui attribuer ou dont il se désirerait porteur. Ces « individus », dont l'identité est dissoute et irréductible dans le même temps, ces « singularités quelconques » sont la matière de mes travaux. J'interroge le rapport de forces qui se joue dans l'identité représentée, entre volonté de contrôle et libération de l'individu, entre clichés et singularités. Le portrait photographique révèle ses composantes politiques et artistiques indissociablement mêlées, au coeur d'une réflexion sur l'image et sur la société de surveillance qui l'élabore.
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Albannai, Talal N. « Conversational Use of Photographic Images on Facebook : Modeling Visual Thinking on Social Media ». Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849631/.
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Modeling the "thick description" of photographs began at the intersection of personal and institutional descriptions. Comparing institutional descriptions of particular photos that were also used in personal online conversations was the initial phase. Analyzing conversations that started with a photographic image from the collection of the Library of Congress (LC) or the collection of the Manchester Historic Association (MHA) provided insights into how cultural heritage institutions could enrich the description of photographs by using informal descriptions such as those applied by Facebook users. Taking photos of family members, friends, places, and interesting objects is something people do often in their daily lives. Some photographic images are stored, and some are shared with others in gatherings, occasions, and holidays. Face-to-face conversations about remembering some of the details of photographs and the event they record are themselves rarely recorded. Digital cameras make it easy to share personal photos in Web conversations and to duplicate old photos and share them on the Internet. The World Wide Web even makes it simple to insert images from cultural heritage institutions in order to enhance conversations. Images have been used as tokens within conversations along with the sharing of information and background knowledge about them. The recorded knowledge from conversations using photographic images on Social Media (SM) has resulted in a repository of rich descriptions of photographs that often include information of a type that does not result from standard archival practices. Closed group conversations on Facebook among members of a community of interest/practice often involve the use of photographs to start conversations, convey details, and initiate story-telling about objets, events, and people. Modeling of the conversational use of photographic images on SM developed from the exploratory analyses of the historical photographic images of the Manchester, NH group on Facebook. The model was influenced by the typical model of Representation by Agency from O'Connor in O'Connor, Kearns, and Anderson Doing Things with Information: Beyond Indexing and Abstracting, by considerations of how people make and use photographs, and by the notion of functionality from Patrick Wilson's Public Knowledge, Private Ignorance: Toward a Library and Information Policy. The model offers paths for thickening the descriptions of photographs in archives and for enriching the use of photographs on social media.
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Machado, Katia Regina. « Un regard à double égard sur la misère du monde. Analyse des effets de la forme esthétique des images photographiques de Sebastiao Salgado ». Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030098.
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L’œuvre photographique de Sebastião Salgado, qui focalise la condition de vie des personnes affectées par la souffrance sociale causée soit par la guerre, soit par l’exploitation et la misère, prime par la qualité de la composition esthétique, mais ses images ne sont pas produites dans le contexte de la photographie d’art. Elles s’inscrivent dans la catégorie de la photographie documentaire et leur finalité discursive est la dénonciation sociale. Une part des spécialistes de l’image et des sciences humaines et sociales estiment que ses images ne peuvent pas servir à un tel propos, car leur caractère artistique déforme la vérité de la réalité représentée. L’autre part, en revanche, considère que c’est justement de la forme esthétique qu’elles tirent leur force de communication sociopolitique. Il s’agit du vieux débat sur le rapport entre esthétique et politique réactualisé par la question contemporaine du rôle sociopolitique des représentations médiatiques de la souffrance sociale. Pour constituer notre corpus analytique nous nous sommes servis d’un échantillon d’articles des spécialistes, publiés dans la Presse, dans lesquels on trouve un discours argumenté pour ou contre l’approche photographique de Salgado. La mise en confrontation des argumentations d’opposants et de partisans a permis non seulement de faire une sorte de mise en épreuve de la pertinence des concepts théoriques évoqués en soutien, mais aussi de mettre en évidence les apriori éthiques, sociologiques et politiques qui sont à la base des jugements qui indiquent si l’on doit considérer l’approche énonciative de Salgado comme une bonne ou mauvaise façon de représenter la misère du mondeThe photographic work of Sebastião Salgado focuses on the living conditions of people affected by social distress resulting from civil wars, exploitation, and misery. The pictures are characterised by the quality of their aesthetic composition but they are not primarily works of art. They are rather documentary pictures that represent a social denunciation of intolerable living conditions. Some social scientists specialised in photo interpretation think that his pictures still exhibit too many characteristics of art work and might therefore deform reality. However, others are convinced that just this aesthetic approach constitute its particular strength in sociopolitical communication. The contrasting views reflect the old debate on the relation between politics and aesthetics recently revived by the discussion on the socio-political role of the media in the presentation of social distress. This thesis is based on a representative sample of articles published in print media in which arguments for and against the photographic approach of Salgado are presented. The analytic comparison of the opposed arguments allows an evaluation of the related theoretical concepts. It also reveals an a priori basis of the related ethics, aesthetics, sociology, and politics indicating whether the denouncing character of Salgado pictures is representing an adequate approach to communicate the misery of the world
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Tolbert, Tiffany Monique. « A content analysis of photographic images and gender in The source sports, Sports illustrated for women, Sports illustrated, and ESPN magazine ». Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217392.
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This study examined sports photographs in fifty-two issues (thirteen issues each) of The Source Sports, Sports Illustrated for Women. Sports Illustrated and ESPN Magazine for gender differences in the way athletes are visually portrayed. Duncan and Sayaovong's 1990 study was used as the foundation for this new study.The content analysis revealed quantitative differences in photographic depictions of female and male athletes. Like the previous study, gender differences were found in the overall number of photographs of female and male athletes. These photographs were then broken down into one-half page, full-page and pull-out photographs. Gender differences were also found in the number of male and female athletes on the cover of the magazines, and the level of activity or inactivity associated with athletes. Unlike the previous study, the researcher found no gender differences in prominent and supporting positions when both men and women were featured in a photograph and no difference in camera angles.Department of Journalism
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Geyer, Xanthe Amanda. « Correction, addition and deletion : memory and its function in creating "visual narratives" (and identity) in photographic art ». Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002198.
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With this dissertation I propose to investigate critical theories dealing with memory and its role in photography. The function of memory is a well discussed and analysed topic within the ambit of historical research. Drawing from theoretical texts by critical theorists, namely, Roland Barthes, Annette Kuhn and Marianne Hirsch, I will critically address the function of memory in the understanding of photography; particularly how photographs have the ability to construct our identity in terms of history and narrative. I will study the content of memory in relation to visual images, focusing on what is remembered, what is suppressed, and finally, what is transformed when viewing an image. By doing so, I will consider whether or not still photographs have the ability to construct the past in a narrative form that is intrinsic to its medium. This consideration will be undertaken with specific reference to the works of contemporary South African artist Lien Botha. Special attention will be directed to her series of work entitled Amendment (2006), a series which permits me in turn, to deal with issues pertaining to memory and “visual narrative” which I have explored in my own professional art practice namely, Memory Boxes, Back Stories, Faces of You and Me, Memories Re-layered and Ghostly Remnants.
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Orton, Dianne J. « The use of visual imagery and reflective writing as a measure of social work students' capstone experience ». Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/2049.
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Al-Aulaqi, Nader. « Arab-Muslim views, images and stereotypes in United States ». CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2275.
Texte intégralLivres sur le sujet "Images, Photographic – Social aspects"
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Delage, Christian. La fabrique des images contemporaines. Paris : Éditions Cercle d'art, 2007.
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Transient images : Personal media in public frameworks. Philadelphia : Temple University Press, 2011.
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Images habitées : Photographie et spatialité. Paris : CREAPHIS, 2006.
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Photography as activism : Images for social change. Wlatham : Focal Press, 2011.
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1947-, Lister Martin, dir. The photographic image in digital culture. London : Routledge, 1995.
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Photographs, histories, and meanings. New York, NY : Palgrave Macmillan, 2009.
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1950-, Kadar Marlene, Perreault Jeanne Martha et Warley Linda, dir. Photographs, histories, and meanings. New York, NY : Palgrave Macmillan, 2009.
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Psikhologii︠a︡ fotografii : Kulʹturno-istoricheskiĭ analiz : monografii︠a︡. Moskva : I︠U︡raĭt, 2021.
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Images du sport. Montrouge : Bayard, 2012.
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1952-, Edwards Elizabeth, et Hart Janice 1951-, dir. Photographs objects histories : On the materiality of images. London : Routledge, 2005.
Trouver le texte intégralChapitres de livres sur le sujet "Images, Photographic – Social aspects"
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Campos, Marcia, Fabio Campos, Marnix Van Gisbergen et Michelle Kovacs. « The Relationship Among the Optical Aspects of Photographic Composition and the Quality, Perception and Interpretation of the Realism in Virtual Images ». Dans Advances in Intelligent Systems and Computing, 594–99. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11051-2_90.
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Duarte, Fábio, et Carlo Ratti. « What Urban Cameras Reveal About the City : The Work of the Senseable City Lab ». Dans Urban Informatics, 491–502. Singapore : Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-8983-6_27.
Texte intégralRésumé :
AbstractCameras are part of the urban landscape and a testimony to our social interactions with city. Deployed on buildings and street lights as surveillance tools, carried by billions of people daily, or as an assistive technology in vehicles, we rely on this abundance of images to interact with the city. Making sense of such large visual datasets is the key to understanding and managing contemporary cities. In this chapter, we focus on techniques such as computer vision and machine learning to understand different aspects of the city. Here, we discuss how these visual data can help us to measure legibility of space, quantify different aspects of urban life, and design responsive environments. The chapter is based on the work of the Senseable City Lab, including the use of Google Street View images to measure green canopy in urban areas, the use of thermal images to actively measure heat leaks in buildings, and the use of computer vision and machine learning techniques to analyze urban imagery in order to understand how people move in and use public spaces.
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Nixon, Lyndon. « How Do Destinations Relate to One Another ? A Study of Destination Visual Branding on Instagram ». Dans Information and Communication Technologies in Tourism 2023, 204–16. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-25752-0_23.
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AbstractDestination marketers are aware that online communication about their destination is increasingly dependent on visual media rather than text, due to the growing popularity of social networks such as Instagram. An accurate understanding of how the destination is being presented to users in this medium is critical for digital marketing activities, e.g. to know if the desired destination brand is present or if visitors focus on other aspects of the destination than those being promoted in marketing. Unlike text mining, which has well established techniques to extract keywords and associations from text corpora, a consistent approach to understanding the content of images and expressing the resulting destination brand is lacking. This paper presents a visual classifier trained and fine-tuned specifically for destination brand measurement from images using 18 visual classes. It presents an exploratory study of how different destinations are being presented visually on Instagram and discusses how these insights could be used by destination marketers to adapt and improve their digital marketing.
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Argenziano, Raffaele. « L’iconografia di Giovanni Colombini (1304-1367) : fondatore dei gesuati ». Dans Le vestigia dei gesuati, 73–93. Florence : Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-228-7.08.
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This work will try to follow the development of the iconography of Blessed Giovanni Colombini from the first images handed down to us throughout the XV century. By reading the hagiographic sources, we will try to go back to when the choice of the Jesuati habit started and whether this remains unchanged over the years. The iconographic evidences will be of help to this end. The change in Colombini's social status led him to a radical change in his clothing, which, for some aspects, is very close to that of penitents. We will also try to understand what influence the decision (made towards the mid-XIV century) of Pope Urban V had on the Jesuati habit and therefore on the iconography of Giovanni Colombini, as regards the dress of the ‘povari di Christo’.
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Chen, Huai, Shan Wang, Suning Huang, Lei Zhang, Nairu Wang et Lijun Zhu. « Shoreline Carrying Capacity Assessment Based on Satellite Remote Sensing Image : A Case Study of the Nanjing Reach of the Yangtze River ». Dans Lecture Notes in Civil Engineering, 1236–47. Singapore : Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-6138-0_108.
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AbstractResearch on shoreline carrying capacity is of great practical significance to promote the sustainable development of shoreline. Taking into account five aspects of shoreline health, resource supply, environmental pollution, ecological service and social service, the evaluation index system of shoreline carrying capacity was systematically established. Taking the Nanjing reach of the Yangtze River as a typical case, the variation trend of shoreline carrying capacity in recent 40 years was analyzed. The Landsat satellite remote sensing images from 1984 to 2020 were collected. The classification regression tree (CART) algorithm was used to classify the land use types in the remote sensing images, and then evaluation indexes of shoreline carrying capacity were calculated. The results show that the shoreline carrying capacity of the Nanjing reach was basically stable from 1984 to 2003. With the large-scale development and utilization of the shoreline since 2003, the carrying capacity of the Nanjing reach gradually decreased and approached the warning line. Due to the implementation of restrictive measures such as “action to clear the four chaos” and “the operation of responsibility system on river/lake leaders” by Chinese government after 2018, the carrying capacity of the Nanjing reach has rebounded rapidly. With the help of Mann-Kendall (MK) mutation analysis method, the mutation point of the time series of the shoreline carrying capacity of the Nanjing reach was found to occur in 1991, 2012 and 2018. The research results can help to discover unsustainably social and economic activities, put forward the productivity layout adjustment, and guide corresponding management measures in the reach.
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Operto, Fiorella. « Elements of Roboethics ». Dans Makers at School, Educational Robotics and Innovative Learning Environments, 73–79. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77040-2_10.
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AbstractRoboethics analyzes the ethical, legal and social aspects of robotics, especially with regard to advanced robotics applications. These issues are related to liability, the protection of privacy, the defense of human dignity, distributive justice and the dignity of work. Today, roboethics is becoming an important component in international standards for advanced robotics, and in various aspects of artificial intelligence. An autonomous robot endowed with deep learning capabilities shows specificities in terms of its growing autonomy and decision-making functions and, thus, gives rise to new ethical and legal issues. The learning models for a care robot assisting an elderly person or a child must be free of bias related to the selected attributes and should not be subject to any stereotypes unintentionally included in their design. As roboethics goes hand in hand with developments in robotics applications, it should be the concern of all actors in the field, from designers and manufacturers to users. There is one very important element in this—albeit one that is related indirectly—that should not be overlooked: namely, how robotics and robotic applications are represented to the general public. Of the many representations, the legacy of mythology, science fiction and the legend still play an important role. The world of robotics is often marked by icons and images from literature. Exaggerated expectations of their functions, magical descriptions of their behavior, over-anthropomorphization, insistence on their perfection and their rationality compared to that of humans are only some of the false qualities attributed to robotics.
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Pauwels, Luc. « Images, Self-Images, and Idealized Identities in the Digital Networked World ». Dans Digital Identity and Social Media, 133–47. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-1915-9.ch010.
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This chapter examines the impact of digital technology on the way in which families present themselves in an online mode. Rooting family photography in its analogue and digital past, where it mainly served a ‘socialization’ and ‘integration’ function confined to next of kin and propagating mainly domestic values to a fairly secluded audience, the author discusses how the expressive means have increased dramatically as the practice moved into the public or semi-public realm, catering for an anonymous mass of Web surfers. At any rate, family self-representations on the Web present a fascinating area of research into cultural change and reproduction, and into the complex role of technology in those processes at the ‘grassroots’ level. However, this of course implies a new challenge to researchers who need to be able to decode/interpret the various multimodal aspects of these hybrid constructions as to their social and cultural meaning. This chapter discusses both the social and scientific impact of the change in functions and make a contribution to the development of a tool to adequately decode the Internet as a socio-cultural space.
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White, Leanne. « Facebook, Friends and Photos ». Dans Tourism Informatics, 115–29. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-60566-818-5.ch007.
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This chapter undertakes a ‘snapshot’ or glimpse into social aspects of tourism informatics with specific reference to the travel photographs posted on the social networking site ‘Facebook’. This analysis will focus on the travel images (photographs) generated by 10 individuals (five male and five female) from the Facebook community. It must be emphasised that the study is deliberately narrow in its focus and does not attempt to make generalisations about how photos are used by other Facebook users. The aim of the study is to begin a dialogue about the use of travel photos on this popular social networking site. Examined in this chapter are a selection of visual images and written messages surrounding the tourism encounters of the particular Facebook members between September 2007 and September 2008. As Urry (1995) has argued, “the consumption of tourist services is important yet by no means easy to understand and explain” (p. 139). Tourism is experienced in a highly visual manner and there is a need for further research in this area. This chapter explores how the photographs taken, displayed and recorded on Facebook reinforce the travel experience for the tourist; and furthermore, how these images might influence the travel decisions of those who view the photos. Wider implications resulting from this type of research for the future development for tourism informatics (e-tourism) is also explored.
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Luttrell, Wendy. « That’s (not) me now : development, identity, and being in time ». Dans Children Framing Childhoods, 163–202. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781447352853.003.0006.
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This chapter describes how the young people, now in their late teens, returned to their childhood photographs and reflected upon their past selves. For those who were able to participate in the creation of an additional set of still and video images, the author examined how they used their cameras to represent their present lives and “what matters most.” Two things would shape the approach to analyzing the images, sounds, and sensibilities of what the young people produced as teenagers. The first was a shift in gaze—what some scholars have characterized as a move from “a familial gaze” to a “youth-culture gaze,” where young people can produce narratives that may be inaccessible to adults. The second was a tendency for the young people to self-consciously position themselves straddling different systems of value: the banal and the singular; the familial and the youth-cultural; the “interesting” and the “boring”; the ordinary (“normal”) and extraordinary aspects of their working-class and racialized lives and identities. Both of these patterns constitute what social theorist Michel Foucault called “technologies of self.” He used the term to describe a range of activities individuals engage in to refashion themselves, re-orient or maneuver emotions, re-shape values, and feel “agentic” in their lives.
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Szeinbach, Sheryl. « Images of Pharmacists and Pharmacies ». Dans Social and Behavioral Aspects of Pharmaceutical Care, 85–98. CRC Press, 1996. http://dx.doi.org/10.1201/b14358-7.
Texte intégralActes de conférences sur le sujet "Images, Photographic – Social aspects"
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Yazdani, Mehrdad, et Lev Manovich. « Predicting social trends from non-photographic images on Twitter ». Dans 2015 IEEE International Conference on Big Data (Big Data). IEEE, 2015. http://dx.doi.org/10.1109/bigdata.2015.7363935.
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Catrópa da Silva, Andréa, et Isabela Covre Sagrillo. « The Design through the screens : the adaptations of Interior Design elaborated for Social Media ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.78.
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In the Covid-19 Pandemics, the virtual world has become even more popular amongst people and companies, with the intent to maintain connections that social distancing inhibited. In this scenario, virtual commerce and digital influencers invested even further in what is known in the commercial architecture and design sphere as “Instagram-able”. Environments, foods, clothes, objects, everything has needed to draw attention in the social media and for that, people appeal to “Instagram-able” features, i.e., something that is photographically interesting, that incites desire, empathy, and dreaming. However, this subject is little studied in academia yet, since the articulation of elements and spaces destined for social network dissemination still does not have a solid theoretical development, for it is a recent theme. From a practical observation of spaces that have this denomination as their main characteristic, this paper begins to elaborate on an academically acceptable concept for this trend that is likely to settle in the market due to the constant rising of digital media in society. If we observe a physical environment made for residential or commercial purposes or other daily needs, we will find in the usage of thermal and acoustic comfort features, ergonomics, lighting, and functionality. However, when we label an environment “Instagram-able” or when we analyze stages that are prepared and dedicated to social media photography, we identify other characteristics, more suited to digital image propagation and bi-dimensional visualization of such spaces. There is, therefore, a certain aesthetic aspect standard that spaces that are directed mostly at social media content creation, such as “Instagram-able spaces” or selfie museums (places made with scenarios suited for taking self-portraits), follow as a means to attract people to visit and take photos to be shared in social networks. But what makes a place attractive to be displayed online? Which features lead people to photograph certain places? This paper identifies interior design features common to this kind of ambiance, focused on selfie museums found around the world. For this, a survey of museum selfies located through its main communication branch, Instagram, was carried out so far, 32 (thirty-two) of these models have been found around the world, so that we can establish a taxonomy of what is considered “Instagram-able” for the commercial area, in an analysis of colors, themes, elements, psychodynamics, and senses that are capable of attracting and leading a person to the act of photographing themselves in that environment, and so, after this practical research, with a theoretical deepening, where it will be A multidisciplinary connection to design was analyzed to establish the concept and guidelines of what is an " Instagram-able" space for the academia environment, making this a grounded and regulated proposal for the more assertive use of designers and architects in environments that have sales interest, whether of products or of the image.
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Yu, Jiang, Linsheng Li, Anhong Wang et Qichuan Tian. « FDCT-Based Digital Watermarking Algorithm for Gray Images ». Dans 2010 International Conference on Computational Aspects of Social Networks (CASoN 2010). IEEE, 2010. http://dx.doi.org/10.1109/cason.2010.147.
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Lundin, Reine, et Stefan Lindskog. « An investigation of entropy of selectively encrypted bitmap images ». Dans 2012 Fourth International Conference on Computational Aspects of Social Networks (CASoN). IEEE, 2012. http://dx.doi.org/10.1109/cason.2012.6412409.
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Platos, Jan, Pavel Kromer, Vaclav Snasel et Ajith Abraham. « Searching similar images — ; Vector quantization with S-tree ». Dans 2012 Fourth International Conference on Computational Aspects of Social Networks (CASoN). IEEE, 2012. http://dx.doi.org/10.1109/cason.2012.6412433.
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Zhuang, Miao, Cheng Yongmei, Pan Quan, Hou Jun et Liu Zhunga. « An Intelligent Fusion Method of Sequential Images Based on Improved DSmT for Target Recognition ». Dans 2010 International Conference on Computational Aspects of Social Networks (CASoN 2010). IEEE, 2010. http://dx.doi.org/10.1109/cason.2010.90.
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Hill, Rodrigo, Marcos Steagall et David van Vliet. « Augmenting Community Narratives : An Exploration of Lens-based Image and Publication Design ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.84.
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This presentation proposal advances a pedagogical case study that focuses on innovative ways of promoting visual literacy for undergraduate students through lens-based image-making and digital technologies. The curriculum was designed to be delivered throughout an academic semester at Auckland University of Technology South Campus, Manukau City, Aotearoa New Zealand. The content is formatted for first-year students of the Diploma in Arts endorsed in Communication Design. The Diploma in Arts is appealing to students who may be seeking a shorter design qualification. In addition, the programme provides for students who have not met or have narrowly missed University Entrance (UE) criteria. The presentation focuses on the structure and contents of the pedagogical experience where lecturers and students are connected in the design studio through agency and literacy rather than just observing pedagogical prescriptions. In this active environment, the hidden curriculum that deals with the participant's cultural background and natural epistemologies is valued and validated. In creating the engagement for visual literacy, the brief requires students to consider aspects of community, taking the role of a storyteller equipped with skills to create visual content that is meaningful and actual. The course is divided into two parallel design studio approaches: one that deals with visual literacy through the photographic image and practice; and the other is concerned with aspects of the nature of the media, augmented reality and image dissemination in digital platforms. The first area focused on visual literacy through photographic practice, using the politics of photographic language and representation, employing portraiture analysis and image creation. This approach encompasses the conceptual aspects associated with photographic images and the technical aspects of lens-based image-making. The second area focused on understanding digital media, the application of tools and how to take advantage of the interactive environment to promote awareness and reflect change in the community. This part of the brief intended to create an understanding of the issues associated with online environments, providing students with skills to operate creatively and fluidly in response to the fast-paced nature of online image-sharing platforms. Within this context, techniques of digital image construction and manipulation were investigated in the light of industry applications and best practice workflows. These learning areas were underpinned by an online blog where students actively recorded their design process, tests, and contextual influences that impacted their design practice. The studio environment fostered an inclusive and participatory form of teaching and learning and employed students' smartphones as an accessible tool to produce and understand images. The project contributes to knowledge about the design studio through a framework for Visual literacy and media education, where students learn principles of photography practice and digital technologies. It contributes to reflections about the use of mobile phone technologies as a common entry way apparatus to visual literacy and imagery generator.
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Favaretto, Rodolfo Migon, et Soraia Raupp Musse. « Emotion, Personality and Cultural Aspects in Crowds : towards a Geometrical Mind ». Dans XXXII Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sibgrapi.est.2019.8308.
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In this work we proposed a computational model to extract pedestrian characteristics from video sequences. The proposed model considers a series of characteristics of the pedestrians and the crowd, such as number and size of groups, distances, speeds, among others, and performs the mapping of these characteristics in personalities, emotions and cultural aspects, considering the Cultural Dimensions of Hofstede (HCD), the Big-Five Personality Model (OCEAN) and the OCC Emotional Model. The main hypothesis is that there is a relationship between so-called intrinsic human variables (such as emotion) and the way people behave in space and time. As one of the main contributions, four large dimensions of geometric characteristics (Big4GD) were proposed: I - Physical, II - Personal and Emotional, III - Social and IV - Cultural, which seek to describe the behavior of pedestrians and groups in the crowd. The GeoMind tool was developed for the purpose of detecting the four geometric dimensions from video sequences. In addition, several analyzes were carried out with the purpose of validating the proposed model, from comparing results with the literature, including the comparison of spontaneous multitudes from several countries and controlled experiments involving Fundamental Diagrams.
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Dahó masdemont, Marta. « Del paisaje al territorio. Prácticas fotográficas y giro geográfico / From landscape to territory. Photographic practices and geographical turn ». Dans I Congreso Internacional sobre Fotografia : Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia : Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6904.
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En las últimas dos décadas, la atención a lo geográfico se ha manifestado de forma exponencial en el ámbito de la investigación artística hasta el punto de formalizarse en una nueva perspectiva definida como ‘el giro geográfico’. Aludiendo a un conjunto de prácticas esencialmente diversas, el giro geográfico también implica un desplazamiento especialmente ambivalente cuando toca ámbitos antes cooptados por el concepto ‘paisaje’. Si la concepción clásica de paisaje, entendido como constructo cultural, trae consigo una pesada carga sociocultural pues durante siglos sus representaciones contribuyeron en naturalizar las desigualdades borrando los rastros de los procesos históricos que dieron forma al territorio, un lento y progresivo proceso parece haber escorado en dirección opuesta los intereses de muchos artistas. De la idea de paisaje como imagen, es decir, de una idea normativa de paisaje como aquello a lo que el territorio se parece o debería parecerse idealmente, estamos pasando a una idea de territorio como espejo y síntoma de una transformación continua, incierta, entrópica que nos afecta a todos. Atendiendo a la necesidad de establecer un mapa de circunstancias que nos ayude a pensar en aquello que traza a nivel investigativo esta creciente recurrencia a lo geográfico, tanto visual como teóricamente, en esta comunicación articularemos algunas consideraciones respecto a los marcos epistemológicos que pone en juego la perspectiva abierta por el giro geográfico en relación a las prácticas fotográficas que han abordado la reflexión entorno al territorio. Si la representación paisajística clásica logró escabullirse del rechazo de las vanguardias históricas gracias a la tangente ofrecida por la fotografía y su forma de mostrar las radicales transformaciones del territorio a partir de la segunda guerra mundial, en el siglo XXI, los desastres provocados por las políticas neoliberales han atraído la atención hacia la interdependencia de acontecimientos simultáneos en espacios geográficamente distantes. Sin embargo, esta nueva tesitura plantea no pocos desafíos a la práctica fotográfica. En esta comunicación nos centraremos en dos de ellos. De una parte, el reto que supone lidiar fotográficamente con un agenciamiento de la territorialidad cada vez más complejo y violento, no solo por el alcance transnacional de las empresas que operan a nivel global sino por los propios mecanismos de funcionamiento de desterritorialización y reterorrialización. De otra parte, el desafío que acompaña la confrontación critica de aquello que la fotografía puede finalmente ‘representar’, de cómo lidia con ‘lo representativo’, siguiendo en este punto la nueva ontología de la fotografía propuesta por Ariella Azoulay. Podríamos resumir ambos aspectos de esta forma: la invisibilidad de la soberanía con la que opera el capitalismo global (como se mueven los hilos de los tratados internacionales en cuanto a los mercados financieros, legislación mercantil, sistemas de cultivo, transporte, trabajo o la creciente privatización de recursos) es inversamente proporcional a la visibilidad de sus consecuencias territoriales, sociales y medioambientales. La polaridad es explícita pero muy compleja. Frente a la abstracción que caracteriza el capitalismo, ¿qué posibilita la rotación ofrecida por el giro geográfico? ¿Cómo afecta a las prácticas fotográficas? ¿Qué desplazamientos supone respecto a una cultura paisajística? Dicho en otras palabras, ¿Qué aspectos arrastra esta transición del paisaje al territorio? En esta comunicación proponemos reflexionar entorno a estas interrogaciones a la luz de algunos casos de estudio especialmente idóneos para ahondar en los procesos de reconceptualización de lo geográfico.
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Kun-Hsiang, Tang. « Corporate social responsibility (CSR) – A Key Factor to an Organization’s Success ». Dans Japan International Business and Management Research Conference. RSF Press & RESEARCH SYNERGY FOUNDATION, 2020. http://dx.doi.org/10.31098/jibm.v1i1.217.
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Corporate social responsibility (CSR) is not a refreshing concept for the management of an organization in recent years. This concept refers to a firm, which has more responsibilities to adapt the needs of objectives apart from its stakeholders and owners in commercial, legal, ethical, and environmental ways (Beal and Goyen, 2005), and the responsibilities are achieved by meeting or exceeding the commercial, ethical, legal and philanthropic expectation from these objectives. The concept of corporate social responsibility was firstly introduced by the publication of Bowen's Social Responsibility of Businessmen in 1953, while almost all known companies have integrated this spirit into their business model. Nowadays, the promotion of corporate social responsibility has even become not only the wider responsibilities in which an organization contributes to society but also an approach to promote an organization's corporate image (Chang, 2009). The purpose of this paper is to briefly discuss the concept of corporate social responsibility regarding economic, ethical, legal, and philanthropic aspects, and the objectives served by corporate social responsibility such as environments, the society, and the public. This paper then explains how the realization of CSR from one organization can bring effects to its stakeholders and how the organization can obtain benefits from the implementation. Finally, this paper includes two cases from well-known companies in Taiwan, namely TSMC (Taiwan semiconductor manufacturing company) and FPG (Formosa Plastics Group) about how these companies successfully realize corporate social responsibility, and the impacts that influence the stakeholders, and the benefits they obtain for their corporate images.