Rozprawy doktorskie na temat „Photographic Practice”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Photographic Practice.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Photographic Practice”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
1
Grayson, Louise. "Streets apart genres of editorial photographs and patterns of photographic practice". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50796/1/Louise_Grayson_Thesis.pdf.
Pełny tekst źródłaStreszczenie:
My doctoral research contributes to visual scholarship by investigating and defining representational strategies of three photographic genres – press photography, photojournalism, and documentary photography – using an ‘action genre’ approach (Lemke, 1995: 32). That is, rather than taking final photographic forms as being definitive of genre, I identify patterns of ‘activity types’ involved in the production of editorial photography to define genre (1995: 32). While much has been written on editorial photography, there is no organised body of scholarship that distinguishes between these three very different modes of photographic practice. I use a major documentary project to exemplify and analyse the impact of these genres on my own photographic practice, and to explore the production of meaning within the framework of these professional genres. I triangulate the theoretical framework through the use of interviews with established Australian professionals.
2
Forrest, Eve. "On photography and movement : bodies, habits and worlds in everyday photographic practice". Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/3304/.
Pełny tekst źródłaStreszczenie:
This study is an exploration of everyday photographic practice and of the places that photographers visit and inhabit offline and online. It discusses the role of movement, the senses and repetition in taking photographs. Ultimately it is about photographers and their photographic routines and habits. Since the advent of photography, numerous texts on the subject have typically focused on photographs as objects. This trend has continued into the digital age, with academic writing firmly focusing on image culture rather than considering new issues relating to online practice. Although various technological innovations have given the photographer flexibility as to how and what they do with their images, the contention of this thesis is that analogue routines have been mostly transposed into the digital age. Nevertheless, there remains a lack of empirical enquiry into what photographers actually do within online spaces. This study is one of the first to address this knowledge gap. Taking a unique approach to the study of photography, it draws upon work in various fields, including phenomenology, social anthropology, human geography and sensory ethnography, to produce an innovative conceptual and methodological approach. This approach is applied in the field to gain an in-depth understanding of what ‘doing’ photography actually entails. An in-depth analysis of interviews with and observations of North East photographers reveals how they engage with everyday life in a distinctive way. Habitually carrying a camera allows them to notice details that most would ignore. Online and offline movements often become entangled, and when photographers explore Flickr there is a clear synergy with the way in which they explore their local city space. This research is a call to others to give serious consideration to online and offline photography practices, and an attempt to stimulate new discussions about what it means to be a photographer in the world.
3
Newbury, Darren M. "Towards a new practice in photographic education". Thesis, Birmingham City University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282948.
Pełny tekst źródła
4
Ignas-Menzies, Tristan. "Provoke as a collective practice of photographic realism". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/59066.
Pełny tekst źródłaStreszczenie:
Comprised of the critic Taki Kōji, poet Okada Takahiko, and photographers Nakahira Takuma, Takanashi Yutaka, and Moriyama Daido (who joined with the publication of the second issue), the photographic journal Provoke ran for three issues between 1968 and 1969. My thesis considers Provoke in terms of its status as a physical and commercial object within the socio-economic context of late 1960s Japan so as to offer a perspective into the collaborative endeavour represented by the journal as a whole. I argue that Provoke attempted to mobilize photography’s documentary potential in the face of the abstract conditions of Japan’s modern capitalist society. This was operationalized as a mode of photographic realism whose access to reality was a function of the journal’s collective form. The necessity for a specifically collective engagement with reality was articulated via the group’s engagement with Marxist theory: in the writings its members contributed to the journal they argued that the subjective alienation characterizing Japan’s capitalist modernity had rendered invisible the individual’s relation to the social whole.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
5
Culhane, Dylan. "Bumper to bumper: photographing across the class divide in post-apartheid South Africa. A photographic essay and analysis". Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12000.
Pełny tekst źródłaStreszczenie:
Includes bibliographical references.The eponymous collection of 64 photographs accompanying this text constitutes the creative research component of my M.A. in Media Theory & Practice. I chose to photograph the men (and to a lesser but nonetheless significant degree women) that we see being transported in bakkies and trucks on our roads on a daily basis, compiling a photographic essay engineered to provoke contemplation of current societal discrepancies.
6
Kriel, Charles. "Noise, artefact and the uncanny in large scale digital photographic practice". Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/2302/.
Pełny tekst źródłaStreszczenie:
This dissertation explores the question: why, when encountering the products of many new technologies delivering information via a new media, do I often experience a feeling of disquiet or estrangement? I use the example of laser-photographic printing to explore the issue through a program of practice-based research. The outcome of this line of enquiry includes an original contribution via three series of large-format digital photographic works: Presenting "The Amazing Kriels", Home At Last, and Pure. In this thesis, which supports the main body of the research, that is, the practice-based research, I will briefly review the case for artefact as noise within photographic printing, articulate a significant difference between the artefact levels of traditional analogue and Lambda prints, present original dialogical evidence for estrangement in the latter, and identify it via readings of Sigmund Freud's "The Uncanny" and McLuhan's "The Gadget Lover", as a function of the uncanny. I will propose an original rewriting of McLuhan's ideas of "hot" and "cool" media, as well as the cycles of irritation/mediation repression within McLuhan's media theory as a direction for future research, and relate them to a shift from large-scale analogue photographic printing to Lambda printing.
7
Pollard, Ingrid. "Home and away : home, migrancy, and belonging through landscape photographic practice". Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q56vq/home-and-away-home-migrancy-and-belonging-through-landscape-photographic-practice.
Pełny tekst źródłaStreszczenie:
The thesis consists of six bodies of photographic visual works: the exhibitions Self Evident, Regarding the Frame, and Oceans Apart, the publication Hidden in a Public Place, an artist-curator project, TradeWinds-LandFall and the video Belonging in Britain. The works are primarily lens-based practice and have been published and exhibited during the last ten years. The overall field of enquiry across the six works is concerned with the issues of Place, situated within the key themes of Home, Migrancy, and Belonging. The accompanying text details the development of the works through multiple readings of the relationship between material practices and ideas of landscape, Britishness and race. By taking a historical, but not chronological examination of the works the chapters examine aspects of the visual politics of landscape aligned with cultural experience and explore how these are expressed across a range of media and theoretical strands. The vital discussion of visual and material practice within the commentary is indicated and accompanied by extensive Supplementary Evidence, Appendix A (page 99). This appendix includes exhibition catalogues, research publications, and audio, music CD and DVD video extracts. This evidence positions the theoretical concepts within the parameters of the practice based research. The thesis also assigns authority to ‘other voices’ for a more nuanced response to the complexity of archive work. The thesis challenges and complicates ideas of rootedness to examine the possibilities of meaningful immersions and interactions within communities related to personal biography, history and diaspora as a practice method. In this sense the work locates ways, through practice, which have challenged conventional thinking about identity that limit the discourse and communication around race with the historical classification of ‘black arts’.
8
Levitsky, Maria. "Invisible Cities: Photographic Fictions of Architecture". ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1457.
Pełny tekst źródłaStreszczenie:
The artist's process in which she examines the built environment through the medium of black and white photography. By tracing the trajectory of her awareness of architecture from her early career as a dancer, to the making of photographic images, the artist illuminates the process of deconstructing architectural and pictorial space into fragmented yet illusionistically convincing photographic montages. Influenced by the urban localities in which she dwells, she tells the story of being captivated by the post-industrial landscape of Williamsburg, Brookyn, NY, followed by landing in New Orleans and her fascination with post-Katrina architecture. Grounded in the analog techniques of traditional black and white photography, Levitsky describes the various means by which she alters her images to create visionary reconstructions of buildings in transitional states.
9
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.
Pełny tekst źródła
10
Ho, Hoi-yan. "Application of aerial photograph interpretation in geotechnical practice in Hong Kong". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B42577585.
Pełny tekst źródła
11
Hobson, Stephen John, i N/A. "How can Photographic Practice Assist our Quest for Intimacy with an Ideal Other?" Griffith University. Queensland College of Arts, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070824.160040.
Pełny tekst źródłaStreszczenie:
This research undertaken through photographic studio practice and theory is the culmination of a four-year study into the nature of intimacy that answers the question: How can photographic practice assist our quest for intimacy with an ideal Other? Working closely with a number of adult volunteer participants living in South-East Queensland, the work commenced by mapping the intimate relationships between people, objects and space in bedrooms. Some of the initial works dealt with notions of sexual intimacy, because this is the most common understanding of intimacy in our society today, but the bedroom is also the place for other kinds of intimacy, such as contemplation or reading, and whether we are young or old, bedrooms are also used as a repository for intimate keepsakes and mementos. Intimacy is difficult to define, and furthermore, the meaning of the term has changed over the centuries. Intimacy is not a place, or a thing, or a person. One of the better definitions, by Thomas Moore, states, The word intimacy means profoundly interior. It comes from the superlative form of the Latin word inter, meaning within. It could be translated within-est, or most within. In our intimate relationships, the most within dimensions of ourselves and the other are engaged. Therefore, it is a feeling that we might recognise in a moment with a partner, or a particular landscape, or the thoughts evoked by an object like a photograph, and most often these feelings concern ourselves and other people. While accepting that most photography (and human experience for that matter) is not intimate, snapshot and documentary portraiture often record moments of intimacy, revealing for example, the expression of another persons face and subverting the barriers that usually mask our inner selves. But the photography in this project refused the relatively easy option of portraiture. Instead, in its final form, it sought to develop responses from the viewer to unusual conjunctions of skin and cloth that evoke looking, touch and shape and by implication suggest more historic ideas of intimacy than those commonly based on sexual intimacy today. The work shows that intimacy has aspects to it that are uncanny (in the Freudian sense), that intimacy does not always have to be invested in interpersonal human relationships, and that keeping aspects of oneself from others and knowing oneself can offer a richer experience of intimacy than giving oneself in the all-or-nothing tradition of Romanticism. The research also demonstrates that scholarly and common notions of intimacy based respectively on interpersonal relationships and sex are often reductive and partial within a desire for an authentic experience of intimacy, because they are usually based on the binary oppositions that underpin Western thought. To counter these tendencies, the theory and practice in this research evidences a middle way centred on androgyny within male psychosexual development, expressed through the psychological theories of the desire between the Self and Other that can collapse the binary oppositions of masculine/feminine and thereby offer new insights into gender, self and interpersonal relationships. These ideas are suggested by the studio practice that constitutes the final body of artworks the Intimacy Series plus the analytical and theoretical research that supports my conclusions, and my observations of the responses to the works by audiences at exhibitions. In my experience, the mix of pleasure, intrigue and uncertainty that audiences exhibit suggests that they are often caught by the Lacanian gaze of the artworks, which suggests a more complex range of characteristics within intimacy than is usually recognized today.
12
Hobson, Stephen John. "How can Photographic Practice Assist our Quest for Intimacy with an Ideal Other?" Thesis, Griffith University, 2007. http://hdl.handle.net/10072/367426.
Pełny tekst źródłaStreszczenie:
This research undertaken through photographic studio practice and theory is the culmination of a four-year study into the nature of intimacy that answers the question: How can photographic practice assist our quest for intimacy with an ideal Other? Working closely with a number of adult volunteer participants living in South-East Queensland, the work commenced by mapping the intimate relationships between people, objects and space in bedrooms. Some of the initial works dealt with notions of sexual intimacy, because this is the most common understanding of intimacy in our society today, but the bedroom is also the place for other kinds of intimacy, such as contemplation or reading, and whether we are young or old, bedrooms are also used as a repository for intimate keepsakes and mementos. Intimacy is difficult to define, and furthermore, the meaning of the term has changed over the centuries. Intimacy is not a place, or a thing, or a person. One of the better definitions, by Thomas Moore, states, ‘The word intimacy means ‘profoundly interior.’ It comes from the superlative form of the Latin word inter, meaning ‘within.’ It could be translated ‘within-est,’ or ‘most within.’ In our intimate relationships, the ‘most within’ dimensions of ourselves and the other are engaged’. Therefore, it is a feeling that we might recognise in a moment with a partner, or a particular landscape, or the thoughts evoked by an object like a photograph, and most often these feelings concern ourselves and other people. While accepting that most photography (and human experience for that matter) is not intimate, snapshot and documentary portraiture often record moments of intimacy, revealing for example, the expression of another person’s face and subverting the barriers that usually mask our inner selves. But the photography in this project refused the relatively easy option of portraiture. Instead, in its final form, it sought to develop responses from the viewer to unusual conjunctions of skin and cloth – that evoke looking, touch and shape – and by implication suggest more historic ideas of intimacy than those commonly based on sexual intimacy today. The work shows that intimacy has aspects to it that are uncanny (in the Freudian sense), that intimacy does not always have to be invested in interpersonal human relationships, and that keeping aspects of oneself from others and knowing oneself can offer a richer experience of intimacy than giving oneself in the all-or-nothing tradition of Romanticism. The research also demonstrates that scholarly and common notions of intimacy – based respectively on interpersonal relationships and sex – are often reductive and partial within a desire for an authentic experience of intimacy, because they are usually based on the binary oppositions that underpin Western thought. To counter these tendencies, the theory and practice in this research evidences a ‘middle way’ – centred on androgyny within male psychosexual development, expressed through the psychological theories of the desire between the Self and Other – that can collapse the binary oppositions of masculine/feminine and thereby offer new insights into gender, self and interpersonal relationships. These ideas are suggested by the studio practice that constitutes the final body of artworks – the Intimacy Series – plus the analytical and theoretical research that supports my conclusions, and my observations of the responses to the works by audiences at exhibitions. In my experience, the mix of pleasure, intrigue and uncertainty that audiences exhibit suggests that they are often ‘caught’ by the Lacanian gaze of the artworks, which suggests a more complex range of characteristics within intimacy than is usually recognized today.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Full Text
13
Ho, Hoi-yan, i 何凱欣. "Application of aerial photograph interpretation in geotechnical practice in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B42577585.
Pełny tekst źródła
14
Hock, Katja. "The absent presence of the subject : an investigation of the place of the individual in the modern hospital through a photographic practice, which refers to German photographic discourses". Thesis, University of the Arts London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650320.
Pełny tekst źródła
15
Tirohl, Blu. "Photographic images and new imaging technologies : an examination of the impact of new imaging technologies on the authority of photographic images with reference to photojournalism and observational practice". Thesis, University of Lincoln, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393061.
Pełny tekst źródła
16
Turner, M. J. "The view : gendered views of observation through the creative practice and installation of photographic and moving image". Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/9485/.
Pełny tekst źródłaStreszczenie:
This practice-led thesis investigates how a contemporary female practitioner can provoke thought about the impact of observation on the individual, from a gendered viewpoint. Employing purposeful experimentation and visual discovery, questions emerging from practice are raised and examined through exposition and reflective appraisal. Creatively manipulated situations of observation are instigated, through the installation of photography and moving image, to examine the exchange between artwork and audience and to raise awareness of the presence of observation, surveillance and the panoptical gaze. Working from a positive and proactive feminist paradigm, relevant theoretical approaches are used to inform the central concepts drawn from a broad base of texts. The discursive account operates within the context of comparative approaches and methodologies used by contemporary artists, shown in major exhibition venues between 2004 and 2016. The inquiry is investigated through primary research, visual analysis, and direct contact with artists and writers. Selected creative works from both contemporary and historical sources are reviewed, to provide inspiration, methodology and technical detail for particular aspects of content. Through the articulation of practical realisation, a significant contribution of selected and focused work emerges, where the combination of moving and photographic imagery is uniquely fused to create site-specific installation.
17
Skopeteas, Ioannis. "Photographic practice and aesthetics in the film image : the case of the Greek feature films in the mid 1990s". Thesis, University of Westminster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434289.
Pełny tekst źródła
18
Sargent, David. "No Bodies Perfekt: A speculative body image awareness and intervention campaign". Thesis, Griffith University, 2018. http://hdl.handle.net/10072/384788.
Pełny tekst źródłaStreszczenie:
Extreme dieting, exercise, cosmetic surgery, substance abuse, disordered eating, mental and
physical health conditions are issues linked to the development of a negative body image.
It is a significant issue in contemporary society and one of the top personal concerns of
Australian adolescents. While many body image awareness and intervention campaigns
have previously been deployed to combat this issue, there has been little research into the
visual design of these campaigns.
This doctoral project aims to demonstrate that visual designers using a practice-led
designer-as-producer approach, rather than following the traditional designer-as-serviceprovider
paradigm, can improve the efficacy of body awareness and intervention
campaigns.
My self-directed ‘designer-as-producer’ focus was informed by and responded to the
contexts of body image in contemporary culture, contemporary visual design practice,
and existing approaches towards body image awareness and intervention campaigns. To
this end, a series of methods were employed, including creative studio practice, reflective
analysis, and synthesis. These methods of investigation continuously informed each other,
revealing new insights and suggesting further actions to be taken.
One of the findings of the research was the problematic use of photographic imagery in this
field. As an alternative to photographic imagery, my creative outcomes explored the use of
hand-lettering to communicate body shape diversity through metaphor. The application of
lettering also positioned my outcomes against mainstream consumerist culture by rejecting
standardisation and promoting care and uniqueness.
Working in a designer-as-producer capacity also allowed me to develop perspectives and
modes of engagement that vastly differ from existing approaches used in body image
awareness and intervention campaigns. The research project culminated in a speculative
body image awareness and intervention campaign titled No Bodies Perfekt. Incorporating
statements and messages found to be effective in changing perceptions around body
image and media literacy, No Bodies Perfekt utilised augmented reality to disrupt physical
advertising in the public sphere with hand-lettered digital overlays.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
19
Blazejewski, L. "Keep off the grass! : an exploration of how photographic practice may be used to develop alternative representations of the urban nature subject". Thesis, University of Salford, 2013. http://usir.salford.ac.uk/29575/.
Pełny tekst źródłaStreszczenie:
The relationship between people and nature has long been suffering from a cultural disconnect. In truth, nature is far more readily likened to travel than it is to everyday life; synonymous, as it is, with those faraway ideals beyond the everyday reach of an urban dweller. However, urban environments are teeming with a range of plants and animals, known as urban nature, thus providing the opportunity to shed these exotic associations in favour of a far more accessible experience. In order to do so, the form of contemporary urban nature photography will be examined in this thesis, where any representational trends found to be inhibiting its development will be identified, and ultimately challenged. A combination of photographic practice and reflective analysis was used to challenge these problematic trends. Five experiments were carried out. These served to yield a set of photographs which developed alternative representations of the urban nature subject. The resulting photographs of each experiment were subjected to a means of reflection; based on Gary Rolfe’s three stage method but refocused for compatibility with photographic practice, where observations were drawn from one experiment so as to guide the direction of the following experiment. These experiments culminated in a final project: a definitive body of photographs that served to fuse the findings of each experiment into an alternative aesthetic. Identity became a critical theme underlining the representations of the urban nature subject in this thesis, for the displacement of photographic information began to instil the subject with - to some extent - otherworldly sensibilities. This process challenged the active predisposition toward naturalism in urban nature photography, and began to direct such tendencies toward a much broader aesthetic landscape; engaging with unreserved artistic ideologies so as to develop exclusive representations of the urban nature subject.
20
White, Katie Janae. "The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner". BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4114.
Pełny tekst źródłaStreszczenie:
In July of 1863 the photographs A Harvest of Death, Field Where General Reynolds Fell, A Sharpshooter's Last Sleep, and The Home of a Rebel Sharpshooter were taken after the battle at Gettysburg by a team of photographers led by Alexander Gardner. In the decades that followed these images of the dead of the battlefield became some of the most iconic representations of the American Civil War. Today, Gardner's Gettysburg photographs can be found in almost every contemporary history text, documentary, or collection of images from the war, yet their journey to this iconic status has been little discussed. The goal of this thesis is to expand the general understanding of these Civil War photographs and their legacy by considering their use beyond the early 1860s. Although part of a larger scope of influence, the discussion of the photographs presented here will focus particularly on the years between 1894 and 1911. Between those years they were made available to the public through large photographic histories and other history texts as well. The aim of these texts, which framed and manipulated Gardner's images, were to disseminate a propagandistic history of the war in a way that outlined it as a nationally unifying experience, rather than one of division. These texts mark the beginning of the influence the Gettysburg photographs would have on American memory of the war. Within these books the four photographs became part of a larger effort to reconnect with the past and shape the war into a source for a unified American identity.
21
Barnett, Patricia Jan. "An investigation into painting's transformation and regeneration through post-photographic intervention in the digital archive". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61909/2/Trish_Barnett_Thesis.pdf.
Pełny tekst źródłaStreszczenie:
This PhD practice-led research inquiry sets out to examine and describe how the fluid interactions between memory and time can be rendered via the remediation of my painting and the construction of a digital image archive. My abstract digital art and handcrafted practice is informed by Deleuze and Guattari’s rhizomics of becoming. I aim to show that the technological mobility of my creative strategies produce new conditions of artistic possibility through the mobile principles of rhizomic interconnection, multiplicity and diversity. Subsequently through the ongoing modification of past painting I map how emergent forms and ideas open up new and incisive engagements with the experience of a ‘continual present’. The deployment of new media and cross media processes in my art also deterritorialises the modernist notion of painting as a static and two dimensional spatial object. Instead, it shows painting in a postmodern field of dynamic and transformative intermediality through digital formats of still and moving images that re-imagines the relationship between memory, time and creative practice.
22
Prudente, Jéssica. "Tempo, trabalho e fotografia : a produção de práticas reflexivas nos jogos de verdade do trabalho em saúde". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/53114.
Pełny tekst źródłaStreszczenie:
Este estudo está inscrito na temática das políticas públicas em saúde e foi realizado a partir do acompanhamento de trabalhadores da atenção básica em saúde que trabalham em um Ambulatório Básico, na cidade de Porto Alegre-RS. Problematizando a política pública de saúde, formalizada pelo Sistema Único de Saúde (SUS), como uma biopolítica que regula e controla a vida da população, pôde-se entender os trabalhadores e a pesquisadora como sujeitos produzidos nas relações de poder e nas condições de possibilidade deste campo, as quais reforçam um modelo biomédico, ambulatorial e higienista, diferente do modelo de saúde preconizado pelo SUS. O objetivo deste estudo foi visibilizar a produção de sujeitos a partir da provocação de práticas reflexivas sobre os modos de trabalhar e sobre si mesmos, tensionando visibilidades e dizibilidades. A discussão teórica está fundamentada nas noções de sujeito, ética, prática e biopolítica na obra de Michel Foucault e a metodologia está embasada na pesquisa intervenção e na intervenção fotográfica. Destaca-se que este estudo problematiza a pesquisa como exercício ético e a constituição do pesquisador como contemporâneo. A produção de imagens foi uma intervenção nas linhas de visibilidade e nos modos de ver, convocando um exercício de suportar um tempo de reflexão e de pensar sobre o trabalho a partir de uma implicação com a produção de fotografias sobre o trabalho. Estas produções evidenciaram uma ênfase no ambiente de trabalho precário, nos equipamentos, na prescrição e na lógica individualista das relações, reforçada por reclamações e queixas constantes sobre as condições de trabalho, em um contexto de reforma, greve e mudanças institucionais. Ainda, um analisador que se relacionou teórica, metodológica e analiticamente com todo o percurso da pesquisa foi o “tempo” e seus desdobramentos, tensionando suas relações com o espaço, o trabalho e o pesquisar.This study is inserted in the public health policy landscape and was based on the follow-up of basic attention workers located in a Basic Ambulatory in the city of Porto Alegre, state of Rio Grande do Sul, Brazil. By problematizing the public health policy, formalized by the Unified Health System (SUS – Sistema Único de Saúde), as a biopolitics that regulates and controls the population‟s life, the understanding of the workers and the researcher as subjects produced by the power relations and possibilities of this field was possible, which reinforces a biomedical, ambulatory and hygienist model, different from the health model recommended by the SUS. This study‟s objective was to highlight the subject‟s production starting from the promotion of reflexive practices about the ways of working and about themselves, stressing visibilities and utterabilities. The theoretical discussion is based on the notions of subject, ethics, practices and biopolitics from Michel Foucault‟s work and the methodology is based on the intervention research and the photographic intervention. It is also highlighted that this study problematizes the research as an ethical exercise and the researcher‟s constitution as contemporaneous. The images‟ production was an intervention in the line of sight and ways of watching, calling for an exercise of reflection on time support and also of thinking the work from an implication‟s point of view using photography production about work. These productions showed an emphasis on precarious work environment, the equipments, prescriptions and the individualist logic of the relations, reinforced by complaints and constant protests about working conditions, in a context of reform, strikes and institutional changes. Additionally, an analyzer that related itself theoretically, methodologically, and analytically during the research course was the “time” and its deployments, stressing its relations with space, work and research itself.
23
Baird-Bate, Kirsten P. "Making visible the lived experiences of mothers of children with autism spectrum disorder". Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/128644/1/Kirsten_Baird-Bate_Thesis.pdf.
Pełny tekst źródłaStreszczenie:
Raising a child with autism spectrum disorder (ASD) is complex. Gaining insight into the lived experiences of mothers of children with autism is a first step toward developing effective policy and services to support not only children with ASD but also their families. This Visual Narrative study asked participants to capture daily photographs then engage in a semi-structure interview. Findings showed child health/behaviour significantly influenced the maternal lived experience within the family; external systems; and the mothers' own experience of wellness. The nuanced insights contribute towards understanding of ASD and highlight the importance of family-centric policies.
24
Giles, Jacinta. "Ordinary Affects: Minor Photography, the Televisual and the Baroque Mise-en-scène". Thesis, Griffith University, 2021. http://hdl.handle.net/10072/409629.
Pełny tekst źródłaStreszczenie:
This practice-led research project investigates ways to account for contemporary photographic practices that reside in the continuum between the representational and the abstract. As an inquiry with multiple entryways, it is an attempt to offer a language through which to describe and evaluate photography that is not easily situated in existing traditions. This thesis argues that photographs, which are difficult to locate through conventional readings, can call forth new ways of deciphering and translating our affective experience of everyday life and give voice to difference. This project is, therefore, also a generative contribution to the emergent literature on ordinary affects within the visual arts—a subject which has been more rigorously considered in literature, theatre, cinema, and philosophy.
In offering new possibilities for thinking about contemporary photography, through analysing its technical means of production and the related conceptual implications, this research moves towards a better understanding of a photograph’s affective charge. As an interdisciplinary entanglement between philosophy, art theory, contemporary artworks, and a studio-based practice, this project does not seek to prove if something is true, but rather looks to challenge traditions, make new connections, and create lines of flight through unconventional assemblages.
In drawing upon the work of Gilles Deleuze to map and contextualise the research findings, this thesis offers encounters that operate beyond representation to create new images of thought. Through examining the concepts of minor photography, the transnarrative televisual, and the baroque mise-en-scène, this research asserts the potential of expanded photographic practices to dismantle habits of perception and create alternative pathways for imagining the world.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
25
Quayle, Cian. "Inventory for a reverse journey : photographic image and found object : an investigation of travel and material transformation as a paradigm of artist's practice : Ed Ruscha, Douglas Huebler, Bas jan Ader, Jimmie Durham, Gustav Metzger, Kurt Schwitters & Cian Quayle". Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/2308/.
Pełny tekst źródłaStreszczenie:
Inventory for Reverse Journey is the title of a collection of photographic artefacts and found objects, which I have collected over the last twenty years. The title refers to one specific type of artist's journey, which is applicable to the `chronotope' of my archive, as a `metaphorical journey in space and time' (Bakhtin 1981, p. 81). The `city',`provincial town', `road', `threshold' and `interior' are recurrent motifs, which Bakhtin fused together to describe the historical evolution of the novel in relation to its different genres. Bakhtin's motifs are expanded as the basis of an evolutionary nomenclature of the artist's-journey, as a form of spatial mapping and identity formation. Alongside other sources from literature (Alain Robbe-Grillet), cinema (Michelangelo Antonioni), psychoanalysis (Kierkegaard) and critical theory (Walter Benjamin) I have developed a theoretical framework, which initially originated in an empirical process, that is reflected in the antecedents of this project. The research process, as a journey itself, has concretised this approach within a systems-based practice. This is mirrored in the work of the artists under investigation, as their differences and similarities are highlighted within a broad contextual analysis. Accordingly the tone of the writing shifts its register at different points in the thesis. My journey is just one example of several paradigmatic formations of `travel' as a strategy, which investigates the work of six different artists, as a voluntary or involuntary form of exile. A deskilled use of the photographic image is examined in the work of Ed Ruscha, Douglas Huebler and Bas jan Ader in the spatial mapping of their chosen locations. The work of these artists manifests travel, as a strategy, in a benign form of regional and expatriate exile. The investigation shifts its focus from the New World to Europe, where the work of Jimmie Durham, Gustav Metzger and Kurt Schwitters is analysed in relation to their transformation of found objects and materials, and their relationship with a former 'home'. Their position registers different degrees of the `impossibility of return' to a point of origin, which exists in the mind rather than as a physical location. The transience of their work, and use of disparate materials, is counterbalanced by their physical presence in the work. Conversely Ader, Huebler and Ruscha are linked by a scale of decreasing visibility, as they are sublimated within their work in the formation of, what is now construed as, a unique photographic presence. The starting point for which is a return to the formative years of conceptualism in the 1960's, which set the scene for Durham and Metzger from the 1970's onwards. The spectre of Schwitters practice of forming (Formung) and unforming (Entformung) is significant for my analysis of the dematerialisation of the art-work and artist, by processes of series and repetition, distance and proximity, movement and stasis. Although `travel' is a ubiquitous term, I continue to use it as a portmanteau, which carries with it the themes and `salient' features of a typology of artist's journeys. In a moment of perceived obsolescence as digital information systems engender a culture of `selective-amnesia', these thoughts have informed my work, which runs parallel to the artist case-studies, and the material transformation of the photographic image and found object.
26
Allen, Michele. "While reason sleeps: a practical investigation into the multiple narrative of place, explored through a process of expanded, "self reflexive" documentary practice incorporating photographic and audio work, with reference to Victor Pasmore's Apollo Pavilion (Peterlee) and the broader artistic and historical context of Peterlee and County Durham (ref. Nichols, B. 1991)". Thesis, University of Sunderland, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589397.
Pełny tekst źródłaStreszczenie:
The thesis provides an account of a series of artworks produced between November 2006 and February 2009 exploring 'sense of place' through photographic practice and sound work, responding to Victor Pasmore's Apollo Pavilion in Peterlee. The research process utilised action research and incorporated a range of formal and informal research methods including; photography, interviews, theoretical research, and the use of sketchbooks. Initially a broadly framed research question was posed in order to allow a degree of thematic fluidity and time to reflect on the artistic research. After working on a series of smaller artistic projects exploring sense of place, Victor Pasmore's involvement in the design of Peterlee emerged as the main focus for the research leading to the formulation of the following questions in relation to my artistic research. 1. Is it possible to articulate new artistic understandings of Peterlee New Town through the development of' new photographic work in combination with sound/audio? 2. What specific photographic and artistic strategies are appropriate to articulate this understanding and how might they operate aesthetically and conceptually? 3. What are the relevant theoretical, historical and artistic contexts for such practice and how do they inform the development of new work? 4. How might such work be appropriately disseminated and evaluated? Initially the consideration of these questions informed the development of a series of inter- related audio installations and photographic works titled 'An Exercise in Total Environment', which investigated the multiple narratives connected to the Apollo Pavilion by drawing on information from council planning documents, artistic surveys and interviews with long-term residents of Peterlee. A related photographic series 'While Reason Sleeps' then emerged reflecting on Pasmore's involvement in housing design around the Pavilion and relationships between photography and painting. This practical work makes a contribution to knowledge, providing a new approach to photographic representations of Peterlee, through the incorporation of audio work and the consideration of the relationships between Pas more's work on the Pavilion and the design of the surrounding houses. The discussion of these works in relation to the wider theoretical context forms the basis for the case study chapter. The development of this practice in Peterlee was also informed by my previous involvement in the revival of 8tuart Brisley's Peterlee project (2004), which is discussed in the literature review section. This chapter also examines key theoretical ideas relating to place, site specificity and the critique of documentary (in film and photography) which are relevant to my photographic practice. These ideas are then expanded into the discussion of artworks and other cultural outputs connected to Peterlee and the Durham Coalfields, in order to critically place my own practice and give an account of the working context and history of artworks made in connection to Peterlee.
27
Price, Alun John. "Cultures Of Practice Within Design: An Exploration Of The Differences And Similarities Between Photography And Painting As Representational Practices". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1451.
Pełny tekst źródłaStreszczenie:
Contemporary designers and photographers face many challenges as the profession rapidly develops. This is especially the case in in the Western Australian context. A review into the recent history of the Western Australian design profession is evidence that designers and photographers are consistently shifting between commercial and self-expressive practice. However, the urge to keep up with technological advancement has masked conscious development of this shift, which is a key to self-realisation and improvement for a designer and photographer. This lack of conscious questioning limits holistic development in design practice. This research reflects on myself as a designer developing a response to the significant convergence of media that developed during my career. The research led to an understanding of the development of design as a practice and its connections to art, especially painting. This exploration of the differences and similarities between photography and painting, as representational practices that impact upon the values of a practitioner, seeks, in part, to understand photography using paint.
This research is a broad investigation that sets out to reveal aspects of these relationships, and to raise questions that will form the basis of more in depth studies.
28
Sandlos, Karyn Elizabeth. "Troubling images, reflections on photography, pedagogy and political practice". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29174.pdf.
Pełny tekst źródła
29
Elder, Tanya. "Capturing change : the practice of Malian photography, 1930s-1990s /". Linköping : Tema, Univ, 1997. http://www.bibl.liu.se/liupubl/disp/disp97/arts168s.htm.
Pełny tekst źródła
30
Landry, Brian Michael. "Storytelling for digital photographs supporting the practice, understanding the benefit /". Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/31805.
Pełny tekst źródłaStreszczenie:
Thesis (Ph.D)--Computing, Georgia Institute of Technology, 2010.Committee Chair: Guzdial, Mark; Committee Member: Abowd, Gregory; Committee Member: Mynatt, Elizabeth; Committee Member: Smith, Michael; Committee Member: Thomas, John. Part of the SMARTech Electronic Thesis and Dissertation Collection.
31
Dunn, Geoffrey. "Deconstructing documentary : theory and practice in documentary film and photography /". Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.
Pełny tekst źródła
32
Hill, Alan A. "Beyond Good Intentions: Reframing documentary photography as a civil practice". Thesis, Griffith University, 2022. http://hdl.handle.net/10072/416288.
Pełny tekst źródłaStreszczenie:
Documentary photography has long thought of itself as performing an important societal function. Although it is certainly capable of this, documentary discourse remains caught between imprecise ‘social justice’ ambitions and limited critiques of the ‘ethics’ of documentary work. This practice-led research seeks to reframe the practices and discourses of documentary through recent scholarship that synthesises photography and political theory. Ariella Aisha Azoulay’s rethinking of the category of ‘the political’ is central to enabling what she refers to as the emergence of the civil—defined as “the interest that citizens display in themselves, in others, in their shared forms of coexistence, as well as in the world that they create and nurture”. I use this understanding, in combination with my practice, to establish a civil framework for documentary praxis that can more clearly demonstrate civil intention and enable civil discourse. This framework is elaborated through four practice-led case study projects which explore a variety of contextually relevant approaches and presentation platforms that attempt to explore the political ontology of photography and its potential to operate as a platform for social relations.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Full Text
33
Baker, Carole. "Imaging the animal : visual media representation within creative practice". Thesis, University of Sunderland, 2000. http://sure.sunderland.ac.uk/5251/.
Pełny tekst źródła
34
Vernon, Alyss Marie. "Reflecting on the sublime". Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2651.
Pełny tekst źródłaStreszczenie:
A place exists where memories and daydreams are allowed to mingle.
This place is safe.
Away from judgmental eyes. Away from outside influences.
This place is safe.
Free from the constraints of time and obligation.
This place is safe.
Attach yourself to this small corner of the world. This is your space, claim this space, for
This place is safe.
35
Smith, Sarah Phyllis. "These things happened and this is how I know". Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2635.
Pełny tekst źródłaStreszczenie:
Through acts of preservation my work deals with perceptions of identity and tradition within family structures while also addressing our expectations of photography and the ways in which it fails. Photographs continually promise what they cannot deliver. They are a physical object denoting the possibility of an infinite existence yet represents how ephemeral these experiences and we are. They represent our memories, good or bad, without empathy, serving as hatch marks on our lives, forcing us to always look backwards for the answers. With a slight sorrow, we reflect on past realities of ex lovers, relatives, vacations, and all of the other moments we deemed worthy enough of documenting. We build catalogues of our lives, which become seas of anonymity for future generations. This work is about the failure in our perceptions of infinity and the medium we've come to rely so heavily on to represent us as once being present. Through photographs, film, and performances of familial traditions I examine relations of these acts and places to a sense of existence, creating a language of self-reference to map the past.
36
Edwards, Portia. "Mixing media : Cubist painterly practice in Paul Strand's photography (1915-1917)". Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1195168682.
Pełny tekst źródła
37
MELO, MARIA ISABEL AFONSO. "GOLDEN RATIO AND FIBONACCI NUMBERS: FROM THEORY TO PRACTICE THROUGH PHOTOGRAPHY". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=33080@1.
Pełny tekst źródłaStreszczenie:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE MESTRADO PROFISSIONAL EM MATEMÁTICA EM REDE NACIONAL
Este trabalho teve o intuito de conciliar o ensino de matemática com práticas muito presentes no cotidiano dos alunos nos dias atuais: o uso da tecnologia e a comunicação através da fotografia. Com esse objetivo, foram selecionados conteúdos matemáticos que historicamente estão relacionados com a beleza e harmonia: a razão áurea e a sequência de Fibonacci. Tais enfoques permitem associações diretas em outros campos do conhecimento como por exemplo, a arte, a natureza, o estudo do corpo humano que trouxeram significância, cultura, interdisciplinaridade e criticidade ao presente estudo. Por outro lado, a fotografia também carrega na sua essência conceitos de harmonia, beleza, composição e enquadramento e possibilita o desenvolvimento da criatividade e da inovação propiciando uma quebra dos métodos tradicionais na sala de aula. Por fim, a proposta aqui apresentada defende o uso da tecnologia a favor do desenvolvimento de propostas pedagógicas que incrementem o processo de ensino e aprendizagem, através do incentivo ao uso orientado de celulares na escola. A proposta foi experimentada com alunos do nono ano de uma escola da rede municipal de ensino do Rio de Janeiro e, pôde-se perceber que, a dinâmica empregada motivou os alunos, possibilitou um crescimento acadêmico e social e permitiu a construção de aulas criativas e cooperativas. Conceitos básicos, matemáticos e históricos, dos temas escolhidos assim como a descrição da proposta e os resultados alcançados na experimentação são expostos ao longo desse trabalho que pretende ser mais uma proposta a colaborar para o crescimento da educação básica no país.
This work had the intention to conciliate the teaching of mathematics with very common practices in student s daily routine nowadays: the use of technology and communication through photography. With this objective, mathematical topics historically related to beauty and harmony were selected: the golden ratio and the Fibonacci sequence. Such approaches allow direct associations in other fields of knowledge like art, nature, the study of the human body which brought significance, culture, interdisciplinarity and criticism to the present study. On the other hand, photography also brings in its essence concepts of beauty, harmony and framing, making the development of creativity and innovation possible and allowing a break of the traditional methods in classroom. At last, the presented proposal defends the use of technology favoring the development of pedagogic proposals that boost the process of teaching and learning through the incentive of the guided use of cellphones in school. The proposal was experimented with 9th (ninth) grade students from a Rio de Janeiro municipal school and, it can be noticed that, the employed dynamics motivated the students, enabled academical and social growth and allowed the construction of creative and cooperative classes. Basic, mathematical and historical concepts of the chosen themes, as the proposal description and the results achieved in the experiments are exposed in the course of this work, which intends to be one more proposal to collaborate to the growth of basic education in the country.
38
Allan, Christopher. "An analysis of digital photojournalistic practices: a study of the Sowetan's photographic department". Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1003071.
Pełny tekst źródłaStreszczenie:
Photojournalism in South Africa is in the process of undergoing a shift from an analogue past to a fully digital future. This shift to digital has already been completed by many of the newspapers in the United States of America and Europe, and the new technology is seen to have made fundamental differences in the way that journalists do their job. This thesis attempts to explore the differences brought about, as well as the problems experienced by the photographic department at the Sowetan newspaper as a result of the shift to digital. How the development of technology has affected the photojournalist throughout is focused upon in a brief history of photojournalism and examples of how technology has shaped different aspects of journalism in both a positive and negative manner is considered. Exactly what digital photography is, how it has been integrated into American Photographic departments and the changes that the new technology has prompted are also explained. The manipulation of images in the past as well as the relative ease of digital manipulation are covered and concerns are raised about the future implications of digital manipulation. By conductlng participant observation and holding interviews, research data was compiled which allowed conclusions to be drawn about the impact that the shift to digital had had on the Sowetan photographic department. Intentional and unintentional consequences were expected and revealed in the research. The job of the photojournalist and photographic editor was found to have changed but perhaps not as dramatically as expected. Third world factors such as crime, poverty and lack of education were discovered to have resulted in problems that differed noticeably from those experienced by American and European photographic departments. Some expected difficulties were not experienced at all, while other major obstacles, specifically the repairs that must constantly be made to the digital cameras, continue to hamper the operations of the new digital department. Some understanding of the problems that might be encountered by future photojournalism departments that are considering making the shift to digital are arrived at, in the hope that they may be foreseen and overcome.
39
Görgen, Carolin. "Out here it is different - The California Camera Club and community imagination through collective photographic practices : toward a critical historiography, 1890-1915". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC010/document.
Pełny tekst źródłaStreszczenie:
Le California Camera Club, un collectif de photographes amateurs et professionnels actif à San Francisco notamment entre 1890 et 1915, est une organisation constamment marginalisée dans l’histoire de la photographie et de l’Ouest américain. En adoptant une double approche d’histoire culturelle et matérielle, cette thèse éclaire une gamme d’activités et de productions de ce club largement inconnu, qui ont contribué à forger l’identité d’une communauté éloignée de l’Ouest. Par son approche inclusive, réunissant plus de 400 membres en 1900, le club doit être considéré comme une organisation localement ancrée, qui se sert de la photographie pour produire un récit esthétiquement attirant et historiquement cohérent de la ville et de l’État. Malgré son chevauchement chronologique avec le pictorialisme et son ambition de faire reconnaître le médium parmi les beaux-arts, le corpus du club ne peut être inséré dans un canon d’histoire de l’art de la photographie. En se basant sur diverses stratégies de diffusion et d’exposition, les membres adoptent plutôt une approche collective qui transforme l’aspiration à la reconnaissance en un désir de légitimation régionale. À travers une analyse de pratiques photographiques, d’usages et d’itinéraires des objets, cette thèse retrace la construction d’une représentation idiosyncratique de la culture et de l’histoire californiennes par un club qui participe à la conquête d’une place légitime pour l’État sur la scène nationale. En mettant l’accent sur la dimension collective de la photographie, cette analyse montre comment sa pratique dans un territoire isolé mène à la construction imaginaire d’une communauté dotée d’une compréhension commune de ses valeurs esthétiques et de son histoire. L’enjeu de cette thèse est ainsi de réviser un schéma linéaire et étroit de l’histoire de la photographie en élargissant les perspectives géographiques, socioculturelles et archivistiquesThe California Camera Club, a collective of amateur and professional photographers, most active in San Francisco between 1890 and 1915, represents a constantly marginalized organization in the history of photography and of the American West. By adopting a two-fold cultural-historical and material approach, this thesis sheds light on a largely unknown variety of Club activities and productions that served as meaningful elements to forge the identity of a remote Western community. Through its inclusive outlook, unifying more than 400 members in 1900, the Club must be considered a locally embedded organization that mobilized photography to produce an aesthetically pleasing and historically coherent narrative of the city and the state. Despite its chronological position in the period of Pictorialism and the striving for institutional recognition, the Club corpus cannot be inserted into an art-historical canon of photography. Rather, by drawing on diverse strategies of dissemination and exhibition, the members adopted a collective approach to the medium that turned the striving for institutional recognition into a desire for regional legitimation. Through an examination of photographic practices, uses, and object trajectories, this thesis traces the construction of an idiosyncratic representation of Californian culture and history by the Club, which actively assisted the state’s search for a legitimate national place. By focusing on the collective dimension of photography, the analysis demonstrates how the practice in an isolated territory led to the imagination of a community with shared aesthetic and historical understandings. The object of this thesis is to revise both linear and narrow tropes in the history of photography by broadening its geographic, sociocultural, archival perspectives
40
Chapman, Sarah Lesley. "Puncturing the silence : painting over the found photograph". Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3088.
Pełny tekst źródłaStreszczenie:
Set up as a visual investigation, the research explores how the addition of paint and graphite materials onto the surface of found and discarded photographs, creates a visual and conceptual disjuncture by punctuating and altering the temporal frame of the photograph. The research is positioned in relation to Susan Sontag’s description in On Photography (1977) as to how the photograph can at once “transfix” and “anesthetize” the subject matter, which through the passage of time serves to create an “aesthetic distance,” and Roland Barthes’ observation in Camera Lucida (1980) that the photograph is “platitudinous.” The tendency to project nostalgic sentiment onto the found vernacular photograph is explored, drawing on Susan Stewart’s notion of the authentic object in On Longing (1984), which, it is argued, when expressed in the form of the found photographic object, becomes an emblem of loss, further exaggerating the sense of distance and impenetrability. Working specifically with the found photograph prompts a questioning of previous critical commentaries concerning painting over photographs, as in Gerhard Richter’s ‘Overpaintings,’ where Joannes Meinhardt (2009) suggests that the addition of paint intensifies the essential “speechlessness” of the photograph. This research extends these discourses and contributes a counter critical position, supported and articulated through an original body of work. It proposes that the applied paint on the surface of the found photograph punctures the essential “speechlessness” and unknowability magnified within this subset of photography. The very physical materiality and difference offered by the paint medium ruptures the perception of distance and mediates the tendency towards nostalgic interpretations, bringing a level of stability and certainty in the face of the uncertain, fluctuating meaning and temporal plane of the found photograph.
41
Davies, Mark Philip. "Moving Images : The Practices and Politics of Displaying Family Photographs". Thesis, Keele University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522673.
Pełny tekst źródła
42
Josephy, Svea Valeska. "The development of a critical practice in post-apartheid South African photography". Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52508.
Pełny tekst źródłaStreszczenie:
Thesis (MA)--Stellenbosch University, 2001.ENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills of apartheid in order to gain support for the liberation movement, both locally and abroad. It was serious and didactic in its purpose and did not allow for creative responses to the medium, as the camera was seen as a 'weapon' of the struggle. The 1990s saw the beginning of the emergence of a liberated South Africa. The documentary imperative to record and expose apartheid practices was now increasingly redundant. Photographers, particularly after the elections, were faced with a 'crisis' of sorts in documentary as the main focus of their subject had been removed. The upshot of this was that documentary photographers had to find new subjects, which they had to approach in different ways. The arrival of Postmodernism in South Africa coincided with the demise of apartheid. It had in essence been kept at bay by what seemed to be the more pressing issues of the struggle. Postmodern art and its theoretical base, post-structuralism, argued for an erosion of the previously fixed concepts of genre, and allowed for the mixing of the previously separate categories of 'documentary' and 'art'. There was a radical questioning of previously fixed constructs of race, identity, class and gender. The erosion of the documentary imperative to record allowed for more creative responses to the medium than ever before. Artists were able to experiment technically, with video, multi-media, digital photography, historical processes, colour, composite work and interactive pieces. In this thesis I explore the above-mentioned shift and situate my practical work within this contemporary paradigm.
AFRIKAANSE OPSOMMING: Op die gebied van fotografie is die toneel in Suid-Afrika in die 20ste eeu deur die dokumentêre genre oorheers. Die genre het sy oorsprong in 'n Modernistiese en kolonialistiese, 19de-eeuse siening, naamlik dat die kamera 'n objektiewe en akkurate voorstellingsmiddel is waarmee empiriese bewyse ingesamel en die "waarheid" uitgebeeld kan word. Hierdie positiwistiese uitkyk is tydens die apartheidsjare op die dokumentêre praktyk in Suid-Afrika oorgedra. Tydens hierdie era was dokumentêre fotografie daarop gemik om die sosiopolitieke euwels van Suid-Afrika onder apartheid bloot te lê, ten einde sowel binnelands as buitelands vir die bevrydingsbewegings steun te werf Met hierdie gewigtige en didaktiese doel voor oë, was daar min ruimte vir 'n kreatiewe hantering van die medium, aangesien die kamera as 'n "wapen" in die stryd teen apartheid gesien is. Die 1990's het die begin van Suid-Afrika se bevryding ingelui. Die dokumentêre imperatief om apartheidsdade op rekord te stel en aan die groot klok te hang, het vervaag. Fotograwe het 'n soort "krisis" in die gesig gestaar, veral na die verkiesing, want die onderwerp van hulle fokus het verdwyn. Die resultaat was dat dokumentêre fotograwe nuwe temas moes vind, wat hulle vanuit 'n ander oogpunt moes benader. In Suid-Afrika het die koms van Postmodernisme met die ondergang van apartheid saamgeval. Voorheen is dit in wese oorskadu deur oënskynlik belangriker kwessies rondom die "struggle". Postmoderne kuns en die teoretiese grondslag daarvan, naamlik post-strukturalisme, bepleit 'n beweging weg van die vaste begrip van genre wat voorheen gegeld het. Hiervolgens raak 'n vermenging van die voorheen afsonderlike kategorieë 'dokumentêr' en 'kuns' moontlik. Dit bring ook 'n radikale bevraagtekening mee van die konstrukte ras, identiteit, klas en geslag, wat voorheen as vaste indelings beskou is. Die verflouing van die dokumentêre imperatief om dinge op rekord te stel, maak dit moontlik om op 'n meer kreatiewe wyse as ooit tevore met die medium om te gaan. Kunstenaars kan nou met die tegniese sy van fotografie eksperimenteer: video, multimedia, digitale fotografie, historiese prosesse, kleur, saamgestelde werke en interaktiewe stukke. In hierdie tesis kyk ek op verkennende wyse na die veranderings waarna hierbo verwys word, en situeer ek my praktiese werk binne hierdie kontemporêre paradigma.
43
de, Lavaine Scarlette. "The age of consent: digital photography and privacy in general healthcare practice". Thesis, de Lavaine, Scarlette (2016) The age of consent: digital photography and privacy in general healthcare practice. Honours thesis, Murdoch University, 2016. https://researchrepository.murdoch.edu.au/id/eprint/35142/.
Pełny tekst źródłaStreszczenie:
Digital photography can be invaluable in visually oriented medical practice. Providing a visual record, digital photographs aid diagnosis, monitor change and quantify response to therapy. Incorporating digital photography into general practice is growing easier. Widespread ownership of smartphones with inbuilt cameras has stimulated this practice. Smartphone cameras are simple and familiar to use, capture high resolution images that enhance the medical record, expedite advice and, ultimately, can improve patient care.
The development and use of the smartphone is part of a broad wave of accelerated technological change. That change, the information revolution of the last 30 years, has enabled the collection and dissemination of that information on a scale previously unimaginable. It has also changed how Australians treat personal privacy. Personal information can be instantaneously shared, with or without consent, with friends and strangers. Expectations of privacy in younger generations may have dropped, but for many Australians, protection of privacy has become more urgent.
In response, Australia has tried to unify its legal and regulatory approaches to privacy protection through recent amendments to the Privacy Act 1988 (Cth). The Australian Privacy Principles were introduced to clarify and govern how personal information, such as healthcare information, can be collected, used and disclosed. The central role of the doctor in the collection and use of healthcare information required specific guidance for the profession. This was achieved through the professional Code of Conduct regulated by the Australian Medical Board.
Despite these legislative and regulatory changes there appears to be a divergence between practitioners’ conduct and their legal and professional obligations when using clinical photography in their healthcare practice. Are doctors aware of the requirements of consent, use and disclosure, and storage security, as they apply to clinical photography? The relevant literature suggested they are not. To explore how technology has impacted privacy this paper examines how the Privacy Act 1988 (Cth) affects digital photography used in the clinical management of skin conditions. The paper will describe how well-delineated boundaries of clinical information sharing are blurred in practice, if not in law. It seeks to address the reasons for the apparent knowledge deficit of privacy obligations amongst practitioners.
Doctors looking to understand their privacy obligations will find it difficult; inconsistencies between laws and regulations making the regime challenging to traverse. This paper proposes possible solutions to raising awareness, promoting safer practices and can help mitigate privacy risks. Compliant use of digital photography is a value clinical tool which can facilitate patient care, while not endangering patient privacy.
44
Plews, Kai Ronald. "Illegal art : photography in the age of the Ag Gag". Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3165.
Pełny tekst źródłaStreszczenie:
Where does your food come from?
This is a simple question that many people ask but don't truly want to have to answer to. We have some idea of the concept of farming that is cobbled together from images taken from the media and advertisements. The vision of a small pastoral farm where animals roam around in outdoor pens or live in stately wooden barns is the idea that comes to mind when we think of farming.
This concept could not be further from the actual truth. This difference between your perception and the reality is due to a widespread effort to block images of modern farming practices from public view. Those orchestrating this deception are so powerful that they have pushed censorship laws onto nineteen different states in the United States. These laws are collectively called the Ag Gag.
This series of photographs was created to shed light on modern farming practices and to bring awareness to the overreach of agricultural corporations in dictating laws limiting individual free speech. In this work you see images of what modern large scale animal farming actually looks like. You will also see what impacts this has on the environment and learn about the benefits and problems with this type of farming.
In the end the most important question I want you to ask yourself is:
Is this where I want my food coming from?
45
Faria, Rejane Cristina Barreto. "Apenas um CLICK!: revelando atos de leitura e escrita de jovens, adultos e idosos na prática social". Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5511.
Pełny tekst źródłaStreszczenie:
Fundação de Amparo à Pesquisa do Estado do Rio de JaneiroA pesquisa empreendida teve como objetivo investigar, por meio de imagens fotográficas, atos de leitura e escrita de jovens, adultos e idosos realizados na prática social. Para tanto, tomei como locus o cotidiano onde os sujeitos produzem conhecimento e participam de eventos de leitura e escrita, à medida que constatei na literatura acadêmico científica que poucos são os estudos que contemplam a perspectiva da prática social como ambiente de formação de sujeitos para o universo da cultura escrita. Ressignificando a fotografia para o campo da educação e como instrumento de coleta de dados em minha pesquisa, registrei diferentes formas de circulação de textos em espaços sociais, assim como modos de leitura e escrita de sujeitos jovens, adultos e idosos em eventos cotidianos. No mundo contemporâneo, os sujeitos leem múltiplas linguagens que se estabelecem no mundo, com participação diferenciada na sociedade grafocêntrica. Como práticas sociais formam sujeitos para o universo da cultura escrita, investigo a expressão de atos formadores a partir dos conceitos de disponibilidade, acesso, contexto e participação, de acordo com estudos de Kalman (2009).
The aim of this study is to investigate, by means of photographic image, the reading and writing acts performed by young, adult and elderly learners in their social practice. To achieve this, I took as my research locus the subjects daily routine, where they produce knowledge and participate in reading and writing events, because I had found that few scientific studies in the academic literature consider the social practice as a suitable environment for training individuals for the world of literate culture. Photography was redefined, for the purpose of this work, as an instrument with which to collect data, and I recorded the different ways in which written material circulates within social spaces as well as the different ways young people, adults and elderly people read and write in their daily routine. In the modern age, individuals are often capable of reading the many languages that have become established in the world, but their participation in the graphocentric society is differenciated. Considering that the social practice mould individuals in the literate culture, I have chosen to investigate the expression of formative acts based on the concepts of availability, access, context and participation, in line with Kalmans study (2009).
46
Xing, Yang. "Local Environment Attachment and the Possibility of Using Citizen Science Approaches to Measure Firefly Populations in Time and Place". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1332393609.
Pełny tekst źródła
47
Regas, Angela Christine. "State fair". Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/584.
Pełny tekst źródłaStreszczenie:
At the state fair, everything comes in candy colors, everything is bright, shining, blinking, glowing, popping, chirping, everyone wins! Even the carnies, dried and brown and tired, push shy teenagers towards each other like smoke-stained Cupids. Why don't you win that pretty girl a rose? How can you help but smile? Laugh? Spin and shriek on the rides, get your hands and face sticky with funnel cake and giant hot dogs and win your girl a prize?
The fair is its own world, designed and built to please. But what happens when it isn't being enjoyed? When all its color and flash fail?
48
Cruz, Ana Luisa. "The photograph of a loved one : a practice-led investigation through writing". Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/326220/.
Pełny tekst źródłaStreszczenie:
This written thesis constitutes a practice-led PhD. Many practice-led PhDs in art and design are comprised of two things – artistic practice in some form or other, for example an artist’s book or a film – and an accompanying theoretical text. By contrast, what I present here is a single text. The artistic practice is embedded within this document, taking the form of an intermingling of theoretically-informed and personally-informed writing. The thesis looks at the photograph through writing; and at writing through photography, thereby forming a deterritorialization of both worlds. The contribution to knowledge, broadly made within two areas, art writing and material culture studies, turns on presenting the world of photography as one informed by nurturing aspects of photographic practice. It looks at past experiences of being loved and loving; and at how these things link to the evocative qualities of the photograph. Within this text, words and writing (as things and actions) are linked back to personal experiences of learning to read and write, and to books as safe places, providing intimations of what could be, and of hope. The formation of letters and reading is directly linked to women’s gestures of care and attendance, and to my own present-day experiences of motherhood and my son’s first understanding of the formation of letters and words. It is as an artist, that I have pursued the possibility of a continuity between writing and the photograph. I have found a space opening up between them that has been focused through my approach to theory. This space has come to constitute my research methodology, referred to in the thesis as evaporation, and writing in waiting. This methodology is used to create a subjective imagery that ‘transcribes’ the entwining of subjective and theoretical voices relating to the experience of being in writing. Theory is understood here as an inhabiting of the space of ‘in between’ – a space before words, a space of ‘attempting to make sayable.’ In this sense theory is approached in this study as a mode of experiencing: aspects of theory are perceived as belonging to everyday places, while at the same time, everyday 3 places come to form an improvisatory place from within which to produce a response to aspects of affecting theory. Three overlapping tensions are developed through the research: - Barthes’ notion of punctum in Camera Lucida ([1980] 2000, pp.96). While retaining the power of the punctum in relation to loss as read in Barthes, I seek to unsettle fixed readings of the object (arguably suggested by Barthes’ account). To do this I draw on my own understanding of the punctum and Maria Lind’s considerations about Christine Borland’s work From Life (Glasgow), 1994, (Lind, 2006, pp.38-40) in relation to Barthes’ noéme of photography as ‘that-has-been’. Lind writes: ‘while the objects that I have in my hands are certainly not photographs, their Modus Vivendi is much the same – they function as spectra and they are proof that this individuality really existed’ (2006, p.39). In the study punctum is used to suggest a movement beyond the photograph’s surface and beyond Barthes’ notions of representation, as something extending outside the medium of photography (a transferability signalled by evaporation in the research). - Deleuze’s notion of multiplicity ([1966] 1991; Deleuze and Guattari, [1980] 2004) as an assemblage of elements deterritorializing, yet attaining some consistency for a pre-indeterminable duration. The research attends to, but also departs from Deleuze’s notion of multiplicity. For Deleuze, the first pronoun is potentially centralizing and directing, and the third pronoun conveys the potentiality to become inhered in the abstract folding and unfolding of connections (Deleuze, 1980b, part 6). In this study, while acknowledging notions of multiplicity, close relations between subject and object are understood as part of the folding and unfolding of relational connections. By exploring the use of the first pronoun, affect through gestures is viewed as a nourishing force, carrying with it an intention for language as a bridging between places. - Ingold’s view of the object as something regulated by representation (2007a; 2010). For Ingold, the object is positioned exclusively within representation, which in his eyes is directly opposed to the openness of the ‘worlding thing’ (Ingold, 2010, p.3). He rejects the object as an analytical tool and as an everyday term, favouring instead the concept of ‘material’ which allows for a translating of lived experience, through tracing the flow of materials (ibid, pp.12-13). In this thesis, the opposition Ingold sets up between object and material is revealed as problematic, 4 in as much as it places language, ideas and imaginaries further apart from the gestures of everyday affects, a distance I seek to narrow. In placing the photograph in a state of possibility between objects and things, the study comes to view material objects as temporary surfaces of things, close to the vulnerability of skin (and therefore of hope) and of everyday gestures. Following on from this state of possibility, acts of creativity through photography and writing can then be understood to be both form-making and un-forming. Surfaces are the material where the gestures of those who have manipulated or kept objects, are portrayed; but also where in attempting to disclose a connection with objects, a space in between is formed. In coming to consider the photograph as a material, affect comes to the fore of the research. Affect is viewed not only as a force, a movement of inclusion – ‘found in (...) intensities that pass body to body (human, nonhuman, part-body, and otherwise), in those resonances that circulate about, between, and sometimes stick to bodies and words (...)’ (Greg and Seigworth, 2010, p.2) – but also as a sentiment of everyday places, allowing a sort of attentiveness to language when, from vulnerability, language steps aside from the literal, creating marginal spaces, operating as an improvisatory continuation of form. The format of the research, a series of notes where some elements re-appear and re-occur throughout the chapters – for example grains of sand, the tree, the glass – forms an improvisatory response to theory. These responses foment returns to a series of situations and places positioned in-between ‘familiar and foreign’ territories. The thesis has emerged out of encounters between notions and places inside and outside books, inside and outside the academe, continuing (and confounding) each other, rather than separating from one another. ‘Place’ refers to such sites, often physical, geographical and material, but crucially, sites which carry an affective and imaginative charge. Theory takes place in the writing of this thesis as ‘systematic’ language (Nyrnes, 2006, p.17). It is ‘implemented’ in the work and informs the work, despite not always being outwardly denoted or explicitly present. In this respect, it keeps faith 5 with artistic research practices which seek to welcome qualities that formal research produces in terms of structure, rigour and constraints but retains artistic creativity’s ‘wide-eyed, experiential way of being in the world’ (Coessens et al., 2009, p.57). While the awareness of theoretical frames helps to challenge those frames and the artistic practice, theory forms informative and motivational movements to create a place both beside and within the art work.
49
Hurd, Danielle Jean. "Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading". BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2635.
Pełny tekst źródłaStreszczenie:
In this thesis I consider the influence of Alice Brill's transnational background on her photographs of 1950s São Paulo. Brill was born in 1920 to a Jewish-German family. In 1934 she immigrated to São Paulo where she involved herself in local artistic circles. From 1946-47 she received a grant to study at the University of New Mexico and with the Art Students League in New York. Brill learned photography during her time in the United States, hoping to create documentary photo-essays in Brazil which she could send to American illustrated magazines. None of Brillss works were published in the United States, however, on returning to São Paulo in 1948 Brill was invited by Pietro Maria Bardi, Director of the Museu de Arte de São Paulo Assis Chateaubriand, to "record the daily life of the citizens of São Paulo". Bardi intended the photographs to be published as an homage to the city's 400th anniversary, but lacked sufficient funding to complete the volume. Brill's images of São Paulo depict the metropolis in a way unique during the period: as a space shared by multi-racial communities. While many photographers and publications metaphorically white-washed the city by depicting only its most Europeanized attributes, Brill consciously sought out underrepresented groups, specifically the burgeoning Afro-Brazilian community. Brill's point of view was shaped by her international upbringing and training: her experience as an outsider compelled her to document other outsider communities in São Paulo. She recognized the traditions of representation already in place in Brazil and manipulated familiar types in order to represent the nation's true hybridity. Influences on her work include: the long history of part-artistic, part-anthropological studies of the Brazilian people; local photographic traditions for picturing the city and its inhabitants; the European photojournalist style introduced to Brazil in 1944; and the international sensibility of Brill's patrons, the Bardis. I attempt to show how Brill balanced these considerations with her own personal understanding of Brazil as a multivalent space.
50
Neal, Diane Rasmussen. "News photography image retrieval practices: Locus of control in two contexts". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5591/.
Pełny tekst źródłaStreszczenie:
This is the first known study to explore the image retrieval preferences of news photographers and news photo editors in work contexts. Survey participants (n=102) provided opinions regarding 11 photograph searching methods. The quantitative survey data were analyzed using descriptive statistics, while content analysis was used to evaluate the qualitative survey data. In addition, news photographers and news photo editors (n=11) participated in interviews. Data from the interviews were analyzed with phenomenography. The survey data demonstrated that most participants prefer searching by events taking place in the photograph, objects that exist in the photograph, photographer-provided keywords, and relevant metadata, such as the date the picture was taken. They also prefer browsing. Respondents had mixed opinions about searching by emotions elicited in a photograph, as well as the environmental conditions represented in a photograph. Participants' lowest-rated methods included color and light, lines and shapes, and depth, shadow, or perspective. They also expressed little interest in technical information about a photograph, such as shutter speed and aperture. Interview participants' opinions about the search methods reflected the survey respondents' views. They discussed other aspects of news photography as well, including the stories told by the pictures, technical concerns about digital photography, and digital archiving and preservation issues. These stated preferences for keyword searching, browsing, and photographer-provided keywords illustrate a desire for a strong internal locus of control in digital photograph archives. Such methods allow users more control over access to their photographs, while the methods deemed less favorable by survey participants offer less control. Participants believe they can best find their photographs if they can control how they index and search for them. Therefore, it would be useful to design online photograph archives that allow users to control representation and access. Future research possibilities include determining the preferences of other image retrieval system users, performing user studies with moving image information retrieval systems, and uniting content-based and concept-based image retrieval research.