Bibliografias temáticas / Photographic criticism

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Literatura científica selecionada sobre o tema "Photographic criticism"

Autor: Grafiati
Publicado: 4 de junho de 2021
Última modificação: 30 de julho de 2024

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Artigos de revistas sobre o assunto "Photographic criticism"

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Humm, Maggie. "Virginia Woolf and photography". Comunicação e Sociedade 32 (29 de dezembro de 2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.

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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.
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Yurchuk, Olena. "PHOTOGRAPHY AS A FORM OF STATEMENT AND MEANS OF FIXING PRESENCE IN A. PEREZ REVERTE’S BATALIST". CONTEMPORARY LITERARY STUDIES, n.º 19 (15 de março de 2023): 63–68. http://dx.doi.org/10.32589/2411-3883.19.2022.274082.

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Modern literary criticism pays much attention to the theme of photography in fiction. R. Barth and his followers emphasize the active interpenetration of the two arts, which results in a play with imprint, blur, and image. Photography turns out to be a point of reference for reconstructing the past. The photographic image claims to be an archival document necessary for reconstructing the past, and the photograph claims to be completely objective, though limited by a subjective position. In the plot of A Perez Revert’s novel «The Battler» the camera, as well as photography itself, occupies a special place. After all, it is the camera that helps the photographer to recreate the chosen object of reality, to turn a moment into time frozen in history. For a photojournalist, a camera is not just a device for creating photo frames, but a component of his life, a mechanism that works in harmony with his body. The camera forms the inner world of the photographer, projecting the reality around him. During the Croatian war of the early 1990’s, it allowed the combatant to see what he saw through the prism of his own emotions and beliefs and recreate it in a specific photograph. A photograph is not only a documentary fact, but also a work of art, because it is a unique combination of dozens of random factors that together affect the perception of the photographer, coincide in one moment, are focused by the lens and reflected in it. This text is part of a discourse about the changing status of the document and the role of the photographer in assessing events, his ethical position, and recording presence. The one who publicly manifests his individuality and creative potential to make his voice heard, or to demonstrate images and attribute to himself a certain autonomy in relation to the world and its institutions, sooner or later becomes an artist.
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Foa, Michelle. "Textual Inhibitions: Photographic Criticism in Late Victorian Britain". History of Photography 36, n.º 1 (fevereiro de 2012): 33–43. http://dx.doi.org/10.1080/03087298.2011.606724.

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Van der Vlies, Andrew. "Constellated in a flash: on the dialectics of seeing (beyond stasis) in Zoë Wicomb’s work". English in Africa 49, n.º 2 (4 de novembro de 2022): 7–25. http://dx.doi.org/10.4314/eia.v49i2.1.

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This essay considers the photograph as representation and metaphor in select work by Zoë Wicomb (b. 1948). It asks how the photograph functions in her prose fiction and criticism in service of a recuperation of late- and postapartheid stasis in potentially affirmative vein. Many of Wicomb’s most illuminating essays and many of her fictions – from her debut, You Can’t Get Lost in Cape Town (1987), to the most recent, Still Life (2020) – engage with photographs, drawing in highly suggestive ways on vivid descriptions of acts of seeing that are indebted to photographic theory. What, I ask, is constellated in the moment captured in the photograph represented in Wicomb’s fiction, as well as in the moment of engagement with the image – by her characters, or by Wicomb herself (including as critic)? How does the photograph function in Wicomb’s reimagination of the possibilities for ethical engagement with otherness beyond the stasis of South Africa’s long post-transition, post-postapartheid moment?
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Widi Nugroho, Yulius. "Still-life Photography as Visual Poetry Media for Social Criticism of Lumpur Lapindo". Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, n.º 2 (28 de outubro de 2022): 93–111. http://dx.doi.org/10.31091/lekesan.v5i2.2083.

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Visual media photography is prioritized to present actual and factual information as news media and art media, and Visual Poetry is a work of art that combines two visual and verbal media as one work. The purpose of this research is to make still life photography works and the meaning of photo works as a medium for Visual Poetry. The object of the photo is about the condition of the Lapindo Mud on Porong Sidoarjo Indonesia, which has been neglected for years without serious handling. This creation method uses a photographic method of photographing natural objects. Methods of collecting data by observation, interviews, and documentation offline and online. The discussion of meaning uses the semiotic theory of Roland Barthes. The result of this creation is to capture visual phenomena which are then converted into words and finally assembled into poetry. The meaning of the final work of the photo comes from the visual and verbal media that are presented together, and of course it remains open to meaning that is free from the audience. Visual Poetry's work is used as a social critique of the condition of the Lapindo Mud which is physically and socially neglected. The conclusion of this creation is that visual and verbal media have their respective advantages and limitations, but can be combined into new works and new meanings. The benefit of the creation of this work is the development of methods of visual meaning that can produce new art media.
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Graziano, Maítha Elena Tosta, e Maria Leandra Bizello. "Os documentos fotográficos na perspectiva Teórico-metodológica da Diplomática um estudo da Fundação Fernando Henrique Cardoso". Páginas a&b Arquivos & Bibliotecas 17 (2022): 116–30. http://dx.doi.org/10.21747/21836671/pag17a7.

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Observing the statusused for photographs in archives today, since the recognition of their character as an archival document, their differencesin organization, packaging and availability for access, it is evident the need to deepen the discussions about these documents in the archival scope. For this reason, it is proposed to discuss photography and its nuances, envisioning its documentary and, consequently, archival nature, from its production context and the theoretical-methodological perspective that diplomatic analysis offers as a valid tool to understand it while result of an action registered in the contemporary world, that is, a document. For that, the methodology applied was the case study, being the Fernando Henrique Cardoso Foundation the research universe. It is concluded that, more than applying diplomatic criticism to photographic documents, it is necessary to reflect on the production of images as documents, as well as their characteristics and their condition of production, that is, their context.
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Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'". Aesthetic Investigations 1, n.º 1 (16 de julho de 2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.

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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's photograph, the articles shows how such a 'social' focus on photography, easily reaffirms the social inequalities that lies within the practices of atrocity photography.
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Novianti, Erlina, Silviana Amanda Tahalea e Asih Retno Dewanti. "Kajian Estetika Fotografi Urban “#JakartaBelumHabis” Karya Chris Tuarisa". Rekam 19, n.º 1 (26 de abril de 2023): 47–58. http://dx.doi.org/10.24821/rekam.v19i1.7582.

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ABSTRAKFotografi urban adalah fotografi yang dilakukan dengan pendekatan urban life. Fotografi urban mengacu pada kehidupan dalam lingkup perkotaan. Salah satu fotografer yang menghasilkan karya fotografi urban adalah Chris Tuarisa. Karya-karya yang dihasilkan merupakan visualisasi masyarakat urban, tetapi juga memperlihatkan kawasan perkotaan dari sisi masyarakat menengah kebawah yang tidak dapat dipungkiri juga merupakan bagian dari masyarakat urban. Fotografer dapat menceritakan sisi lain dari isu perkotaan yang belum pernah dilihat oleh sebagian masyarakat Jakarta sendiri, karya foto Christ Tuarisa sekaligus menjadi kritik untuk pemerintah untuk dapat menyelesaikan isu perkotaan. Tujuan dari penelitian ini adalah memaknai dan membaca karya Chris Tuarisa menggunakan teori estetika fotografi. Manfaat dari penelitian ini adalah dapat menganalisa lebih dalam sisi lain tampilan foto urban karya Chris Tuarisa dalam estetika fotografi. Adapun metode yang digunakan adalah metode studi kasus, peneliti akan menggunakan karya foto dari hasil karya fotografer Chris Tuarisa. Kesimpulan penelitian ini adalah bahwa teori estetika merupakan teori yang tepat untuk digunakan untuk menganalisa sebuah foto, karena teori estetika dapat menantu spektator menaknai sebuah foto secara lebih dalam. Karya Chris Tuarisa bercerita mengenai kesenjangan sosial yang besar dalam keseharian masyarakat Jakarta, sekaligus menjadi kritik bagi pemerintah agar dapat memberikan solusi untuk permasalahan tersebut. Aesthetic Study of Urban Photography “#JakartaBelumHabis By Chris Tuarisa. Urban Photography has become a part of photography genre that can be carried out with an urban life approach. Urban photography is related to urban space and activity. One of the photographers doing urban photography is Chris Tuarisa. His works are visualizations of urban society, from the perspective of the middle and low class society as part of urban community. Chris’ works showing highlight about other side of urban issues that some people in Jakarta may have never see., Upon a closer examination, Christ Tuarisa's photographic work is actually a form of criticism addressed to the government to point out the urban issues. The purpose of this research is to interpret and comprehend the context of Chris’s works using the aesthetic theory of photography. The aim of this research is to study and analyze other perspectives from the visualization of urban photos by Chris Tuarisa using photographic aesthetics theory profoundly. The method used was a case study method. The conclusion of this study is that aesthetic theory is an applicable theory to analyze photography, because aesthetic theory can give the spectator a deeper interpretation and signification of the photo. Chris Tuarisa's works tell stories about the social gap in the daily life of Jakarta’s citizen, as well as being a criticism for the government to be able to provide solutions to these problems.
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Kovach, Jodi. "Architectural Ruins and Urban Imaginaries: Carlos Garaicoa’s Images of Havana". Contemporaneity: Historical Presence in Visual Culture 5 (30 de novembro de 2016): 72–84. http://dx.doi.org/10.5195/contemp.2016.130.

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Contemporary Cuban artist Carlos Garaicoa juxtaposes photographic images of Havana’s architectural ruins with timidly articulated drawings that trace the outlines of the dilapidated buildings in empty urbanscapes. Each of these fragile drawings, often composed of delicate threads adhered to a photograph of a site after demolition, serves as a vestige of the sagging structure that the artist photographed prior to destruction. The dialogue that emerges from these photograph/drawing diptychs implies the unmooring of the radical utopian underpinnings of revolutionary ideology that persisted in the policies of Cuba’s Período especial (Special Period) of the 1990s, and suggests a more complicated narrative of Cuba’s modernity, in which the ambiguous drawings—which could indicate construction plans or function as mnemonic images—represent empty promises of economic growth that must negotiate the real socio-economic crises of the present. This article proposes that Garaicoa’s critique of the goals and outcomes of the Special Period through Havana’s ruins suggests a new articulation of the baroque expression— one that calls to mind the anti-authoritative strategies of twentieth-century Neo-Baroque literature and criticism. The artist historically grounds the legacy of the Cuban Revolution’s modernizing project in the country’s real economic decline in the post-Soviet era, but he also takes this approach to representing cities beyond Cuba’s borders, thereby posing broader questions about the architectural symbolism of the 21st-century city in the ideological construction of modern globalizing society.
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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, n.º 2 (1 de julho de 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.

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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
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Teses / dissertações sobre o assunto "Photographic criticism"

1

Alexander, Stuart. "THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS"". Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/277059.

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Pettibone, John M. "Deconstructing the deconstructors : the politics of anti-photographic criticism (a metacritical analysis) /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487325740719321.

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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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Bradley, Alex Cilla. "The photographic other: Paradox in the cathexis of longing". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2054.

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A photographic and written examination of paradox in relation to the photograph This research aims to illuminate the relationship between paradox and photography, elaborated via Julia Kristeva’s notion of the abject. Paradox is considered in relation to photography in terms of repeated and unresolved debates about the status of the photograph as either an ‘index of reality’ (Bate, 2004, p. 1) or as a sign. The significance of this research lies in its re-motivation of abjection in terms of paradox, not in order to resolve such debates but, rather, to illuminate the importance of such unresolved contradictions in terms of photography’s often powerful affect and meaning. Situated within the paradigm of qualitative research, the research employs the theoretical perspective of post-structuralist psychoanalysis, combined with the methodology of critical analysis, as an approach appropriate to illuminating latencies within representation. Photographs by Jeff Wall, Pat Brassington, Patricia Piccinini, Roger Ballen, and Bill Henson, are critically analysed as informationrich case studies of the use of photographic paradox. The creative component of the research is presented in the form of a web site consisting of photographs and animations of photographs, that collide aesthetic constructions of the body as an objective, external, object of an other’s vision with a more sensory, and personal, experience of the body as the site of inner subjectivity. As such, the camera lens functions as a metaphor for each of these constructions, while body parts and fluids vie with objects of memory and optical imaging, repeating and transforming existing objects into new aesthetic forms. As with the case studies of photographic paradox, this photographic project makes explicit the workings of paradox, revealing repeated and unresolved contradictions that serve to create contemplative and often powerfully affective experiences of viewing.
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Cooper, Julie A. "Changing the Traditional High School Photography Curriculum: Integrating Traditional and Digital Technologies". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/68.

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This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photography component, and a concepts component where students will experiment with different photographic techniques of manipulation as well as tackle photographic history, criticism, and visual literacy.
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Schoenwandt, Jeanne Marie. "Toward a feminist 'third space' : photographic 'sites' of cultural transformation". Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37725.

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This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.
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Wong, Ka-fai. "The problems of visual discourse : a study of the politics of representation with special reference to the photographic image /". [Hong Kong : University of Hong Kong], 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12380519.

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Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.

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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
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Mendes, Talita 1985. "Rosângela Rennó = fotografia, deslocamentos e desaparição na arte contemporânea brasileira = Rosângela Rennó: photography, displacements and disappearance in brazilian contemporary art". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285257.

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Orientador: Maria de Fátima Morethy Couto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T11:13:41Z (GMT). No. of bitstreams: 1 Mendes_Talita_M.pdf: 6181643 bytes, checksum: 13de2f327820836fe396de02355bc780 (MD5) Previous issue date: 2014
Resumo: Esta pesquisa tem por objeto a análise de três instalações realizadas pela artista brasileira Rosângela Rennó ¿ a saber: Imemorial (1994-1995), In Oblivionem (1994-1995) e Hipocampo (1995) ¿ com o propósito de compreender as investigações da artista em torno da imagem fotográfica e das implicações de seu uso no que concerne aos conceitos de memória, deslocamento e estética da desaparição na arte contemporânea. Além das citadas obras deve-se considerar, para efeito analítico, o work in progress da artista, seu Arquivo Universal (desde 1992), por se tratar de coleção pessoal de notícias de jornal que, frequentemente, é revisitada para a elaboração das obras. Fundamental para a pesquisa é a análise do posicionamento de Rennó enquanto colecionadora de ruínas (fotografias descartadas e outros resíduos culturais), de modo a problematizar a tensão existente entre duas formas de coleção que implicam maneiras diferentes de lidar com o tempo e a história: têm-se a dimensão singular e afetiva das coleções da artista como uma prática da memória ¿ fragmentária por excelência ¿ e a organização de suas instalações nos espaços destinados às exposições de arte (galerias e museus), em que prevalece o discurso pautado na linearidade histórica. O papel da artista, que é discutido na pesquisa, coincide, a meu ver, com o contratipo positivo do colecionador, definido por Walter Benjamin como aquele que descarta a função utilitária dos objetos ligando o ato de colecionar a uma percepção dialética do tempo, não linear. A este posicionamento da artista está associado o conceito de desaparição do teórico da cultura e urbanista Paul Virilio, importante para a análise das manipulações que Rosângela Rennó exerce nas imagens das quais se apropria
Abstract: In this research were analyzed three installations made by the Brazilian artist Rosângela Rennó ¿ Imemorial (1994-1995), In Oblivionem (1994-1995) and Hipocampo (1995) ¿ aiming to understand the artist's investigations about the photographic image and the implication of its uses when related to memory, displacement and aesthetics of disappearance concepts in contemporary art. Besides the mentioned works, the artist's work in progress Arquivo Universal (since 1992) is also considered in the analysis, once it consists in her personal collection of news articles which are usually consulted during the conception of her works. It¿s fundamental for this research the analysis of Rennó's position as a collector of ruins (wasted photos and other cultural remains) to problematize the tension between the two types of collection, which mean different ways to deal with time and history: there is the unique and affectionate dimension of the artist's collection as a memory practice ¿ fragmentary par excellence ¿ and the organization of her installations in spaces for art expositions (galleries and museums), where the historical linear discourse is predominant. The role of the artist, which is discussed during this research, coincides with the positive countertype of the collector, defined by Walter Benjamin as the one who discards the utility functions of the objects, connecting the action of collecting to a nonlinear dialectical perception of time. The artist's position is related to the disappearance concept thought by the cultural theorist and urbanist Paul Virilio, important for the analysis of the alterations Rosângela Rennó does in the images she appropriates
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Rowe, Michelle. "A hermeneutical approach to creative perception as an element in photography". Thesis, [Bloemfontein?] : Central University of Technology, Free State, 2011. http://hdl.handle.net/11462/150.

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Thesis (M. Tech.) - Central University of Technology, Free State, 2011
The purpose of the study is to mitigate the restrictions of ocularcentrism by employing an interactive hermeneutical approach to the creation and interpretation of the implied meanings in a photograph. The principles of hermeneutic phenomenology are applied to outline the putative strengths and weaknesses associated with ocularcentrism as applied to photography and to attempt to illustrate how the proposed model of aesthetic participation may overcome these weaknesses. The literature review shows that ocularcentrism is a mode of perception concerned with a one-sided preference to sight over the other senses and may limit photographers and perceivers to create or interpret meaning in a photograph solely on what they see. Concerning ocularcentrism, it is not the art object alone, but the self-centred worldviews of the photographer and perceiver that limit the basis for the development of an interactive aesthetic experience. The photographer who successfully challenges the ocularcentric worldviews of perceivers in the world of the work succeeds in initiating participation between all the coordinates of the proposed interactive hermeneutical model of aesthetic participation. Interactivity between the coordinates artist, perceiver, artwork and worldviews is achieved through the application of creative strategies during the creation of photographs. These creative strategies may include facets that contradict consistency building, illusion building, defamiliarization, irony, the deliberate stimulation or frustration of a perceiver's interpretation and the use of a known theme placed within an unknown context with a view on challenging the ocularcentric perceptions of perceivers. The application of any combination of these strategies is the decision of the photographer, who applies them according to the imaginary embodiment of the photographer in the position of the perceiver. The photographs produced by the author for analysis in this study presents three images which elicit allegorical, figurative and esoterical forms of interpretation. Each step of the hermeneutic phenomenological process was carefully documented prior to the analysis and are presented in the hermeneutic phenomenological format in conjunction with the proposed interactive model of aesthetic participation. The main point that emerged from this study is that a hermeneutical approach to creative perception as an element in photography will give rise to interactive participation between all the coordinates of the proposed interactive hermeneutical model of aesthetic participation and thus ocularcentric restrictions may be overcome by photographers and perceivers by employing an interactive hermeneutical approach when creating as well as interpreting the implied meanings in a photograph.
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Mais fontes

Livros sobre o assunto "Photographic criticism"

1

Bill, Jay, e Allen Dana, eds. Critics, 1840-1880. [Phoenix?]: Arizona Board of Regents, 1985.

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2

Alka, Pande, ed. Dancescapes: A photographic journey. New Delhi, India: Showcase, 2013.

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3

Luc, Sante, Muniz Vik e Independent Curators Incorporated, eds. Making it real: A traveling exhibition. New York, N.Y: Independent Curators Incorporated, 1997.

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4

Hugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.

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Hugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.

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6

Sin, Hye-yŏng. Changch'i e matsŏda: Han'guk tongsidae sajin pip'yŏng. Sŏul-si: IANN, 2021.

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7

Coleman, A. D. Light readings: A photography critic's writings, 1968-1978. 2a ed. Albuquerque: University of New Mexico Press, 1998.

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8

Durand, Régis. Habiter l'image: Essais sur la photographie, 1990-1994. Paris: Marval, 1994.

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9

Scianna, Ferdinando. Obiettivo ambiguo. Milano: Rizzoli, 2001.

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10

Tamisier, Marc. Texte, art et photographie: La théorisation de la photographie. Paris: L'Harmattan, 2009.

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Mais fontes

Capítulos de livros sobre o assunto "Photographic criticism"

1

Wells, Liz. "Photography, Curation, Criticism". In Photography, Curation, Criticism, 3–17. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-2.

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2

Barrett, Terry. "About art criticism". In Criticizing Photographs, 1–13. Sixth edition. | New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003085126-1.

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3

Wells, Liz. "Photography, Nation, Nature". In Photography, Curation, Criticism, 132–46. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-15.

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Wells, Liz. "Silent Witness". In Photography, Curation, Criticism, 185–89. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-19.

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Wells, Liz. "Hidden Histories and Landscape Enigmas". In Photography, Curation, Criticism, 158–71. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-17.

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Wells, Liz. "No Man's Land". In Photography, Curation, Criticism, 95–104. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-11.

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Wells, Liz. "Histories and Imagination". In Photography, Curation, Criticism, 172–84. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-18.

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Wells, Liz. "Icy Prospects". In Photography, Curation, Criticism, 71–84. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-9.

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Wells, Liz. "The Critical Forum". In Photography, Curation, Criticism, 226–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-22.

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Wells, Liz. "Then and Now". In Photography, Curation, Criticism, 232–36. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-23.

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Trabalhos de conferências sobre o assunto "Photographic criticism"

1

Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography". In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935
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Briandana, Rizki, e Dini Ari Mukti. "Understanding Photography Representation: Humanism and Social Criticism in Social Media". In Proceedings of the International Conference on Psychology and Communication 2018 (ICPC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icpc-18.2019.13.

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Wienert, Ross. "Actual Reality: An Alternative Approach to Post-Digital Representation". In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.115.

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In his essay “Architecture Enters the Age of Post-Digital Drawing”, Sam Jacob advocates for a new method of representation that eschews the digital technology used to create photo-realistic renderings in favor of an approach that utilizes digital collage in order to embrace drawing as a work of fiction. While his criticism of photo-realism is valid, it is also arguable that a post-digital age in architecture should more heavily concerned with reality. An alternative method of representation is investigated that utilizes photographs of physical models that are digitally modified in order to emphasize the experiential qualities of architecture. Whereas Sam Jacob uses the zombie as a metaphor for a collage technique risen from the dead, the cyborg may be a more apt analogy for a post-digital method of representation that is focused on real world, but also open to embracing the potential of digital enhancements. The paper explores the role of physical models, photography, and in some cases digital technology as a means to generate perspectival views by architects of the past and the present with the hope that these precedents can be utilized to inform an alternate post-digital era to the one Sam Jacob advocates. These techniques have been applied in a series of design studios focused on shifting the focus from external form and abstraction toward internal experience with an emphasis on reality. While this approach diverges from what students’ expectations are for design, many have embraced the process and stated that the studio has helped to shape their view of the realm of architecture.
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Laurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.

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The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in addition to pointing out counterparts from the breaking of certain conceptual coherences promoted by this dialogue. The object of study of the first projects was precisely to know and expand terms such as simulation, virtuality, hybridization, as well as to propose new devices, interfaces and uses for the technologies. In the current proposal, the group inaugurates new lines of research that will address contemporary phenomena in the field of digital media, critically observing the experience in the intersection between arts, sciences and communications in locative media, audiovisual performances, reality augmented, 360º video and photography, artificial intelligence, three-dimensional modeling, and digital prototyping, among others. It also considers broader issues that arise in this context in relation to the ways of weakening the consensus around the alternatives of representing reality, which happen because of the informational explosion, and the mapping of patterns, in addition to observing political aspects of these discussions. To fulfill these objectives, which significantly expand the initial problems, we redesigned our lines of research in 2020, which are now defined as: 1. Codified Thoughts; 2. Audiovisual Processes; and 3. Poetic-political criticism. The lines of research present specific goals, objectives, and results, which add up without failing to meet the general objectives of the group. It is important to say that the group has a diversified production, but it is evident that the artistic works stand out. In our artworks, the intrinsic relationship between theory and creative practices is essential. We can see the result of these practices and creative processes in the works we carry out and which have already been shown in national and international exhibitions. All information about each one can be found on the group's website. They have started with the Enigmas Series, which was developed between 2012 and 2017.This series has 3 productions and some versions. We also have the series “When the Stars Touch”, with two works, one created in 2019 and the other in 2020. In 2017 we produced the installation Dynamic Crossing, which participated in ISEA 2017 - 23rd International Symposium on Electronic Art, in Manizales, Colombia. The group's most recent artwork is "InMemoriam". It is still online and can be accessed on its website.
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