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Hontos, Vasiliki. "Conservation survey of the Benaki Museum Photographic Archive in Athens, Greece /." Online version of thesis, 1991. http://hdl.handle.net/1850/11621.
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Halsban, Megan. "Stereographs as Scholarly Resources in American Academic Libraries and Special Collections." Thesis, School of Information and Library Science, 2008. http://hdl.handle.net/1901/543.
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This paper examines stereographic images as scholarly resources, and begins with a brief history of the stereograph. A discussion and review of the literature related to the stereograph as well as the preservation of photographic objects follows the introduction. In addition to the literature review, collections of stereographs at four repositories were evaluated for usability: The Keystone-Mast Archive at the University of California, Riverside; The Eliot Elisofon Archive at the Smithsonian Institution; the George Eastman House; the Library of Congress. The paper ends with suggestions for future work with the stereograph, in order to facilitate access and use by researchers.
3
Cobon, Linda Louise. "Problems and issues in the arrangement and description of photographs in libraries and archival repositories." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27687.
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Until recent years, archivists have been reluctant to consider photographs as being archival in nature. The evidential value possessed by some photographs was ignored and archivists also failed to see where the informational value of a photographic image could be enhanced when viewed within the context in which it was created. Instead, archivists preferred to arrange and describe photographs as discrete items. For assistance in this endeavor, archivists turned to members of the library profession. Librarians, for their part, found that photographs were not amenable to standard bibliographic formats or classification schemes devised for printed monographs. The result was the creation by members of both the library and archival professions of numerous and often idiosyncratic methods for the physical and intellectual control of photographs.
The volume of photographic images acquired by libraries and archival repositories now makes it virtually impossible to continue dealing with photographs as discrete items. The research needs and methodologies of users have also changed; photographs are increasingly being sought as historical documents in their own right and not just as illustrations to accompany the written word. In response to these two factors, librarians began organizing and describing photographs as "lots" and archivists moved slowly toward the arrangement and description of photographs as archival fonds. This evolution, far from complete with regard to photographs, resembles an earlier evolution affecting the arrangement and description of textual archives, particularly manuscripts.
Today archivists in many Western countries are seeking to establish standard formats in the description of archival materials. This goal has become particularly urgent in the face of computer technology and the desire to form automated archival networks. It remains to be seen whether the final standards adopted in Canada, for instance, will encompass photographs or whether photographs will retain a "special" status. Without question, photographs have and will continue to present members of the library and archival professions with problems In arrangement and description. This is demonstrated in the body of this thesis through a survey of the professional literature and through field work undertaken in six libraries and archival repositories in the Vancouver area and in Victoria, British Columbia. However, the existence of problems should not mean that the approach to photographic archives should be any different, in essence, from the approach and principles applied to textual archives.<br>Arts, Faculty of<br>Library, Archival and Information Studies (SLAIS), School of<br>Graduate
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Humayun, Saalem. "Constructing family photograph albums : how the process of archival acquisition writes history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99722.
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This thesis is about photographic archives. Specifically, it concerns the process of acquisition for family photograph albums as archival texts. It argues that the process of acquisition writes history, and not one sole author. Additionally it argues that the institutional policy of an archive governs this process. Further, it argues that there is a homology between a public and private archive. In this light, it pursues an autobiographical approach, and compares the author's family photograph album with a family photograph album in the McCord Museum of Canadian History.
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Stewart, Brian. "Pictures in words : indexing, folksonomy and representation of subject content in historic photographs." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/687.
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Subject access to images is a major issue for image collections. Research is needed to understand how indexing and tagging contribute to make the subjects of historic photographs accessible.
This thesis firstly investigates the evidence of cognitive dissonance between indexers and users in the way they attribute subjects to historic photographs, and, secondly, how indexers and users might work together to enhance subject description. It analyses how current indexing and social tagging represent the subject content of historic photographs. It also suggests a practical way indexers can work with taggers to deal with the classic problem of resource constraints and to enhance metadata to make photo collections more accessible. In an original application of the Shatford/Panofsky classification matrix within the applications domain of historic images, patterns of subject attribution are explored between taggers and professional indexers.
The study was conducted in two stages. The first stage (Studies A to D) investigated how professional indexers and taggers represent the subject content of historic photographs and revealed differences based on Shatford/Panofsky. The indexers (Study A) demonstrated a propensity for specific and generic subjects and almost complete avoidance of abstracts. In contrast, a pilot study with users (Study B) and with baseline taggers (Studies C and D) showed their propensity for generics and equal inclination to specifics and abstracts. The evidence supports the conclusion that indexers and users approach the subject content of historic photographs differently, demonstrating cognitive dissonance, a conflict between how they appear to think about and interpret images.
The second stage (Study E) demonstrated that an online training intervention affected tagging behaviour. The intervention resulted in increased tagging and fuller representation of all subject facets according to the Shatford/Panofsky classification matrix. The evidence showed that trained taggers tagged more generic and abstract facets than untrained taggers. Importantly, this suggests that training supports the annotation of the higher levels of subject content and so potentially provides enhanced intellectual access.
The research demonstrated a practical way institutions can work with taggers to extend the representation of subject content in historic photographs. Improved subject description is critical for intellectual access and retrieval in the cultural heritage space. Through systematic application of the training method a richer corpus of descriptors might be created that enhances machine based information retrieval via automatic extraction.
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Wills, David. "Cultural Mulch : an investigation into collectors who create collections of mass produced objects and of the potential significance of those objects in relation to consumer culture." Phd thesis, Canberra, ACT : The Australian National University, 2009. http://hdl.handle.net/1885/8036.
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Collecting is an activity that stems from humankinds roots as hunters and gathers, when necessity rather than want, was key. This dissertation considers the strategies and motivations behind collecting in the 21st Century and what the significance is of collected objects. It considers the many guises, aims and reasons for collections being made, from the attainment of wealth and status, to the filling of personal voids, or the simple pleasures of belonging to a like-minded group of people. The dissertation charts contemporary influences in collecting behaviour, from an increased interest in celebrity, the push by corporations to market mass-produced collectibles, alternative consumer trends, and what effect the internet has had on the availability of a vast array of objects globally and locally. Back grounded by a diminishing of the earth’s resources and the production of objects at a peak, it considers the notion of futility.
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Minkley, Hannah Smith. "Photographing other selves: collecting, collections and collaborative visual identity." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/12669.
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This study is situated in a social documentary photography context, and is concerned to explore whether the collaborative interaction between photographer, subject (as collector) and material object (as collection) might enable a practice that presents a more mutual and subject-centred visual identity emerge. In particular, photographers Jim Goldberg and Gideon Mendel have focused more on the subject themselves, using collaborative processes such as photo-voice and photo elicitation, as well as the use of peoples’ handwritten captions on photographic prints themselves. Claudia Mitchell’s overview of visual methodologies is drawn on, together with Ken Plummer’s Documents of Life 2 (2001) and Gillian Rose’s Visual Methodologies (2001) to extend on these possibilities of conducting collaborative visual research.The practical component of this study focuses on personal collections and follows a number of theorists, including Susan Pearce, and John Elsner and Roger Cardinal. It follows Pearce’s identification of three major modes of collecting, and suggests that collections are essentially narratives of the self, and reveal experiences and expressions of personal desire. By drawing on these approaches and the various ways the twelve collectors were photographed, as well as implementing collaborative research processes (handwritten text, archival photographs and the re-staging of the collections), the study confirms Pearce’s three primary modes of collecting, and acknowledges that they are often interlinked or overlap one another. The study further found that a more subject voiced visual identity did indeed become apparent through the collaborative methods applied and discussed. The collaborative research equally demonstrated that these narratives of identity are not singular, but rather narratives of multiple, personal identities of the self.
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Malan, Andre. "The use of historical photographs as source for cultural histor : the Sammy Marks photograph collection." Diss., University of Pretoria, 1996. http://hdl.handle.net/2263/37292.
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During his sojourn on earth man leaves traces behind. Subsequent generations can
follow these traces through research in order to find out more about his forebears. The
term document can be interpreted much wider than referring to written material so that
different types of material can serve as source from which this knowledge can be
drawn. Pictorial sources is one subsection underneath which photographic material in
turn resorts.
This study looks at the use of historical photographs as source from which the cultural
historian can draw information .. Historical photographs are often merely seen and used
as illustration material while they are sources in own right. It is the only source which
captures and eternalises a moment in time visually.
Unfortunately it is still a human with all his faults and deficiencies who stands behind
the camera. That means that although the photograph as source is generally speaking
very reliable and objective, historical criticism still has to be applied. To err is human,
over and above wilful misrepresentation. Furthermore there are certain pitfalls and
limitations inherent to the photograph.
At the Sammy Marks Museum just east of Pretoria, a large collection of photographs
has been preserved which shows the everyday life of the Marks family over a long
period of time. By examining these photographs a clear picture can be formed of the
everyday life of a well-to-do Victorian family in the Transvaal during the period 1890
to 1920. The actual images captured by the camera tell the story of these people's weal
and woe like words cannot do.
No source can be all-revealing .on its own. The photographs and the information drawn
from them, are supported and confirmed by references and quotations from the personal
correspondence of the family of which much has also been preserved. It is kept at the
University of Cape Town. The biography of Sammy Marks by Richard Mendelsohn
(Cape Town, 1991) as well as other literary sources has been studied and applied.
The study also contains a broad background sketch of the period and its spirit. By
making comparisons between the findings about the lives of Sammy Marks and his
family and what is known generally about the people of the time, one can see to what
degree they conformed or differed. The development of photography itself is also.
briefly discussed. The historical photographs which were preserved by the Marks family, serve as
example of how valuable such photographs are for our knowledge and the eventual
reconstruction of the past. Without them the task of the physical restoration of the
house, outbuildings and garden to their original shape would have been much more
difficult. At the same time and even more important, they breathe life into the house
through the information they contain about the people who used to inhabit it.<br>Dissertation (MA)--University of Pretoria, 1996.<br>gm2014<br>Historical and Heritage Studies<br>unrestricted
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Mendes, Menezes Lucas. "Images voyageuses : photographie amateur brésilienne dans la collection de la Société française de photographie." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H080.
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La collection de photographies brésiliennes de la Société française de photographie (SFP) est composée de 150 photographies, produites entre les années 1940 et 1950 par des photographes amateurs, formellement associés à des photo-clubs au Brésil. Au-delà des appartenances esthétiques, géographiques et institutionnelles, ces images peuvent, d’abord, être divisées en deux groupes différents : celles envoyées pour la participation au Salon International d’Art Photographique en 1951 et celles exhibées en février 1960, dans le cadre d’une exposition sur la photographie brésilienne, organisée à Galerie Montalembert, espace soutenu par la SFP. L’enquête autour de collection brésilienne va impliquer l’articulation des différents parcours d’analyse. La première correspond au processus de création et d'articulation des premiers photoclubs du pays, en passant par l'organisation de la première foire nationale et la création d'un réseau entre différentes entités. Concernant la notion de photographe amateur retenue comme référence, le point de départ est le binôme "dévots" et "déviants" proposé par Pierre Bourdieu. Le deuxième parcours aborde la question de la vocation internationale, caractéristique chère aux premières institutions de ce type et qui reste un élément fondamental au milieu du XXe siècle. La principale manifestation publique du monde l’art photographique amateur concerne les salons. Les principes qui relient des différents groups de photographes amateurs se voient réfléchis dans l’organisation de ces évènements fondés par l’échange, grâce à une intense circulation d’images, mais aussi par la reconnaissance éphémère. Pour le troisième chapitre, l'échelle de l'analyse est modifiée, passant de grands événements avec des centaines d'exposants à la lecture d'images de la collection en spécifique. C'est le moment où il sera possible de mettre en évidence les principaux produits du processus de circulation et d'appropriation qu'implique l'insertion dans le monde de l'art photographique amateur. Le quatrième chapitre se concentre principalement sur l'analyse de la production des photographes présents dans les deux séries (1951 et 1960). L'intention est d'identifier les changements et les permanences, en cherchant à les relier à d'autres aspects qui ont influencé la production au cours de cette période<br>The Brazilian photography collection of the Société française de photographie (SFP) consists of 150 photographs, produced between 1940 and 1950 by amateur photographers, formally associated with photo clubs in Brazil. Beyond aesthetic, geographical and institutional affiliations, these images can be divided into two different groups: those sent for participation in the International Salon of Photographic Art in 1951 and those exhibited in February 1960, as part of an exhibition on Brazilian photography, organized at Galerie Montalembert, supported by the SFP. The investigation around the Brazilian collection will involve the articulation of the different analytical paths. The first one corresponds to the process of creating and articulating the first photoclubs in the country, including the organization of the first national fair and the creation of a network between different entities. Concerning the notion of amateur photographer as a reference, the starting point is the "devout" and "deviant" duo proposed by Pierre Bourdieu. The second route addresses the question of the international vocation, a characteristic dear to the first institutions of this type and which remained a fundamental element in the middle of the 20th century. The main public event in the world of amateur photographic art is the fairs. The principles that link different groups of amateur photographers are reflected in the organization of these events based on exchange, thanks to an intense circulation of images, but also by ephemeral recognition. For the third chapter, the scale of the analysis is modified, moving from large events with hundreds of exhibitors to reading images from the specific collection. This is the moment when it will be possible to highlight the main products of the circulation and appropriation process involved in the insertion of amateur photographic art into the world. The fourth chapter focuses mainly on the analysis of the production of the photographers present in the two series (1951 and 1960). The intention is to identify changes and permanencies, seeking to link them to other aspects that have influenced production during this period
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Stoffle, Richard W., and Vlack Kathleen A. Van. "Timber Mountain Caldera Landscape Photograph Collection." Bureau of Applied Research in Anthropology, University of Arizona, 2013. http://hdl.handle.net/10150/303350.
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These photographs offer illustrations of the people, places, and resources along the two prominent pilgrimage trails in the Timber Mountain Caldera region. These photographs were taken during the 2006 Timber Mountain Caldera Landscape Study, the 2001 Shoshone Mountain Wind Farm Environmental Assessment, and 1999 NTS Rock Art study.
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Stoffle, Richard W. "Ojibway Traditional Resources Study Photograph Collection." University of Arizona Libraries, Special Collections, 2013. http://hdl.handle.net/10150/305108.
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Fenech, A. "Lifetime of colour photographs in mixed archival collections." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1333217/.
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Chromogenic prints, which make up around 99% of all colour photographs, are amongst the most vulnerable materials in archival storage. However, although environmental standards for storage are available, antagonistic requirements within archives mean that the recommended conditions are not always appropriate. This study evaluated the impact of mixed archival storage on chromogenic prints by following three lines of research: environmental, material and values. During storage, three environmental parameters predominantly influence chromogenic print lifetime: temperature, relative humidity (RH) and pollutants. The pollutant of greatest interest was determined to be acetic acid as it is the most abundant pollutant within archival boxes and also causes greatest changes in dye concentrations. Materials research focussed on the development of two non-destructive analytical methods. The first used the sRGB colour model for monitoring dye concentrations. The second combined near infrared spectroscopy to develop applications for dating and stability prediction of chromogenic prints. The third line of research related to values, specifically fitness-for-purpose of an image within the context of an archival collection. A psychophysical approach was taken to determine the point at which colour changes are no longer acceptable, defined as the unacceptability threshold. It was identified that while assessor characteristics did not affect the threshold, image characteristics, particularly fading profile and image detail, did. Having investigated the three lines of research separately, their integration led to a more holistic approach. Accelerated degradation experiments were planned using design-of-experiment principles to develop a multiparametric dose-response function. The function relates the rate of degradation to temperature, RH and acetic acid concentration. This allowed for isoperms and isochrones, which connect points of equal permanence and lifetime respectively, to be developed. Finally, an innovative photographic lifetime calculator has been developed using principles of stock modelling and the developed damage function, thus incorporating material and value change dependent upon environmental parameters.
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Hall, Alison. "The Shelter photographs 1968-1972 : Nick Hedges, the representation of the homeless child and a photographic archive." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6534/.
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The thesis examines the work of photographer Nick Hedges (b. 1953) who made photographs for the housing charity Shelter between 1968 and 1972. It concentrates on Hedges’ methodology, his representation of the homeless child, and how this was deployed in Shelter’s campaign strategy. Moreover, it examines the wider political, sociological and cultural debates surrounding the conception, production, dissemination and reception of the Shelter photographs. The thesis argues that Hedges’ photographs, although contextualised by an ostensibly radical charity agenda, were shaped by an established photographic and art historical tradition reaching back to the nineteenth century. This is examined in the light of a shifting conception of what constituted an ethically sound representation of homelessness amongst leftist critics in Britain from the 1970s onwards. The thesis equally discusses the archive as a site of photographic accession, interpretation and display, and outlines the issues that face archive professionals charged with the presentation of the Shelter photographs to a contemporary audience. By combining art historical analysis of Hedges’ photographs with research into their current framing in the archive, the thesis offers a distinctive contribution to scholarship, exploring how photographic meaning is shaped, subverted and disseminated by individuals, organisations and institutions alike.
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Stoffle, Richard W., Vlack Kathleen Van, and Nathaniel O'Mara. "Water Bottle Canyon Traditional Cultural Property Study Photograph Collection." Bureau of Applied Research in Anthropology University of Arizona, 2013. http://hdl.handle.net/10150/301169.
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Stoffle, Richard W., and Vlack Kathleen A. Van. "Arizona Strip Landscapes and Place Name Study: Photograph Collection." Bureau of Applied Research in Anthropology, University of Arizona, 2013. http://hdl.handle.net/10150/292607.
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This file contains a sample of photographs taken during the Arizona Strip Landscapes and Place Name Study(2003-2004). The photographs in this slideshow provide the viewer with an overview of places visited and resources examined during this study.
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Stoffle, Richard W., Vlack Kathleen A. Van, Rebecca S. Toupal, Sean O’Meara, and Jessica Medwied-Savage. "The Old Spanish Trail and Hispanic Communities Photograph Collection." University of Arizona Libraries, Special Collections, 2013. http://hdl.handle.net/10150/297034.
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This is a slide show of selected photographs from the Old Spanish Trail and Hispanic Communities Ethnographic Study. These photographs serve as supplemental materials for the two reports and offers illustrations of the people, places and resources.
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Cleveland, Larissa. "Collector : collection/possession/persona /." Online version of thesis, 2008. http://hdl.handle.net/1850/6186.
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Wolfe, Kimberly. "Flat Files: The Absence of Vernacular Photography in Museum Collections." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/163.
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This thesis will explore the causes and consequences of the absence of vernacular photography from museum collections. Through historical analysis of vernacular photography and a close interpretation of a contemporary family snapshot, I will argue that vernacular photographs are important objects of great cultural significance and poignant personal meaning. Photography has always defied categorization. It serves multiple functions and roles, is studied in a vast number of disciplines, and exists in a variety of institutions and collections. Furthermore, it is difficult to classify a single photograph. Vernacular photography thus poses a challenge to museum methods of sorting documents, artifacts, and art. Consequently the photographs that are most significant in everyday life are often missing from the museum setting or are misinterpreted and stripped of their meaning.
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Challine, Éléonore. "Une étrange défaite : les projets de musées photographiques en France (1850-1945)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010506.
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Cette thèse traite de l’histoire des projets de musées de photographie en France entre 1850 et 1945. Elle a pour ambition d’étudier et de circonscrire les diverses conceptions du musée photographique – documentaire, artistique, historique, technique, etc. – et leur histoire. Entre la fin du XIXe siècle et la Seconde Guerre mondiale, coexistent deux idées principales dans la conception du musée photographique : ce que nous appellerons « musée des photographies », où la photographie constitue avant tout le moyen d’une encyclopédie ou documentation visuelle, et ce que nous nommerons d’autre part « musée de la photographie », voué à la photographie pour elle-même, non pas en tant qu’instrument d’enregistrement du réel, mais en tant que médium. Cette ambiguïté de conception – la photographie est-elle l’outil ou le sujet du musée ? – est inhérente à la pensée des relations entre photographie et musée et sera l’un des fils rouges de cette étude. Face à l’absence de réalisation de ces projets, qui pour certains ont été expérimentés mais jamais pérennisés, ce travail interroge les causes de ces échecs institutionnels. Il s’articule autour de trois périodes chronologiques qui permettent de retracer les évolutions majeures de ces projets : les années 1850-1880 qui sont celles de la rencontre entre la photographie et les musées ; les années 1880-1910, celles des «musées rêvés de la photographie», qui voient le développement de plusieurs formes muséales ; enfin la période de l’entre-deux-guerres, pendant laquelle on assiste à l’émergence d’une véritable bataille du musée de la photographie<br>This doctoral dissertation treats the history of the projects of museums of photography in France between 1850 and 1945. It aims to study and identify the various conceptions of the photographic museum - documentary, artistic, historical, technical, etc. – and their history. Between the late nineteenth century and the Second World War, two main ideas coexist in the design of photographic museum: what we shall call "museum of photographs," where photography is first and foremost the means of a visual encyclopedia or documentation, and on the other hand what we shall call a "museum of photography" dedicated to photography for its own sake, not as a means of recording reality, but as a medium. This conceptual ambiguity – Is photography the tool or the subject of the museum ? — is inherent in the relationship between the photograph and the museum, and is one of the principle lines of inquiry in this study. This work examines the causes of these institutional failures given the lack of implementation of these projects, some of which were tried but never continued. It hinges on three chronological periods that trace the major developments of these projects : the years between 1850-1880, where photography and the museum meet; the years of the 'imagined museums photography’ in 1880-1910 where we can see various museum forms develop; and finally, the Interwar period which can be considered as the moment where the true battle for the museum of photography emerged
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Beard, Sophie. "Collecting Collects: the family photograph in the British newspaper." Thesis, University of the Arts London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650314.
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Walker, Jessica E. "Unexpected Reflection Collection." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253634229.
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Cronin, Orla Siobhan Therese. "The meaning and psychological significance of family photographic collections." Thesis, University of Southampton, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388804.
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Bouza, Arnoso Estéfani. "Taming contingency : photography at the crossroads between collections, archives and atlases." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q5y1q/taming-contingency-photography-at-the-crossroads-between-collections-archives-and-atlases.
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My practice-based PhD investigates how the gathering of visual information through the photographic camera, together with the visual strategies involved in the organisation and configuration of specific groups of images are key processes in the constitution of meaning. I use my own practice to ‘de-construct’ these ideas, to help me understand the role of photography in recording information with the purpose of piecing the gathered material together in an atlas, using the montage, and to finally present the result using the grid as a structure that holds all the photographs together. One of the main aspects that underlies this research is the role that photography plays in recording information and the way in which historically, photography and archives are constituted together. In the last three decades, the concept of the archive has been given increasing prominence in the field of art. A review of the literature theorising the articulation between archives and art shows that in fact photographs and visual imagery are at the core of most archives. Therefore, the role of photography is one of the key elements to consider in the discussion between archives and art. My research tries to recover, actualise and visually add to some of the discourses that focus on the singular relationship established between photography and archives. For this I will analyse my own work and artworks that use photography as the first means to gather visual information. However, in the construction of these artworks, artists use a range of organisational strategies borrowed from archives, collections and visual atlases. Therefore, the practices discussed in the thesis including my own neither constitute, nor belong to archives, collections, or visual atlases of images. What they do is to borrow strategies from all these systems, moving between them to create singular artworks that have a hybrid character.
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Stoffle, Richard W., Vlack Kathleen A. Van, Phillip Dukes, Sola Stephanie De, and Hannah Johnson. "Solar PEIS Native American Ethnographic Study Photographic Collection." Bureau of Applied Anthropology, University of Arizona, 2013. http://hdl.handle.net/10150/301158.
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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.
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Erbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080033.
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Dans une époque qui manifeste une exacerbation de la représentation de soi (àtravers les réseaux sociaux notamment), notre objet d'étude propose uneréflexion sur la mémoire et la reconstruction d'histoires dans les pratiquesartistiques. Utilisant comme point de départ une production photographiquepersonnelle (Reprises), nous proposons une articulation entre théorie etcréation, dans une dialectique qui part de l'analyse des oeuvres personnelles,pour établir un dialogue avec des théoriciens et des oeuvres contemporainestraitant ces problématiques. Dans ce type de démarches rétrospectives quiréinterprètent le passé, les artistes travaillent à partir des traces matérielles etmnésiques, telles les images d'albums de famille, les archives, les documents oules témoignages. Mêlant des univers esthétiques différents dans une nouvelleunité, ils font coexister leurs propres images avec des sources existantes, des viesdisparues avec leurs propres existences. Leurs oeuvres deviennent alors unerecréation artistique et postulent un espace narratif singulier qui évoque unepoétique de la mémoire. Partielles et fragmentaires, elles donnent à voir unrécit reconfiguré par l'imaginaire et le montage. Elles dépassent le champstrictement photographique et ouvrent leur langage au dialogue avec les autresarts, prenant la forme d'oeuvres hybrides. Quelle relation établir entre mémoire,reconstruction et identité, entre histoire individuelle et histoire collective ? Si lepassé est métamorphosé, comment le reconstruire ?<br>In a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
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Triantaphillidou, Sophie. "Aspects of image quality in the digitisation of photographic collections." Thesis, University of Westminster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251575.
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Chen, Chufeng. "The use of episodic memory for browsing personal collections of digital photographs." Thesis, University of Sunderland, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442549.
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Erbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080033.
Texto completo da fonteResumo:
Dans une époque qui manifeste une exacerbation de la représentation de soi (àtravers les réseaux sociaux notamment), notre objet d'étude propose uneréflexion sur la mémoire et la reconstruction d'histoires dans les pratiquesartistiques. Utilisant comme point de départ une production photographiquepersonnelle (Reprises), nous proposons une articulation entre théorie etcréation, dans une dialectique qui part de l'analyse des oeuvres personnelles,pour établir un dialogue avec des théoriciens et des oeuvres contemporainestraitant ces problématiques. Dans ce type de démarches rétrospectives quiréinterprètent le passé, les artistes travaillent à partir des traces matérielles etmnésiques, telles les images d'albums de famille, les archives, les documents oules témoignages. Mêlant des univers esthétiques différents dans une nouvelleunité, ils font coexister leurs propres images avec des sources existantes, des viesdisparues avec leurs propres existences. Leurs oeuvres deviennent alors unerecréation artistique et postulent un espace narratif singulier qui évoque unepoétique de la mémoire. Partielles et fragmentaires, elles donnent à voir unrécit reconfiguré par l'imaginaire et le montage. Elles dépassent le champstrictement photographique et ouvrent leur langage au dialogue avec les autresarts, prenant la forme d'oeuvres hybrides. Quelle relation établir entre mémoire,reconstruction et identité, entre histoire individuelle et histoire collective ? Si lepassé est métamorphosé, comment le reconstruire ?<br>In a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
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Schrader, Julie Ann. "The Morgan collection of Southwest pottery website : research and photography : a project /." Click here to view virtual exhibition, 2005. http://www.holmes.anthropology.museum/southwestpottery/index.html.
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Camarda, Sandra. "Journeys into the materiality of photographs : the case of the Blackmore collection." Thesis, University College London (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497815.
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Klicnarová, Dita. "Sběratel krystalů." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232385.
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This dissertation entitled Crystals Collector is concerned with the phenomenon of collecting, and more specifically with crystals as objectes in an imaginary collection. The objects are selected based on a personal fascination of the author. However, the collection always has, similarly as a crystal, a predetermined internal structure. The meaning of individual parts only become apparent when they are viewed as a whole. The main artefacts of the collection are paintings on canvas - with the painting becoming a similar 'fetish' as a collected crystal. Mineral it the key artefact and as such it is subjected to deeper examination (experiments with growth of crystals, studies of crystals, artefacts having a close relationship to crystals...).
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Gonzalez, Stephanie. "A Thousand Words: Responses to Photographs." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1168.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>English; Creative Writing
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Shipalana, Kizzy. "Dematerialisation of a photographic collection at the concrete institute’s information centre." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30504.
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The Concrete Institute’s information centre houses special collections and information about concrete and various aspects of concrete technology, including photographs that need to be managed effectively for retrieval purposes. The photographic collection has to be recorded and preserved according to relevant standards to ensure longevity and long term access.
Management of photographic collections comes with its unique problems. The purpose of this study is to improve the state of the photographic collection by organising it for easy retrieval, allocating metadata and preserving it for future use. This study employed the action research method to study problems of the photographic collection at the institute. The action research method aims to find solutions to problems that are experienced by people in their everyday lives. Data was collected from a sample drawn using purposive sampling from the target population of information specialists and professionals. Data collection from information professionals was facilitated through an online questionnaire and three information specialists were interviewed. The study has indicated the importance of dematerialisation and allocating metadata to photographs to help identify and enhance accessibility of information resources. The results show that dematerialising the photographs will ease the retrieval process
and assist information professionals to gain a greater insight of the material in their collection. Collections that are easily accessible are usable and fulfil their purpose to information users. In conclusion, a summarised overview of the study is presented in findings and recommendations regarding the management of photographic collections for effective retrieval.
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Beltramim, Fabiana Marcelli da Silva. "Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-06102015-163400/.
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Esta pesquisa segue a trajetória do fotógrafo italiano Vincenzo Pastore, que atuou em São Paulo entre os anos de 1899 e 1918. Se Pastore, por um lado, viveu produzindo retratos comerciais em estúdio, por outro, a sua produção mais emblemática foi a série de fotos realizadas nas ruas e nos arredores da capital paulista. O percurso trilhado por Vincenzo Pastore se entrelaçou nesta análise com o de suas imagens, numa investigação voltada para os processos sociais que constituíram as duas trajetórias: a do fotógrafo e a de suas fotos. Este estudo tentou compreender duas questões principais. A partir de um ponto de vista histórico, documentamos a prática e a vivência de Pastore como um fotógrafo retratista de notável inclinação para o foto-pictorialismo. Observamos o percurso de Pastore no métier do retrato em São Paulo, mas também em Potenza e Bari, cidades italianas onde o fotógrafo atuou. A pesquisa realizada também nos acervos e arquivos na região da Puglia e da Basilicata, proporcionou uma abordagem histórica que delineou os muitos desafios dos retratistas italianos que buscavam incessantemente condições mais favoráveis para sobreviver da produção de retratos ao sul da Itália, forçados, muitas vezes, a vivenciarem a experiência da imigração. Documentamos mais profundamente, o processo de agenciamento sobre as imagens produzidas nas ruas da cidade de São Paulo, entre os anos de 1908 e 1914, mas submetidas a um circuito de apropriação e circulação somente após 1996, depois da doação feita ao Instituto Moreira Salles pelos descendentes do fotógrafo.<br>This research follows the trajectory of Italian photographer Vincenzo Pastore, who lived in São Paulo between 1899 and 1918. If Pastore, on the one hand, produced commercial portraits in studio during his life, on the other, his most emblematic production was the series of photographs taken on the streets and surroundings of São Paulo\'s capital. The path trodden by Vincenzo Pastore entwines with that of his images in this analysis, in a research focused on the social processes that built both paths: that of the photographer and of his pictures. This study tried to understand two main issues. From a historical point of view, we document the practice and the experience of Pastore as a portrait photographer of remarkable penchant for photo-pictorialism. We followed Pastore\'s path not only in the métier of the portrait in São Paulo, but also in Potenza and Bari, Italian cities where the photographer worked. The research, also carried out on the collections and archives in the region of Puglia and Basilicata, provided a historical approach, which outlined the many challenges of Italian portrait painters, who were constantly searching for more favorable conditions to live by the production of portraits in south of Italy, often forced to undergo the experience of migration. We documented more deeply the agency process on the images produced on the streets of São Paulo, between 1908 and 1914, but that entered an appropriation and circulation circuit only after 1996, when the photographers descendant\'s donated the photos to the Moreira Salles Institute.
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Martins, Thaís Menna Barreto. "A fotografia de Luiz Arthur Ubatuba de Faria : o olhar de um urbanista." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170059.
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Este trabalho de pesquisa investiga o uso da fotografia como ferramenta de trabalho para o urbanismo a partir da análise de um estudo de caso: a atuação do urbanista e fotógrafo gaúcho Luiz Arthur Ubatuba de Faria (1908-1954), cuja relevância de sua atuação profissional em muito contribuiu para a constituição e consolidação do urbanismo no Rio Grande do Sul como campo profissional, e, de maneira pioneira fez uso sistemático da fotografia em seus trabalhos de urbanismo. Como “recorte serial”, foi estabelecida a série documental do conjunto iconográfico que conforma o Acervo Fotográfico de Luiz Arthur Ubatuba de Faria – Acervo LAUF. Foram analisados grupos de imagens que, através de suas narrativas, puderam contribuir com o seguinte questionamento de pesquisa: de que maneiras Luiz Arthur Ubatuba de Faria fez uso da fotografia como instrumento de trabalho para seu métier de urbanista no Rio Grande do Sul no período de 1926 a 1954? A partir de uma abordagem historiográfica a pesquisa assume como aporte teórico estruturador a indissociabilidade da tríade sujeito (fotógrafo), tecnologia (equipamento) e assunto (tema abordado) descrita por Kossoy. Nortearam a investigação as hipóteses de que Ubatuba de Faria tivesse feito uso de sua técnica de fotografar para o desempenho de seu trabalho enquanto urbanista, e da possibilidade de toda a produção fotográfica de Ubatuba de Faria tivesse contribuído de forma direta ou indireta para sua produção como urbanista. Ainda, considerou-se que o exercício de fotografar pudesse ter aguçado sua leitura do espaço urbano e das relações sociais inerentes ao urbanismo e que esta leitura realizada através de suas lentes, tenha, inclusive, contribuído na construção de seu entendimento do urbano e das questões relacionadas ao urbanismo em um processo de retroalimentação. O método contemplou duas dimensões de aproximação: uma dimensão laboratorial e uma dimensão analítica/ classificatória. A primeira abordou o conjunto de procedimentos técnicos que promoveu a salvaguarda do acervo. A segunda desenvolveu um quadro analítico constituído pela articulação das estratégias de análise de conteúdo e semiótica de imagens, através de uma abordagem qualitativa. Foram objetivos da pesquisa contribuir para o conhecimento do trabalho e da trajetória de Luiz Arthur Ubatuba de Faria enquanto urbanista com ênfase na sua produção fotográfica, bem como identificar as formas de uso da fotografia como ferramenta de trabalho para o urbanismo praticadas pelo urbanista. Por fim, objetivou-se dar visibilidade ao vasto acervo fotográfico identificado, visto que o trabalho de pesquisa empreendido apresenta e investiga um acervo inédito, com significativo valor documental e artístico.<br>This research investigates the use of photography as a work tool for urbanism from the analysis of a case study: the performance of the Gaucho urbanist and photographer Luiz Arthur Ubatuba de Faria (1908-1954). The relevance of his professional activity contributed greatly to the constitution and consolidation of urbanism in Rio Grande do Sul as a professional field, and he, in a pioneering way, made a systematic use of photography in his endeavors of urbanism. As a "serial clipping", the documental series of the iconographic set that constitutes the Photographic Collection of Luiz Arthur Ubatuba de Faria (LAUF Collection) was established. Groups of images were analyzed, who, through their narratives, could contribute to the following research inquiry: in what ways Luiz Arthur Ubatuba de Faria made use of photography as a working tool for his urbanist métier in Rio Grande do Sul in the period of 1926 to 1954? From a historiographical approach, the research assumes as a theoretical and structuring contribution the indissociability of the triad: entity (photographer), technology (equipment) and subject (subject matter) described by Kossoy. The investigation was based on the hypotheses that Ubatuba de Faria made use of his photographic technique for the performance of his work as an urbanist, and the possibility of all his photographic production to have contributed directly or indirectly to his production as a city planner. In addition, it was considered that the exercise of photographing could have sharpened his reading of the urban space and of the social relations inherent to urbanism, and that this reading realized through his lenses could have contributed to the construction of his urban understanding and of the issues related to urbanism in a feedback process. The method contemplates two dimensions of approach: a laboratorial dimension and an analytical/classificatory one. The first dealt with the set of technical procedures which promoted the safeguarding of the collection. The second one developed an analytical framework constituted by the articulation of the strategies of content analysis and semiotics of images, through a qualitative approach. The objectives of the research were to contribute to the knowledge of the work and of the trajectory of Luiz Arthur Ubatuba de Faria as an urbanist with an emphasis on his photographic production, as well as to identify his ways of using photography as a work tool for urbanism. Finally, it was aimed to give visibility to the vast photographic collection identified, as the research undertaken presents and investigates an unpublished collection, with significant documental and artistic value.
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Morris, Alan. "Digital technologies and photographic archives Birmingham Central Library : a case study." Thesis, University of Wolverhampton, 2001. http://hdl.handle.net/2436/126505.
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This thesis considers the use and potential of digital technologies for those responsible for photographic collections in public libraries. Using the Birmingham Central Library as a case study, the research has explored how information comn1unication technologies have impacted on the way in which photographic in1ages are created, stored and disseminated. The study provides an overview of both the British library service and the role of archives within this public provision. Following an examination of the characteristics of digital media and a range of issues relating to the preservation, dissemination and economic exploitation of photographic il1aterials in digital form, the thesis goes on to adopt a variety of research strategies, including a number of empirical projects used to assimilate information relating to the practical application of information communication technologies by those working in public libraries. The major outcome of the research, identified in the later sections of the thesis, has been to n1ake a unique contribution to the field of knowledge relating to the provision of digital resources by those responsible for photographic collections residing in archives within public libraries in the United Kingdom. The conclusions to emerge from the theoretical and empirical research contribute to knowledge by providing current information about the utilisation of digital technologies for the purposes of enhancing access to photographic material held within public library archives, whilst also considering possible future developments relating to the area of investigation.
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Stoffle, Richard W., Vlack Kathleen A. Van, Nathaniel B. O’Meara, and Aja Y. Martinez. "The Bahamas Biocomplexity Study Photo Collection." Bureau of Applied Research in Anthropology, University of Arizona, 2013. http://hdl.handle.net/10150/297234.
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Mouchel, Didier. "La collection Soclet : inventaire des fonds photographiques du photographe amateur Alfred Soclet, 1853-1926 /." Rouen (36 rue Campulley, 76000) : D. Mouchel, 1998. http://catalogue.bnf.fr/ark:/12148/cb37068637h.
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Couvidat, David. "La collection "terre humaine" de Jean Malaurie (1955-2015) : littérature, anthropologie et photographie." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC030/document.
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La collection « Terre Humaine » (1955-2015) dirigée par un géographe et explorateur français, Jean Malaurie, se présente comme un espace de diffusion d’idées, d'objets, et de pratiques permettant d’explorer, dans la seconde moitié du XXe siècle, la perméabilité des frontières du champ littéraire au contact de l’anthropologie et de la photographie. La diversité des profils des auteurs, des modes d’écriture, des espaces et des périodes, dissimule l’unité souterraine d’une aventure éditoriale à vocation universelle qui cherche à comprendre les populations les plus variées, à la fois dans le temps et dans l’espace, afin de percer les mystères de l’existence humaine. La mise en réseau de témoignages portant sur des sociétés dispersées à la surface de la planète engendre une vision parallèle de l’espace mondial. En écho avec l’aventure des Annales mais aussi avec le réalisme et le naturalisme du XIXe siècle, une réflexion initiale sur les modalités d’écriture en sciences sociales finit par donner naissance à une littérature ethnographique fondée sur l’exploration de modes de vie et de pensée de populations marginales à l’échelle du globe. L’ethnographie est envisagée non plus seulement comme méthode scientifique de collecte de données mais plus généralement comme un mode d’écriture textuel, visuel et audiovisuel narrant la métamorphose tragique de sociétés au contact d’une civilisation<br>“Terre Humaine” Publishers’ Series (1955-2015), which is supervised by a French explorer and geographer, Jean Malaurie, may be examined as a heuristic space of diffusion of ideas, objects and practices to explore, in the 2nd half of the twentieth century, the tightness of the literary field in contact with anthropology and photography. The diversity of the authors’ backgrounds, writing genres, spaces and periods of time, masks the underground unity of an editorial and self-claimed universal enterprise which aims at understanding the most diverse populations, both in time and space, to uncover the mysteries of the human existence. Networking testimonials on societies scattered around the globe discloses a parallel worldview. In connection with the Annales review and the 19th century realism and naturalism, early reflections on writing in social sciences end up spawning an ethnographic literature grounded in exploring ways of living and thinking among marginalized groups worldwide. Ethnography is not anymore only considered as a scientific method to collect data but more broadly as a textual, visual and audiovisual writing genre relating the tragic metamorphosis of a society in contact with a civilization
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Nabozny, Andrea Rita da Silva. "A composição da paisagem urbana de Ponta Grossa-PR nas fotografias do acervo Foto Elite." Universidade Estadual de Ponta Grossa, 2018. http://tede2.uepg.br/jspui/handle/prefix/2688.
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Previous issue date: 2018-09-20<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Esta dissertação aborda a composição da paisagem urbana de Ponta Grossa por meio da iconografia de Domingos Silva Souza. Desta maneira, objetiva-se investigar as transformações e as permanências dos elementos urbanos significativos para a população ponta-grossense como marcas que caracterizam a paisagem. O contexto desta discussão é baseado pelas narrativas dos seguidores do perfil Foto Elite na rede social Facebook, em relação à visualidade da cidade por meio da divulgação das fotografias produzidas pela empresa fotográfica Foto Elite, no decorrer dos 64 anos de sua existência. Também, o estudo aponta métodos de análise para a exploração científica das relações entre paisagem e fotografia. A metodologia fundamenta-se em trabalhos de observação da paisagem urbana, entrevistas com o fotógrafo responsável pela produção iconográfica do acervo Foto Elite, além de investigações e interpretações constituídas por meio das manifestações dos seguidores do acervo digital no Facebook. Estas observações estão associadas às interpretações de análise de conteúdo conforme Bardin (1979) e também em relação ao aspecto visível da paisagem como forma de pensamento geográfico. Como resultados salienta-se que a paisagem urbana de Ponta Grossa é compreendida como uma composição constituída por múltiplos textos provenientes da interpretação dos símbolos urbanos analisados por quatro dimensões fundamentais: o ato fotográfico de Domingos e seus percursos espaço-temporais na cidade fotografada; a disponibilidade de um conjunto imagético intencional na rede social Facebook; os possíveis sentidos „compartilhados‟, ‟comunicados‟ e „curtidos‟ pelos seguidores do „perfil Foto Elite‟ em relação ao material fotográfico disponível na internet e os recursos teórico-metodológicos utilizados para a interpretação simbólica da paisagem urbana. Resultantes das escolhas intelectuais, ancoradas nas bibliografias recentes (BESSE, 2014; COLLOT, 2013; GOMES, 2013) sobre as manifestações e representações da paisagem sob os aspectos da percepção, visão e memória de indivíduos que fazem parte desta pesquisa. A ênfase simbólica da paisagem vem ao encontro da perspectiva de identidade, na medida em que a paisagem é vista e vinculada pelos aspectos significativos atribuídos por seus sujeitos, criando uma dimensão de identidade emblemática a partir de seus imaginários. Sendo assim, nota-se que a paisagem urbana de Ponta Grossa se constituiu ao longo do tempo por meio de um processo determinado pelos desejos de seus habitantes ao reconhecimento de projeções grandiosas como fortificações de um sentimento de cosmopolitismo, que podem ser traduzidos por meio do intenso paradoxo manifestados nos desejos de progresso e nos sentimentos de nostalgia, almejando a cidade de Ponta Grossa como uma cidade protagonista da história.<br>This dissertation approaches the composition of the urban landscape of Ponta Grossa through the iconography of Domingos Silva Souza. Its main goal is to investigate the transformation and the permanence of urban elements that are significant to the population of Ponta Grossa as marks that characterize its landscape. The context of this discussion is based on the narratives of followers of the Foto Elite page on Facebook, regarding the city's visibility through the divulgation of photographs produced by the photography company Foto Elite over its 64 years of activity. The study also points out methods to analyze the relationship between landscape and photograph scientifically. The methodology is based on works of urban landscape monitoring and it involves interviews with the photographer responsible for the production of the Foto Elite image collection, in addition to investigations and interpretations of the followers' reactions on Facebook. These observations are related to interpretations of content analysis according to Bardin (1979) and to the visible aspect of the landscape as a form of geographical thought. As the result, we found that the urban landscape of Ponta Grossa can be comprehended as a configuration of multiple texts related to the interpretation of urban symbols, analyzed through four fundamental dimensions: the photographic act of Domingos and his journeys through space and time in the city; the availability of an intentional image collection on Facebook; the possible meanings conveyed, “shared”, and “liked” by the followers of the Foto Elite page about the photographs available online; and the theoretical-methodological resources employed in the symbolic interpretation of the urban landscape, which resulted from our intellectual choices based on recent publications (BESSE, 2014; COLLOT, 2013; GOMES, 2013) on the manifestations and representations of the landscape, considering the aspects of perception, sight and memory of individuals that took part in this research. The emphasis on the symbolism of the landscape meets the perspective of identity, in the degree that the landscape is seen and linked to significant aspects attributed by its subjects, creating a dimension of emblematic identity based on their ideals. Thus, we observed that the urban landscape of Ponta Grossa was constructed over time in a process determined by the wishes of its inhabitants, recognizing grandiose projections as a way to strengthen a feeling of cosmopolitanism, while manifesting an intense paradox regarding the desire for progress and the feelings of nostalgia, aiming to have the city of Ponta Grossa as a protagonist in history.
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Vale, Sam. "Collecting rooms : objects, identities and domestic spaces." Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7782/.
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This practice-based enquiry into United Kingdom based collecting rooms reveals five participants’ motivations, frustrations and satisfactions manifested in the creation of their spaces. Through the examination of theorists and commentators in the distinct but related fields of cultural theory, sociology and art, the thesis proposes that a collector’s past can be witnessed through memories generated by and within the space. The thesis also advances the idea that part of the experience of the space takes place in the present but simultaneously imagines the future. I have constructed spatial portraits using semi-structured interviews, photography and video, which explore the environment of each collector thus gaining insights into individual circumstances and personal situations. Narrative within this enquiry takes three intersecting forms: firstly the account of the construction of each collecting room, which divests objects of their historical origins, replacing these with personal associations or meanings devised by each collector. Secondly, each participants’ re-telling of their narratives and thirdly through the re-presentation of the collectors’ narratives to an audience. The latter brings my agency as an artist into focus. Uniting all three narrative forms, the creative practice intends to produce a metanarrative of each collecting room that further investigates the temporality of the space through the combined use of still photography, video and sound. Constructed from a symbiotic relationship between theory and practice, the research uses a methodology that combines Sensory Ethnography with Interpretive Phenomenological Analysis. This methodology explores the idiosyncrasies of each collector, engendering an extensive investigation of the individual collecting spaces. This detailed approach formed and eventually determined the number of participants, resulting in the production of a developmental case study and four original re-presentations that respond to ideas and debates on collecting, material culture and domestic space. These artworks that have been informed by combining existing research methods and constitute my contribution to new knowledge, disclosing ideas and observations which combine narrative and experience not necessarily discernable from theoretical arguments alone.
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Ashton, Jenna Carine. "Rachel Whiteread : casting and collecting childhood." Thesis, University of Manchester, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.634851.
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Responding to the works of artist Rachel Whiteread (b. 1963), this research aims to interrogate the social and spatial experiences of childhood, starting from the personal, childhood memory. Whiteread offers a curious collection of objects, furniture, toys, utensils, photographs and junk. Casting and collecting are Whiteread’s primary methods of artistic creation, of creative play, and these processes are at the centre of this thesis. Casting and collecting transforms objects – their uses and forms, and thus subsequent meanings and associations. Melanie Klein (1882-1960) was an early pioneer of child analysis, developing her distinctive method of the play technique. A key founder of British objects relations theory, Klein’s method incorporated creative play with objects and toys. Klein and Whiteread hold objects in common; play sits alongside casting and collecting. I use Klein’s theories to open up the childhood house of Whiteread and her methods of casting and collecting. The three chapters of this thesis, Closeted Childhoods: Closet (1988); Siblings and Seriality: Untitled [One Hundred Spaces] (1995); A Photographic Portrait of House (1993-94), draw on different aspects of Kleinian and psychoanalytical theory in response to Whiteread’s own childhood memory-work. Kleinian themes addressed include destruction and reparation, guilt and envy, loss and mourning, with the conclusion returning to that first object, the mother, and the presence of the maternal in Whiteread’s works. Primarily, I argue that Whiteread’s sculptural casts and installations are those materialised secrets of hidden and concealed childhoods denied by a mythology of familial unity. Significantly, I consider how the autobiographical childhood remembrance holds relevance for wider concerns of social and spatial experience – public and private.
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Riddar, Johnson Matilda. "Kungliga bibliotekets fotografiska förvärv : En undersökning av Kungliga bibliotekets förvärv av fotografier under 1958‒2008." Thesis, Uppsala University, Department of ALM, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-105610.
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<p>My master’s thesis is a study of acquisition of photographies during 1958-2008. The questions I proceed from is what patterns lies behind the Royal library's acquisition of photography and how the process of acquisition looks like. The theoretical base which I lean on consists partly of a problematization of the process of cultural heritage and partly of organizational theory. The problematization of the process of cultural heritage is my foundation of this essay. My starting point is that the Royal library make a choice when they collect material to be a cultural heritage and the memories gathered for future generations. I used organizational theory to find answer to how the collection been gathered through studies of the organizations interaction with the members of the organization, the process in the organizations, like goals and policy, and the organizations interaction with other organizations. I used case-study as my method. I interviewed most of the chiefs who were in charge of the unit during the period 1958-2008 and worked through journals of acquisition, annual reports, letters of regulation, exchange of letters and other in-house material. My results are that the acquisition of photography follows the Royal library's acquisition of picture at large. The culture heritage that the library collect for future generations is based on the content rather than the form of the material. This aspect was founded early in the creation of the library and has kept its status as a guiding line ever since. The main categories of collection are based on the motif of the photography and are the following; portrait, topography and events. Events is a new category but a sequel of an old category, historical wall chart. The material that the photographies are made of has varied but the majority have been photographies on paper. Gifts and purchases have been the most common ways for the library to collect photographies. Gifts have been treated differently through the years, from the beginning all gifts were received and the library asked actively for special gifts, later the library decided whether or not they should accept a gift. The policy from both the library and from the government have been vague, but lately they have been working on a new and more detailed policy from 2008.</p>
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Sotteau, Stéphanie. "Les prisons parisiennes de 1888 à 1919 dans les collections du Musée Carnavalet /." Paris : Université de Paris IV, 1997. http://catalogue.bnf.fr/ark:/12148/cb37065096n.
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Croft, David. "Semi-automated co-reference identification in digital humanities collections." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10491.
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Locating specific information within museum collections represents a significant challenge for collection users. Even when the collections and catalogues exist in a searchable digital format, formatting differences and the imprecise nature of the information to be searched mean that information can be recorded in a large number of different ways. This variation exists not just between different collections, but also within individual ones. This means that traditional information retrieval techniques are badly suited to the challenges of locating particular information in digital humanities collections and searching, therefore, takes an excessive amount of time and resources. This thesis focuses on a particular search problem, that of co-reference identification. This is the process of identifying when the same real world item is recorded in multiple digital locations. In this thesis, a real world example of a co-reference identification problem for digital humanities collections is identified and explored. In particular the time consuming nature of identifying co-referent records. In order to address the identified problem, this thesis presents a novel method for co-reference identification between digitised records in humanities collections. Whilst the specific focus of this thesis is co-reference identification, elements of the method described also have applications for general information retrieval. The new co-reference method uses elements from a broad range of areas including; query expansion, co-reference identification, short text semantic similarity and fuzzy logic. The new method was tested against real world collections information, the results of which suggest that, in terms of the quality of the co-referent matches found, the new co-reference identification method is at least as effective as a manual search. The number of co-referent matches found however, is higher using the new method. The approach presented here is capable of searching collections stored using differing metadata schemas. More significantly, the approach is capable of identifying potential co-reference matches despite the highly heterogeneous and syntax independent nature of the Gallery, Library Archive and Museum (GLAM) search space and the photo-history domain in particular. The most significant benefit of the new method is, however, that it requires comparatively little manual intervention. A co-reference search using it has, therefore, significantly lower person hour requirements than a manually conducted search. In addition to the overall co-reference identification method, this thesis also presents: • A novel and computationally lightweight short text semantic similarity metric. This new metric has a significantly higher throughput than the current prominent techniques but a negligible drop in accuracy. • A novel method for comparing photographic processes in the presence of variable terminology and inaccurate field information. This is the first computational approach to do so.
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Wang, Han-Chih. "The Profane and Profound: American Road Photography from 1930 to the Present." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.
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Art History<br>Ph.D.<br>This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank’s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank’s commentary on postwar America during his cross-country road trip—the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha’s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander’s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank’s snapshot. Shore’s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore’s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore’s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans’s and Frank’s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie’s Freeway Series, 1994–1995; Andrew Bush’s Vector Portraits, 1989–1997; Martha Rosler’s The Rights of Passage, 1995; and Amy Stein’s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.<br>Temple University--Theses
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Stead, Sarah. "PLACE, SPACE, AND FORM CAPTURED THROUGH PHOTOGRAPHIC MEDITATION." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4193.
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Inspired by Buddhist philosophy, the photographic series Architectural Zen attempts to beautify banal and pragmatic architecture through limiting and preexisting artificial light conditions. The selective illumination of artificial light eliminates the non-essential details and enhances the pure forms and saturated color presented by the camera lens. This encourages the photographer and the viewer to enter a state of meditation. The resulting process is similar to a Zen approach to image making. The ancient Zen artist s compositions are strengthened by a meditation on form and subsequent elimination of the non-essential elements of the subject. Through embracing this Zen mentality and mindfulness,aspects of Eastern aesthetic and balance also appear through the work. The warm glow of artificial lights, long recessed shadows, and surreal colors contribute to the feeling of rest, contemplation, isolation, and solitude. Although the work in Architectural Zen is not directly about Buddhist doctrines, the process of creating the art parallels the ideas and practices of Zen Buddhism and meditation, finding the Buddha nature of typically unappealing architectural forms during a different time of day.<br>M.F.A.<br>Department of Art<br>Arts and Humanities<br>Studio Art and the Computer MFA
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Chambefort, Karine. "Ecritures photographiques des identités collectives : classe, ethnicité, nation dans la photographie en Grande-Bretagne entre 1990 et 2010." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0010/document.
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Cette thèse étudie un corpus de livres et d’expositions de photographies qui abordent les questions d’identité sociale, ethnique et nationale [en Grande-Bretagne]. Elle procède à une historicisation du champ photographique en s’intéressant au contexte social et politique de production et de diffusion des images, et en particulier aux politiques culturelles. Elle considère photographies et expositions comme des discours et pratiques qui contribuent à la formation des identités collectives. Le genre des photographies, et notamment le documentaire, est discuté au fil de l’étude, en lien avec la problématique de l’identification. En s’attachant aux rapports entre représentations, identités collectives, culture et pouvoir, l’analyse s’inscrit dans la lignée des cultural studies, dont quelques auteurs, comme Stuart Hall ou Paul Gilroy sont régulièrement évoqués. Il ressort que la photographie se fait le témoin et l’agent d’une dissolution des identités collectives dans les années 1990, en interrogeant l’identité nationale et ses vecteurs et en revendiquant un plus grand pluralisme culturel. Pour aborder la question sociale, devenue moins centrale, elle rompt avec le documentaire classique et la figure du photographe engagé. Par ailleurs, une photographie noire se structure autour d’Autograph-ABP. Lorsqu’une New Britain (jeune, créative et multiethnique) est promue par les travaillistes, la photographie en révèle les dissonances. Néanmoins, en entrant dans le domaine de l’art contemporain, le médium devient aussi l’objet des politiques culturelles multiculturalistes et se fait parfois source d’ethnicisation et d’essentialisation des identités. Après 2001, lorsque le multiculturalisme est critiqué, la photographie enregistre la diversité de la société britannique et démonte les stéréotypes qui visent particulièrement musulmans et réfugiés. Elle est aussi force de proposition dans la recherche de nouvelles formes de cohésion. Des pratiques documentaires collaboratives sont expérimentées pour un renouveau de la citoyenneté. La capacité de la photographie à explorer le rapport entre territoire et citoyens lui permet aussi d’inventer d’autres modes d’identification collective ancrés dans l’expérience quotidienne<br>This thesis is based on a corpus of photography books and exhibitions dealing with social, ethnic, and national identities in Britain. It adopts a historicizing perspective by analysing the political and social contexts for the production and circulation of photographs, with special attention to cultural policies. Photographs and exhibitions are studied as narratives and practices that contribute to the formation of collective identities. The genre of photographs, and especially the notion of documentary, is discussed throughout the work, as a corollary to the question of identification. With a focus on representations, collective identities, culture and politics, this study lies in the field of cultural studies and regularly summons some of its prominent figures like Stuart Hall or Paul Gilroy. It shows that photography both documented and helped the dissolution of collective identities at the end of the 1990s, by questioning national identity and its representations, and by advocating greater cultural pluralism. As the social question became less prominent, photography departed from traditional social documentary forms and from the figure of the committed photographer. Parallel to this, in the wake of Black Arts, Black Photography was institutionalized with the creation of Autograph-ABP. It is also argued that when the New Labour party promoted a New Britain, some photographs acted as a magic mirror, revealing dissonances in the brand new narrative of a young, creative, multi-ethnic Britain. However, as photography entered the realm of contemporary art, it also became subject to the multiculturalist policies of the period and sometimes turned into a source of ethnicisation and essentialization. After 2001, as multiculturalism was questioned, photography kept documenting the diversity of British society and helped debunk stereotypes, especially those associated with Muslims and refugees in Britain. Finally, the late 2000s are analysed as a period when new modes of social cohesion are explored through photographic practices. Collaborative documentary projects are experimented to re-engage citizens. New photographs documenting the relation between people and territory in Britain seem to suggest that collective identification may rather be found in shared everyday experience
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Weber, Kaylin Haverstock. "The studio and collection of the 'American Raphael', Benjamin West, P.R.A. (1738-1820)." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4307/.
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When the history painter Benjamin West (1738-1820) died in March 1820, he left behind a remarkable monument to his life and work in his residence at 14 Newman Street, in London’s fashionable West End. Here, he had created an elaborate ‘palace’ of art, dedicated to history painting and to himself – his artistic genius, his artistic heroes, and his unique transatlantic identity. This impressive establishment was nearly fifty years in the making and part of an elaborate strategy to develop an artistic reputation as the pre-eminent history painter of his generation. While his studio has been considered by scholars as a place of pilgrimage for dozens of American students, its physicality and contents have never been thoroughly explored. Using a variety of evidence, including bank records, contemporary descriptions, and visual material, this thesis reconstructs much of this important space and collection to reveal how it was shaped and utilised by West. It combines a documentation of the spaces and objects with an analysis of their use and meaning in terms of the painter’s engagement with art theory, pedagogy, practice, collecting, display, and legacy. West, who was History Painter to George III, inhabited 14 Newman Street from 1774 to 1820, a period of dramatic expansion and cultural ambition in the London art world. Indeed, this thesis argues that 14 Newman Street and its impressive contents were more than just a history painter’s ‘palace’ of art but a place symbolic of the ideals and ambitions of British art. Following an introduction that more fully defines the aims and scope of this thesis, four chapters explore the significance of West’s house, his collections, and their display in this context. Chapter one provides an overview of his home and studio, and considers how it was designed with West’s various audiences in mind. The scope and character of his impressive collection is examined in the second chapter with a particular focus on a selection of Old and New World objects that represent particular areas of strength within the corpus of the collection. Chapter three examines the collection as a public and private artistic resource for West and his students as well as a statement of his commitment to the grand tradition. In chapter four, West’s self-promotion and exhibition strategies at Newman Street are addressed, highlighted by his exhibition of The Death of Lord Nelson in 1806. Developed in the dynamic context of the establishment of the Royal Academy, the proliferation of public exhibitions, and ongoing debates about national art, West’s collection and studio at 14 Newman Street exemplified the aspirations of British art.