Bibliografias temáticas / Cameria Lucidas

Literatura científica selecionada sobre o tema "Cameria Lucidas"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 26 de julho de 2024

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Artigos de revistas sobre o assunto "Cameria Lucidas"

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Olin, Margaret. "Touching Photographs: Roland Barthes's ''Mistaken'' Identification". Representations 80, n.º 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.

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IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identification and misidentification figure into the viewing of images, and suggests that contact between the beholder and the photograph actually eclipses the relation between the photograph and its subject. Barthes's focus on the emotional response of the viewer disguises the fact that he misidentified key details in Camera Lucida's photographs, most significantly in a 1927 portrait by James Van Der Zee and in the ''Winter Garden Photograph.'' This latter photograph of Barthes's recently deceased mother as a small child is famously not illustrated in the book. This essay argues that it is fictional. These ''mistakes'' suggest that Camera Lucida undermines its ostensible basis in indexicality. The subject did not have to be in front of the camera after all. The present rereading of the text from this point of view articulates a notion of performativity according to which the nature of the contact that exists between the image and the viewer informs the way an image is understood. Barthes's desire to find his mother again through her photograph to a large extent acts out his desire to re(per)form and make permanent his relation to her, a desire that he elucidates in the process of describing his search for her picture and his reaction to it when he finds it. This performative element is charged with identification; the person the narrator (Barthes) seeks, in his mother, is himself. A close analysis of the ''Winter Garden Photograph,'' as described by Barthes, shows how performances of identification are inscribed with gender and familial configurations.
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Greenslade, Thomas B. "The camera lucida". Physics Teacher 27, n.º 1 (janeiro de 1989): 48–49. http://dx.doi.org/10.1119/1.2342659.

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Bell, Natalie. "Re-Rereading Camera Lucida". Afterimage 35, n.º 1 (1 de julho de 2007): 8–10. http://dx.doi.org/10.1525/aft.2007.35.1.8.

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Gratton, Johnnie. "Camera Lucida : Obscured in Translation". Mosaic: an interdisciplinary critical journal 53, n.º 4 (dezembro de 2020): 49–74. http://dx.doi.org/10.1353/mos.2020.0037.

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Shurkus, Marie. "Camera Lucida and Affect: Beyond representation". Photographies 7, n.º 1 (2 de janeiro de 2014): 67–83. http://dx.doi.org/10.1080/17540763.2014.896276.

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Wilson, Harry Robert. "The Theatricality of the Punctum: Re-Viewing Camera Lucida". Performance Philosophy 3, n.º 1 (25 de junho de 2017): 266. http://dx.doi.org/10.21476/pp.2017.31126.

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I first encountered Roland Barthes�s Camera Lucida�(1980) in 2012 when I was developing a performance on falling and photography. Since then I have re-encountered Barthes�s book annually as part of my practice-as-research PhD project on the relationships between performance and photography. This research project seeks to make performance work in response to Barthes�s book � to practice with Barthes in an exploration of theatricality, materiality and affect. This photo-essay weaves critical discourse with performance documentation to explore my relationship to Barthes�s book. Responding to Michael Fried�s claim that Barthes�s Camera Lucida is an exercise in �antitheatrical critical thought� (Fried 2008, 98) the essay seeks to re-view debates on theatricality and anti-theatricality in and around Camera Lucida. Specifically, by exploring Barthes�s conceptualisation of the pose I discuss how performance practice might re-theatricalise the punctum and challenge a supposed antitheatricalism in Barthes�s text. Additionally, I argue for Barthes�s book as an example of philosophy as performance and for my own work as an instance of performance philosophy.
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Domnitch, Evelina, e Dmitry Gelfand. "Camera Lucida: A Three-Dimensional Sonochemical Observatory". Leonardo 37, n.º 5 (outubro de 2004): 391–96. http://dx.doi.org/10.1162/0024094041955962.

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Camera Lucida is an interactive “sonic observatory” that directly converts sound waves into light by employing a phenomenon called sonoluminescence. The project was conceived both as an artwork and as a musical instrument that allows its player to see and shape sounds while moving through space.
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Schaaf, L. J. "JOHN HERSCHEL, PHOTOGRAPHY AND THE CAMERA LUCIDA". Transactions of the Royal Society of South Africa 49, n.º 1 (janeiro de 1994): 87–102. http://dx.doi.org/10.1080/00359199409520294.

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Bloor, C. E. "The camera lucida in art and science". Endeavour 12, n.º 2 (janeiro de 1988): 97. http://dx.doi.org/10.1016/0160-9327(88)90124-x.

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Gee, Brian. "The Camera Lucida in Art and Science". Physics Bulletin 38, n.º 12 (dezembro de 1987): 466. http://dx.doi.org/10.1088/0031-9112/38/12/033.

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Teses / dissertações sobre o assunto "Cameria Lucidas"

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FAUSTINO, DOS SANTOS JOÂO PEDRO. "Estudio teórico-práctico de la Cameroa Obscura y de la Camera Lucida. Una nueva propuesta de máquina de dibujo digital". Doctoral thesis, Universitat Politècnica de València, 2012. http://hdl.handle.net/10251/17867.

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La tesis propone la creación y el desarrollo de una nueva máquina de dibujo digital en la que el acto de dibujar permita ver más y conocer mejor. Con base en los estudios teóricos-prácticos de la cámara oscura y la cámara lúcida, como dispositivos para dibujo de imagen. En la primera parte se presenta la investigación teórica-práctica de estos dispositivos, con especial énfasis en el análisis histórico y conceptual de la evolución tecnológica que se complementa con la utilización de las máquinas como un medio para representar y cuestionar la realidad. Este análisis se complementa con la presentación de otras referencias que van desde la ingeniería informática a las artes visuales, durante el siglo 20 hasta la actualidad, como contribución a un conocimiento actualizado de los conceptos subyacentes del dibujo y los mecanismos que aquí se presentan. En los Capítulos 2 a 4 se realiza un estudio de los mecanismos de percepción visual que participan en este tipo de dibujo (cap.2), el dibujo como un medio para la comprensión (cap.3), y la localización como una posible intención de ver más (cap. 4). Estos tres capítulos son transversales en toda la tesis. En la segunda parte, los experimentos que apoyan la metodología utilizada y que están en el origen de las diferentes versiones de la máquina son presentados. El módulo computacional está programado en Pure Data, y toda la máquina se compone como un sistema modular, con una gran elasticidad y posibilidades de desarrollo. El uso de la máquina permite la percepción del acto de dibujar, y al mismo tiempo indica nuevas posibilidades para futuros desarrollos.
Faustino Dos Santos, JP. (2012). Estudio teórico-práctico de la Cameroa Obscura y de la Camera Lucida. Una nueva propuesta de máquina de dibujo digital [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/17867
Palancia
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Heppell, Chris. "Real spectres of Barthes : Camera Lucida as dark ecology". Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230038.

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This thesis performs a deconstructive reading of Roland Barthes's text Camera Lucida (1980). It considers the text as a mesh of dark ecology after Timothy Morton. The first three chapters conduct a comparative analysis of the manifest content of the text in order to contest its inheritance and complicate the question of Barthes's realism, often erroneously conditioned as “naïve.” Chapters 1–3 approach Barthes's figure of the “vrai hallucination” by interrogating the influence of Jean-Paul Sartre (Chapter 1) and André Bazin (Chapter 3) on the text. Chapter 2 forms a bridge between Chapters 1 and 3 by considering how Bazin translates iterations inherited from Sartre. This thesis argues that Barthes is an irrealist when considered through the lens of Sartre and a surrealist when considered through the lens of Bazin. Barthes's attempt to distinguish his work from his predecessors fails: this thesis argues that charting this failure has ecological significance. The second part of the thesis moves into new territory, turning around the figure of Barthes's “Palinode” (Chapter 4) towards a post-deconstructive understanding of photography in relation to Barthes's Winter Garden photograph (Chapter 5). The conclusions from Chapters 1-3 are built upon with a focussed reading of the question of redemption of essence in the Winter Garden photograph. This thesis argues that Barthes fails to experience the essence of his mother in an unmediated way, instead involving her singularity in distributed networks of alterity. Rather than a deep ecology of restoration, a dark ecology of complicity is signalled by the text. The thesis is framed in terms of the text's relevance for thinking about the imminent ecological crisis we face, and the conclusion gestures towards the possibility of reading Camera Lucida progressively, and without the figure of Mother Nature.
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Wilson, Harry Robert. "Affective intentionalities : practising performance with Roland Barthes's Camera Lucida". Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30998/.

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This thesis forms the complementary writing for my practice-as-research project “Affective Intentionalities: Practising Performance with Roland Barthes’s Camera Lucida”. Working with Barthes’s 1980 book about photography, the project goes beyond an application of Barthes’s ideas to creatively respond to Camera Lucida through performance. The project approaches this through the following research questions: What strategies might be useful for responding to Camera Lucida through performance? What new insights does this contribute to theatre and performance studies? What methodological contributions does this project make to the ways that writing and performance can be thought together in a practice-as-research context? This thesis, provides a critical context for the project by reviewing writing on Barthes from media theory, comparative literature, art history and theatre studies; it critically reflects on three performances made over the course of the PhD project: Involuntary Memory (2015), Kairos (2016), and After Camera Lucida (2017); and it re-presents photographic documentation and audience comments in a way that self-reflexively stages them in relation to the practical work. This complementary writing gestures towards the ways that the performances explored different inflections of performance time, the ways that the live body captured a tension between semiotic meaning and materiality and the relationships between the form of the performances and their ability to produce affect. These findings contribute to the overarching argument that a process of iterative creative response to Camera Lucida has allowed an exploration of dramaturgies of the body, time, affect and theatricality that open up the possibility of critically affective and radically compassionate relations between performance works and their audiences. As such, this project will be of interest to theatre and performance researchers, scholars of Barthes, and performance practitioners who are interested in the relationships between affect and meaning, temporality, performance and photography, practice and theory.
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Maree, Christine Fae. "That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph". Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.

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Much like a photograph, a casts creates a replica of its referent, thereby immobilising the subject in time. While the subject continues in time and hence ages and inevitably dies the replica does not. With this basic notion of fixing a subject, I have built an argument to contextualise my sculptures, which are made using casts of elderly people. In this discussion I have looked at my works through the ideas of different theorists. The main theorist I have cited is Roland Barthes, specifically with regards to his notion of the photograph as discussed in his book Camera Lucida. I have also referenced three particular artists: Rachel Whiteread, Diane Arbus and Churchill Madikida, as I have found each of their works relate to my work in various ways, creating a different reading from each viewpoint.
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Ljunggren, Rhonda L. "Camera lucida : the moving image as evocative document : film form, film meaning and the grammatology of archival selection". Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/25714.

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This thesis examines the characteristics of moving image documents such as they pertain to the selection of films for archival preservation. It is advanced that both the physical nature of the film record and the nature of the evidence it presents are prime considerations in the development of archival selection criteria. Furthermore it is argued that the structure and content of film are interrelated factors which impact significantly upon the determination of archival value, and the suitability of the film record for permanent preservation. Finally, a major factor affecting selection involves accounting for the impact of film as a reflector and purveyor of popular culture. Given the powerful influence of film in moulding popular ideas, attitudes, and value systems, archival selection criteria must take into account film of all types if there is to be any future prospect of assessing the impact of film on society in a given period. The sources used for this study include the writings of historians and archivists concerning film as historical evidence and the archival selection thereof, as well as traditional film literature. The study proceeds from a consideration of the technical and structural aspects of film to a content-oriented discussion involving the reflective and influential nature of the moving image document. Archival selection is considered in terms of its necessity and justifiability with regard to the nature of the film record, and alternative modes of selection are investigated.
Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate
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Counter, Annie. "Photography, text, and the limits of representation in Marcel Proust's 'In Search of Lost Time' and Roland Barthes's 'Camera Lucida'". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.18 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435857.

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Merli, Vanessa. "L'esperimento di Grimaldi e la storia della diffrazione". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16771/.

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Questa tesi ricostruisce il contributo di Francesco Maria Grimaldi alla comprensione del fenomeno di diffrazione, da lui sperimentalmente studiato per la prima volta nella seconda metà del Seicento. Il primo capitolo di questo elaborato vuole mostrare i contributi offerti da Grimaldi all’astronomia e alla geodesia in collaborazione con Ricciòli, gesuita e astronomo bolognese, ed anche il rapporto tra scienza e fede, in particolare tra i Gesuiti e l’Università di Bologna. Il secondo capitolo è focalizzato sul De lumine, opera postuma di Grimaldi, e sui due esperimenti riguardanti la diffrazione ivi contenuti. Il terzo capitolo viene dedicato alla storia della diffrazione analizzando la trattazione che ne fecero gli scienziati dopo Grimaldi: si parte da Newton e dalla sua visione corpuscolare della luce per arrivare ad Huygens, Young e Fresnel e all’elaborazione della teoria ondulatoria, che permette di spiegare correttamente il fenomeno della diffrazione.
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Hsu, Shao-Yun, e 許韶芸. "From “Camera Obscura” to “Camera Lucida”: “Body like a receptacle” and The Feminine Tone of Tatsumi Hijikata’s Ankoku Butoh". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/qdyy64.

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TAI, WEI-HSUAN, e 戴瑋萱. "A Study in the Perspective of Photography via ＂Camera Lucida＂─A Case Study of Japanese Contemporary Female Photographers and their works". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/36hcqz.

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碩士
國立高雄師範大學
美術學系
104
My thesis will begin with the perspective from the book Camera Lucida, I want to use professional terms that appear in the book to analysis the works of Japanese contemporary female photographers. Even though Roland Barthes’ ideas was introduced earlier than contemporary photography almost a hundred year ago, his point of views keep influencing ideas of how people see photography nowadays and its contemplation. In the conclusion of Camera Lucida, all the questions about viewing could be traced back to viewers. Viewers use to interpret images based on their own past experiences, therefore, the results created by viewers can only be terms that help viewers categorize their emotions and relationships with images. Through studies of images of Japanese contemporary female photographers, it reflects my own mental processes which I had while I was creating imageries. Take Roland Barthes’ photography perspective feel Mika Ninagawa's work, which was turned into a sensible mark, after aesthetic rationalization and ease gradually integrated in society. Rinko Kawauchi’s works take viewers into a crazy imagination, watching these photo has been "non-real" representatives of objects, wishing to enter the photo in life is running out of touch objects. These pass with the real images, Roland Barthes named it "crazy." Finally, from photography experience Ume Kayo’s works make me have "ça-a-été " feelings, "ça-a-été " through the book Camera Lucida full text, photography presented in this a reality common in the real: Photo indeed exudes past years the reflected light, meaning watch not focus on the memory of the past, but the current findings confirm everything the photographer did exist. Take photography as an expressive art form, techniques are no longer the only standard of judging, however, the connection between viewers’ emotions and photo become a way to wake new ideas; ideas become actions, and actions have chances to become inception of building a better world. Photography that took ideas from real life and fit in the notion of human society is the meaning of its existence. The merit of how to create images that reach social expectations is not only defined for contemporary photography. The more difference levels of how we get the knowledge, the more variety we have in viewing arts. Through photography, I hope to take a deeper look from the trace of things that moved my heart.
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Marcelino, Américo. "Da semelhança no desenho". Doctoral thesis, 2012. http://hdl.handle.net/10451/8412.

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Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2012
Partindo da ideia enraizada da semelhança como critério de figuração, recupera-se o debate entre o que há de convencional, de natural, de inato e de cultural nas representações tendo como eixo director o desenho enquanto disciplina primordial nas artes visuais. O estudo centra-se nos paradigmas da figuração e de semelhança que têm vigorado na tradição pictórica ocidental, sobretudo balizados entre dois marcos históricos fundamentais: da invenção da perspectiva à invenção da fotografia. O enfoque explora com particular relevância as relações entre a praxis do desenho e os modelos de representação assentes na ideia seminal de projecção. Destaca-se o arquétipo da imagem projectada, consubstanciada nas visões da perspectiva e da óptica, pela sua relevância enquanto paradigma de representação que acabaria por vigorar na nossa cultura visual. Neste contexto, elege-se a relação entre desenho e dispositivos ópticos, nomeadamente a câmara obscura e a câmara lúcida, enquanto modelo paradigmático do desejo de verosimilhança, legitimada pela ideia neutral de “olho artificial”. A investigação das ligações entre arte e óptica passa em revista certos aspectos do debate levantado por David Hockney (2001), discutindo e sublinhando pontos ainda não explorados. Abordando as questões da vista e do retratar, os dois casos de estudo de fundo, centrados nos desenhos de Antonio Canaletto e de Jean-Auguste-Dominique Ingres, são sintomáticos das flutuações da semelhança entre aquilo que designamos por “visão objectiva” e “olhar subjectivo”. Do confronto entre conceitos de ponto de vista, conformidade, precisão ou invenção, consequentes da relação entre imagem óptica e desenho de observação, a tese procura demonstrar a relatividade e os paradoxos da semelhança na representação, nas suas dimensões de verdade, credibilidade, fidelidade, ilusão, imitação, informação ou inculcação. Este confronto é explorado com o complemento de trabalho prático aplicado no desenho com dispositivos ópticos, disponibilizando dados de pesquisa originais e material de reflexão inédito
Starting from the deep-rooted idea of resemblance as a criterion for the figure, we recall the debate between what is conventional, natural, innate and cultural in representations, taking drawing as a primary discipline in the visual arts. The study focuses on the paradigms of figuration and likeness that have prevailed in the Western pictorial tradition, particularly marked out between two key milestones: from the invention of perspective to the invention of photography. The approach exploits with particular relevance the relations between the praxis of drawing and the models of depiction based on the seminal idea of projection. We emphasize the archetype of the projected image, embodied in the views of perspective and optics, as a relevant paradigm of representation witch becomes a standard in our visual culture. In this frame view, we elect the relationship between drawing and optical devices, specifically the camera obscura and the camera lucida, as paradigmatic models for the ambition of verisimilitude, legitimized by the idea of a neutral "artificial eye". Research on the basis of art and optics review certain aspects of the debate raised by David Hockney (2001), discussing and highlighting some cases that have not yet been explored. Putting in question the subject of view and portraiture, the two main case studies, focused on the drawings of Antonio Canaletto and Jean-Auguste-Dominique Ingres, are symptomatic of the balance on the similarity between what we call "objective view" and "subjective look." From the confrontation between the possible concepts of conformity, point of view, accuracy or invention, arising from the relationship between optical image and drawing from observation, the thesis seeks to demonstrate the paradoxes and the relativity of similarity in depiction, in its dimensions of truth, credibility, fidelity, imitation, illusion, information or inculcation. This confrontation is explored with the complement of a practical fieldwork applied in the drawing with optical devices, providing original research data and new material for reflection
Fundação para a Ciência e a Tecnologia (FCT)
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Livros sobre o assunto "Cameria Lucidas"

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Ludwig, Museum, ed. Ich sehe was, was du nicht siehst!: Sehmaschinen und Bilderwelten : die Sammlung Werner Nekes. Göttingen: Steidl, 2002.

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Schaaf, Larry J. Tracings of light: Sir John Herschel & the camera lucida : drawings from the Graham Nash collection. San Francisco: The Friends of Photography, 1989.

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Elizondo, Salvador. Camera lucida. México, D.F: Vuelta, 1992.

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Barthes, Roland. Camera lucida: Reflections on photography. New York: Hill and Wang, 2010.

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Mattner, Jakob. Jakob Mattner: Camera Lucinda. Halle: Staatliche Galerie Moritzburg, 2001.

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6

Annette, Michelson, Allen Richard 1959- e Turvey Malcolm 1969-, eds. Camera obscura, camera lucida: Essays in honor of Annette Michelson. Amsterdam: Amsterdam University Press, 2003.

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name, No. Camera obscura, camera lucida: Essays in honor of Annette Michelson. Amsterdam: Amsterdam University Press, 2002.

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8

Ducharme, Thierry. Camera lucida: Entretien avec Hugo Latulippe : entretien. St-Fulgence, Québec: La Peuplade, 2009.

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Ducharme, Thierry. Camera lucida: Entretien avec Hugo Latulippe : entretien. St-Fulgence, Québec: La Peuplade, 2009.

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10

Hammond, John H. The camera lucida in art and science. Bristol: IOP, 1987.

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Capítulos de livros sobre o assunto "Cameria Lucidas"

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Avellar, José Carlos. "Camera lucida". In New Argentine and Brazilian Cinema, 11–30. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137304834_2.

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Burgin, Victor. "Re-reading Camera Lucida". In The End of Art Theory, 71–95. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-18202-2_4.

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Barthes, Roland. "Camera Lucida: Reflections on Photography". In Reading Images, 54–61. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-08886-4_6.

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Bate, David. "Roland Barthes and Camera Lucida". In Photography after Postmodernism, 30–51. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003086284-3.

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Åker, Patrik. "Roland Barthes (1980) Camera Lucida". In Classics in Media Theory, 268–83. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003432272-20.

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Blais, Joann. "Negation and the Evil Eye: A Reading of Camera Lucida". In Negation, Critical Theory, and Postmodern Textuality, 227–39. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-015-8291-9_11.

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Camargo Molano, Jessica, e Alfonso Amendola. "Women Behind the Camera: How Lucia Schulz and Hortense Ribbentrop-Leudesdorff Changed the History of Photography and Cinematography". In Cinematic Representations of Women in Modern Celebrity Culture, 1900–1950, 40–59. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003174134-4.

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"Acknowledgements". In Camera Obscura, Camera Lucida, 7–8. Amsterdam University Press, 2003. http://dx.doi.org/10.1515/9789048505067-001.

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"Preface". In Camera Obscura, Camera Lucida, 9–12. Amsterdam University Press, 2003. http://dx.doi.org/10.1515/9789048505067-002.

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"Introduction". In Camera Obscura, Camera Lucida, 13–34. Amsterdam University Press, 2003. http://dx.doi.org/10.1515/9789048505067-003.

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