Добірка наукової літератури з теми "Mort – Photographie"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Mort – Photographie".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Mort – Photographie":
1
Dietschy, Nathalie. "Le motif du Christ mort dans la photographie contemporaine." Articles 23, no. 2 (January 18, 2012): 26–32. http://dx.doi.org/10.7202/1007586ar.
Анотація:
Le cadavre le plus représenté dans l’art occidental est celui de Jésus. Le Christ mort est en effet un thème iconographique qui a été maintes fois interprété en peinture, en sculpture et plus récemment en photographie. Les artistes contemporains s’emparent de ce thème pour en donner une vision personnelle et profane. Deux tendances sont à distinguer. La première relève de postures christomorphes de modèles ou d’artistes qui identifient leurs propres souffrances à celle du crucifié. La seconde démarche est héritière de l’art du passé, mais s’en éloigne pour destituer la figure christique en banalisant sa mort à travers des photographies de modèles endormis qui imitent des tableaux célèbres. Le présent article se propose d’analyser ces deux points de vue actuels portés sur ce qui constitue un sujet majeur de l’histoire de l’art.
2
Malabou, Catherine. "L’imprenable en question ou se prendre à mourir." Études françaises 38, no. 1-2 (August 18, 2004): 135–44. http://dx.doi.org/10.7202/008396ar.
Анотація:
Résumé Alors qu’il se trouve à Athènes et contemple des photographies de cette ville, Jacques Derrida entreprend une méditation sur les rapports entre mort et photographie. Il analyse cette phrase mystérieuse : « Nous nous devons à la mort », et en dégage les différentes significations. Celles-ci ne sont pas simplement l’écho des différentes manières de mourir, mais aussi et surtout des différentes manières d’être mortel. Dans quelle mesure peut-on dire qu’il y a, pour chacun d’entre nous, « plus d’une mort » ?
3
Giampaoli, Michelangelo. "Architectes de leur mort." 2e partie : Pratiques de et vers la fin de vie 45, no. 1-2 (November 16, 2021): 135–53. http://dx.doi.org/10.7202/1083798ar.
Анотація:
Si, comme le disait Edmond Haraucourt dans Rondel de l’adieu (1890), « [p]artir, c’est mourir un peu », il est vrai aussi que mourir signifie quitter ce monde et, également, commencer à s’organiser en vue de ce que (peut-être) il y aura juste après le dernier souffle. Pour un nombre surprenant de personnes, cela signifie se préparer à sa propre mort en se consacrant à l’achat d’une concession funéraire et à la création de sa dernière demeure : on choisit le cimetière, le monument, les matériaux, les symboles, l’épitaphe… On construit, en fait, un dernier foyer pour soi-même et, souvent, pour sa propre famille. Dans le cadre d’une plus vaste recherche anthropologique conduite dans des cimetières en Italie, aux États-Unis et au Brésil, on a pu se confronter à des individus qui ont décidé de passer leurs derniers mois ou années de vie à choisir, acheter, décorer et personnaliser leur propre tombe. Qu’ils fassent cela pour réaliser leurs derniers rêves et volontés — avant qu’il ne soit trop tard et en ne se fiant pas trop au fait que les autres le fassent pour eux — ou, tout « simplement », pour ne pas penser à la maladie et à la destruction du corps, le résultat est souvent le même : sous forme d’une chapelle, d’un buste, d’un petit jardin ou d’une photographie funéraire, et dans des espaces — les cimetières — qu’on apprend à aimer chaque jour davantage, des individus pensent à la mort de façon constructive et, souvent, artistique. C’est surtout une manière de ne pas la subir, la mort ; au contraire, on apprend à la connaître et à la maîtriser, jusqu’à en faire une oeuvre d’art ou juste un agréable espace de mémoire.
4
Brito, Maria Dos Remédios de, and Manoel Januário da Silva Neto. "(FOTO) IMAGINO (GRAFIAS): a poética do ficcionar." Revista Observatório 4, no. 2 (April 1, 2018): 1046. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n2p1046.
Анотація:
O ensaio visual fotográfico é um bloco de sensações que carrega uma potência poética dos sentidos. A imagem fotográfica liberta o que assim foi, pois diante da morte salta efetivamente a vida e, assim, é possível arriscar ficcionalidades quando a imagem não é.
PALAVRAS-CHAVE: Fotografia; poética; ficção.
RÉSUMÉ
L'essai visuel photographique est un bloc de sensations qui porte un pouvoir poétique des sens. L'image photographique libère cela qui a été, parce que, devant la mort, la vie saute effectivement, et, par conséquent, il est possible de risquer des fictionnalités quand l'image n’est pas.
MOTS-CLÉS: Photographie; poétique; fiction.
RESUMEN
El ensayo visual fotográfico es un bloque de sensaciones que lleva una potencia poética de los sentidos. La imagen fotográfica libera lo que así fue, pues ante la muerte salta efectivamente la vida y, así, es posible arriesgar ficcionalidades cuando la imagen no es.
PALABRAS-CLAVE: Fotografía; poética; ficción.
5
Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.
Анотація:
This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
6
Mavrikakis, Catherine. "Quelques r.-v. avec Hervé. Quand Sophie Calle rencontre encore Hervé Guibert." Filer (Sophie Calle), no. 7 (August 10, 2011): 127–38. http://dx.doi.org/10.7202/1005520ar.
Анотація:
L’oeuvre de Sophie Calle se place d’emblée dans une relation ludique par rapport aux textes et au personnage de l’écrivain Hervé Guibert. Si No Sex Last Night s’ouvre sur l’annonce par Sophie de la mort de son ami Hervé, si Douleur exquise raconte un épisode d’intimité, celui du bain, entre Calle et Guibert, si Guibert fut le dépositaire négligent d’une photo d’enfance de l’artiste sur laquelle il écrit un texte que Calle recopie dans un de ses propres livres, force est de constater que le travail de Calle se met sous le signe de rendez-vous artistiques, sporadiques avec Hervé Guibert et ses écrits. Ces derniers se donnent d’ailleurs comme relances ou entraves au processus de création. Hervé Guibert serait un des spectres de Calle, une « image-fantôme », pour reprendre ici le titre d’un livre de Guibert, qui visite Sophie de temps à autre et dont celle-ci suit les demandes et les prières. Et c’est par le biais de cette photographie de Sophie enfant qui a été prêtée à Guibert, photographie qu’il a perdue puis retrouvée, qu’il nous est possible de réfléchir sur le « M’as-tu vue, Hervé? » que Calle lance sans cesse dans sa propre oeuvre.
7
Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
Анотація:
This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
8
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, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.
Анотація:
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.
9
Lund, Katrín Anna. "Co-Creating Nature: Tourist Photography as a Creative Performance." Humanities 12, no. 6 (November 29, 2023): 141. http://dx.doi.org/10.3390/h12060141.
Анотація:
This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist, but also about social relations that the surrounding landscape partly directs and stages. It has also been argued that, as photographing tourists, we become ‘concerned with the artistic production of ourselves’. Photography is thus a practise that is relational and sensual and that cannot be reduced to the seeing eye. However, whilst emphasising the tourist as a creative being, the surrounding landscape has been left out as a stage and its active agency ignored. I address the complex, more-than-human relations that emerge in the photographs collected in Strandir. I argue that the act of photographing, as a performative practice, is improvisational and co-creative, and the material surroundings have a direct and active agency. As has been demonstrated, photography communicates ‘not through the realist paradigm but through lyrical expressiveness’ and, thus, it may be argued that tourist photography is a poetic practice of making, as it weaves together the sensing self and the vital surroundings in the moving moment that the photograph captures.
10
Shevchenko, Olga. "Photographs and Their Many Lives." Slavic Review 76, no. 1 (2017): 90–97. http://dx.doi.org/10.1017/slr.2017.12.
Анотація:
“How does meaning get into the image? Where does it end?” asked Roland Barthes in his now-classic essay “Rhetoric of the image.” At first glance, Barthes’s questions might appear nonsensical, but as this discussion around the various uses and misuses of Evgenii Khaldei’s photographs of war-time Budapest demonstrates, the question of meaning and truth in photography is anything but simple. This is because the meaning of a photograph is shaped by a multitude of factors, both internal and external to the image itself, and because the photographic medium, more so than other visual practices, lends itself to expectations of verisimilitude that obscure the complex relationship that photographs have to reality that they purportedly record.
Дисертації з теми "Mort – Photographie":
1
De, Siqueira Daniella Géo. "Représenter la mort : le remploi d'images photographiques post mortem en art contemporain." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030013.
Анотація:
Cette thèse porte sur l’examen du mode d’opération du remploi photographique en art contemporain, et en spécial celui d’images photographiques post mortem. Avec l’appui de différentes théories qui portent sur la photographie et l’observation de plusieurs oeuvres de remploi photographique, ce travail étudie,d’une part, les problématiques d’ordre génétique et théorique spécifiques à cette pratique contemporaine. De l’autre, ce travail traverse des perspectives historiques et aussi anthropologiques à propos de l’homme face au corps mort pour, en tenant en compte des différents aspects des transformations du rapport de la société occidentale à la mort, observer les effets sur la production de la photographie contemporaine. Dans ce contexte, l’étude identifie les deux types majeurs d’images photographiques post mortem remployées – les deux associé à la violence – et analyse, en suite, les nouveaux rapports symboliques proposés par un nombre d’oeuvres. Cet étude cherche à observer à quoi répond ces oeuvres de remploi d’images photographique post mortem et, en même temps, à observer que l’oeuvre de remploi photographique, en tant que pratique artistique qui vise la révision et la critique des représentations, contribue néanmoins pour la construction d’une représentation de la mort selon les perspectives contemporaines auxquelles elles répondentThis thesis focuses on the examination of the operation mode of the photographic re-employment incontemporary art, and in special of post mortem photographic images. With the support of various theories that focus on photography and the observation of several photographic re-employment artworks, this study examines, on the one hand, genetic and theoretical problematic that are specific to this contemporary practice. On the other, this work crosses historical and also anthropological perspectives on humans facing the dead body, taking into account different aspects of the transformations in Western society’s relationship to death, in order to observe the effects on contemporary photography production. In this context, this study identifies two major types of postmortem photographic images re-employed – both associated with violence –, and then analyses the newsymbolic relations proposed by a number of artworks. This study seeks to observe to what these artworks that re-employ post mortem photographic images respond to, and at the same time, seeks toobserve that the photographic re-employment, as an artistic practice that aims to review and criticize representations, contributes however, for the construction of a representation of death within the very contemporary perspectives, which they respond to
2
Pietri, Nicole. "La photographie comme sépulture." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080049.
Анотація:
Depuis le début de l’humanité, l’homme a pris soin de ses morts, tandis que les relations de la Mort à la photographie commencent au milieu du XIXème siècle avec l’invention de la photographie. La Mort suppose un corps mort dont on se doit de prendre soin en lui donnant une sépulture. Telle que nous la concevons, la sépulture est un dépôt intentionnel qui montre, par cet acte, l’attention que l’on porte au mort, qui conserve ainsi sa part d’humanité dans la Mort, c’est-à-dire précisément, ce que la sépulture se devrait de protéger. En proposant d’interroger les relations de la Mort à l’image du mort, à partir de la photographie et à l’aune de la sépulture, le propos de ce travail de recherche ne serait pas tant de savoir ou d’affirmer que la photographie est ou non une sépulture, mais comment la photographie peut interroger la notion même de sépulture. En retour, nous nous demandons, à partir de la sépulture, comment celle-ci serait susceptible d’induire un questionnement vis-à-vis de la photographie. La photographie comme sépulture, suppose de rapprocher la photographie de la sépulture, et d’envisager comment la photographie pourrait répondre à ce que l’on pourrait attendre d’une sépulture. À une autre échelle, nous nous demandons s’il serait possible de voir ce qui relèverait de la sépulture dans la photographie analogique à partir de l’œuvre de Christian Boltanski qui apparaît comme le fil directeur de ce travail de thèse. Parmi tous les artistes photographes qui nourrissent et guident cette réflexion, Boltanski, sans être photographe, a un cheminement artistique qui l’a conduit à se tourner vers la photographie et à réaliser des sépultures, des Monuments funéraires. Il nous offre un éclairage particulier pour aborder à la fois la photographie et la sépulture. C’est en croisant les disciplines, les points de vue, ce qui se voit et ce qui ne se voit pas, ce qui se dit et ce qui se murmure que cette thèse se donne à lire dans un tissage entre implicite et expliciteSince the beginning of mankind, man has been taking care of his dead ones, while the relationship between death and photography began in the middle of the 19th century with the invention of photography. Death supposes a dead body that one takes care of by giving it a burial. As we conceive it, burial is an intentional deposition which shows, by this act, the attention that one draws to the dead one that keeps its humanity in Death. Preservation of humanity is precisely what should be protected through burial. By proposing to question the relationship between Death and the image of the dead one, starting from photography and in the light of burial, the purpose of this research work would not be so much to know or to affirm that photography is or is not a burial, but how photography can question the very notion of burial. In return, we ask ourselves, starting from burial, how burial would be likely to induce a questioning towards the photography. Photography as a burial, supposes to bring photography closer to burial, and to consider how photography could respond to what one could expect from a burial. On a different scale, we question whether it would be possible to see what would be related to the burial in analogue photography from the work of Christian Boltanski which appears as the guiding thread of this thesis. Among all the artist-photographers who feed and guide this reflection, Boltanski, without being a photographer, has an artistic path that led him to turn to photography and create burials, funerary monuments. He offers a particular insight to approach both photography and burial. By crossing disciplines, points of view, what is seen and what is not seen, what is said and what is whispered, this thesis should be read as a weaving between implicit and explicit
3
Lachiver, Claire Cohen. "Poétiser la mort : les poires sentimentales." Paris 1, 2010. http://www.theses.fr/2010PA010697.
Анотація:
A travers des mises en scène de fruits et légumes, je questionne les relations intimes entre la vie et la mort. Nos sociétés occidentales ont évolué vers l'idée folle que la mort est à bannir; considérée comme inutile et haïssable, il nous est suggéré de l' oublier. Entre gravité et sensualité, entre ironie et poésie, c' est d'un souci de réhabiliter cette mort dans notre quotidien qu'il est question, concrétisé par l'observation aigüe de l'habituel, ou le moulage et la photographie se posent comme médiums privilégiés. Natures mortes et vanités, envisagées comme équivalentes et comme de fabuleux répertoires de formes, possèdent la facu1te de bouleverser l' ordre des choses, de déranger la routine et de nous ranimer. Les légendes ironiques des oeuvres esquissent des histoires et ouvrent de nouveaux horizons à l'imaginaire du spectateur. Cette thèse souhaite porter un regard renouvelé sur le quotidien, sublimer la mort depuis la vie et dire l'importance d'exister.
4
Liakou, Amalia. "L’esthétique de l’imaginaire surréaliste & la photographie grecque depuis 1930 : paradoxe, thanatos, eros." Paris 8, 2013. http://www.theses.fr/2013PA083923.
Анотація:
A une époque où nous constatons la présence récurrente de l’imaginaire surréaliste dans la création artistique, se pose la question : « Pourquoi parle-t-on du surréalisme au XXIème siècle ? ». Par ailleurs, André Breton déclarait : « Le surréalisme existait avant moi et je compte bien qu’il me survive ». A partir de ce postulat, comment l’imaginaire surréaliste se construit-il ? Quelles sont les caractéristiques qui induisent sa présence avant et après le mouvement historique ? Avec l’idée initiale d’un imaginaire surréaliste lié aux notions de paradoxe, de thanatos et d’éros, assujetti au cosmos et à l’être humain, nous établissons une dialectique entre la création photographique, notamment grecque, et la pensée philosophique et psychanalytique. La théorie des surréalistes, la réflexion de Sigmund Freud et l’ouvrage Philosophie du surréalisme de Ferdinand Alquié alimentent notre interrogation sur l’esthétique de l’imaginaire surréaliste, tandis que des photographies exemplaires de Nelly’s, d’Andréas Embiricos, de Lizzie Calligas, de Takis Zerdevas, entre autres, expriment cette présence de l’esprit surréaliste dans la photographie grecque, notamment depuis 1930 et hors d’un mouvement. Dans un premier temps, l’imaginaire surréaliste comme paradoxe, incite à une réflexion autour des contradictions de l’image photographique et des apories du cosmos et de l’être humain en relation avec l’image. Dans un deuxième temps, nous proposons une réflexion de l’imaginaire surréaliste comme thanatos, dans un sens élargi, analogue à la pulsion de mort. Enfin, dans un troisième temps, nous nous intéressons à l’imaginaire surréaliste comme éros, égal à la pulsion de vieIn a time when we come across the recurrent presence of the surrealist imaginary in the artistic creation, the question arises: "Why do we speak of surrealism in the 21st century?". Moreover André Breton declared, “surrealism existed before me and I am certain that it will survive after me. ” From this postulate, how is the surrealist imaginary constructed? What are the characteristics that induce its presence before and after a historical movement? With the initial idea that the surrealist imaginary is linked to notions of paradox, of Thanatos and Eros, subject to the cosmos and the human being, we establish a dialectic between photographic creation, mainly Greek, and the philosophical and psychoanalytic thought. The theory of surrealists, the thoughts of Sigmund Freud and the book Philosophie du Surréalisme (Philosophy of surrealism) of Ferdinand Alquié nurture our reflection on the aesthetics of surrealist imaginary, while exemplary photographs of Nelly’s, Andréas Embiricos, Lizzie Calligas, Takis Zerdevas, amongst others, express this presence of the surrealist spirit in the Greek photography, especially since 1930 and outside of any movement. At first, the surrealist imaginary as a paradox, leads to a reflection on the contradictions of the photographic image, along with a study of paradoxes of the cosmos and human beings in relation to the surrealist imaginary. Then, in a second step, we propose a reflection of the surrealist imaginary as Thanatos, at a broader sense, similar to Freud's death instinct. Lastly, in a third step, we are interested in the surrealist imaginary as Eros, similar to the life instinct of the psychoanalytic theory
5
Clouâtre, Mélanie. "Saisir la réalité de sa mort par l'écriture photographique: Étude des relations intermédiales entre la photographie et l'écriture dans "L'usage de la photo" et "Les années d'Annie Ernaux." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106581.
Анотація:
This thesis focuses on the role of photography, and writing, as well as on on their intermedial exchanges in Annie Ernaux's L'usage de la photo and Les années. The underlying hypothesis is that Ernaux's use of intermediality in these texts leads to a better grasp of the realities of breast cancer and aging. The first chapter analyzes how the photographic medium in L'usage de la photo allows Annie Ernaux and her coauthor, Marc Marie, to examine the experience of breast cancer and the essence of their relationship in new ways. In Les années, photography recreates the progression of time and the effects of aging. The second chapter examines, on the one hand, how l'écriture plate restores minimalism and the iconic modalities of photography, and, on the other hand, how l'écriture transpersonnelle reproduces Ernaux's experience of estrangement from herself together with her sense of belonging to a community of women. Both texts seek to demystify the taboos surrounding breast cancer. Finally, the third chapter explores both works from the perspective of their intermedial practices. L'usage de la photo features intermedial exchanges and highlights medial borders by combining the two media, whereas Les années underscores its many intermedial references to photography through writing itself.Key words: Annie Ernaux, L'usage de la photo, Les années, intermediality, l'écriture plate, l'écriture transpersonnelle, photography, breast cancer, aging, death.Ce mémoire s'intéresse aux rôles de la photographie, de l'écriture et plus particulièrement de leurs échanges intermédiaux dans L'usage de la photo et Les années d'Annie Ernaux. Notre hypothèse est que l'intermédialité qui émerge de ces textes permet de saisir les réalités du cancer du sein et du vieillissement à travers le langage de ces deux différents media. Dans le premier chapitre, nous observons comment le medium photographique est utilisé par Annie Ernaux et son coauteur, Marc Marie, dans L'usage de la photo pour interroger l'expérience du cancer du sein et l'essence de leur relation amoureuse sous des angles nouveaux. Dans Les années, la photo recrée la progression du temps et les effets du vieillissement. Dans le deuxième chapitre, nous examinons, d'une part, comment l'écriture plate restitue le minimalisme l'iconicité de la photographie et, d'autre part, comment l'écriture transpersonnelle reproduit à la fois l'effet d'étrangeté d'Ernaux à elle-même et son appartenance à la communauté féminine. Les deux écritures cherchent à démystifier les tabous autour du cancer du sein. Enfin, dans le dernier chapitre, nous abordons les œuvres d'après leurs pratiques intermédiales respectives. L'usage de la photo présente la plupart de ses échanges intermédiaux intégralement grâce à la combinaison des media qui permet la mise en relief des frontières médiales. Les années fait émerger ses multiples références intermédiales à travers la seule écriture. Mots clés : Annie Ernaux, L'usage de la photo, Les années, intermédialité, écriture plate, écriture transpersonnelle, photographie, cancer du sein, vieillissement, mort.
6
Cheilian, Claudia Dallet Sylvie. "Photographie et momification égyptienne : l'esthétisme de la mort à travers les clichés d'Emil Brugsch-Pacha (1842-1930) : Mémoire de Master 2 Recherche /." [S.l. : s.n], 2005. http://catalogue.bnf.fr/ark:/12148/cb401678463.
7
Boultouak, Sihem. "Le dernier portrait ou la belle mort : détournement du stylisme de mode à partir d'une pratique personnelle." Paris 1, 2010. http://www.theses.fr/2010PA010528.
Анотація:
Le dernier portrait ou La belle mort. Détournement du stylisme de mode à partir d'une pratique personnelle, parle d'un incessant face-à-face avec autrui, avec soi-même, avec la manifestation de la vie au-delà de la mort, au duel équivoque entre image et réalité, entre beauté idéale et nature. Les questions posées par Le dernier portrait ou La belle mort à Travers I'histoire de la photographie et la peinture sont multiples. C'est un parcours thématique à travers I'histoire de I'art, de la publicité et de la mort que propose cette recherche. L'abondante iconographie de la mort dans la publicité permet de dégager les différents enjeux liés à la représentation de la mort, à la recherche de I'émotion, du caractère, de I'âme du sujet photographié, mais aussi à la conquête de la représentation dans son indépendance par rapport à la nature. La photographie est, selon Barthes, profondément déictique, tautologique. Elle ne fait que montrer et n'appelle que la seule chose qu'on voit.
8
Kim, Seonja Thélot Jérôme. ""L'image fantôme" chez Hervé Guibert." Créteil : Université de Paris-Val-de-Marne, 2007. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0394858.htm.
Анотація:
Thèse de doctorat : Lettres modernes : Paris 12 : 2004.Version électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. : 295 réf.
9
Sassi, Sonia. "Roland Barthes : figures du discours de l'amour, de la mort et du deuil dans "Fragments d'un discours amoureux", "La chambre claire. Note sur la photographie" et "Journal de deuil"." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100039.
Анотація:
Cette thèse de doctorat s’intitule Roland Barthes : Figures du discours de l’amour, de la mort et du deuil dans Fragments d’un discours amoureux, La chambre claire. Note sur la photographie et Journal de deuil, parus respectivement en 1977, 1980 et 2009. Au point de convergence des sciences du langage et de la littérature, cette recherche de longue haleine se fonde sur une démarche générative, appréhendant les trois textes du corpus l’un par rapport à l’autre, tout le long des étapes de l’investigation menée. Dans l’analyse des trois essais qui constituent un triptyque interdépendant et solidaire, l’objectif de cette thèse est non seulement de mettre en relief leurs affinités et leurs recoupements , mais aussi leurs différences et leurs disparités, à tous les niveaux : la configuration des thèmes, des mots , des notions et des expressions clés constitutifs de l’amour, de la mort et du deuil, la morphologie et la composition des trois textes, la métaphoricité et sa sémiotique, les dispositions énonciatives du discours et de l’interdiscours qu’ils soutiennent. Ainsi sera-t-il aisé de reconnaitre ce qu’une science de l’énonciation et des formations discursives peut apporter à l’analyse littéraire : des microlectures centrées sur des lexies, des détails infimes et des séquences à travers lesquels la littérature, confrontée à la passion amoureuse, à la sidération funèbre et à l’affliction du deuil, affirme sa puissance, mais aussi son effondrementThis doctoral thesis is entitled Figures of the speech of love, death and mourning in Fragments of a lover’s discourse, Camera Lucida. Reflections on Photography and Mourning Diary, published respectively in 1977, 1980 and 2009. At the point of convergence of language sciences and literature, this long-term research is based on a generative approach, understanding the three texts of the corpus in relation to each other, throughout the stages of the investigation conducted. In the analysis of the three essays, which constitutes an interdependent triptych, the objective of this thesis is not only to highlight the affinities and their intersections, but also their differences and disparities at all levels: the configuration of the themes, words, notions and key expressions constituting love, death and mourning, the morphology and composition of the three texts, the metaphoricity and its semiotics, the enunciating dispositions of the speech and the interdiscourse they support. Thus it will be easy to recognize what a science of enunciation and discursive formations can bring to literary analysis: microreadings centered on lexis, minute details and sequences through which literature confronted with love passion, funeral amazement and grief, affirms its strength, but also its collapse
10
Fossey, Caroline. "La photographie de nature morte /." [Paris] : C. Fossey, 1986. http://catalogue.bnf.fr/ark:/12148/cb39056174x.
Книги з теми "Mort – Photographie":
1
Carrera, Gaston Fernandez. La photographie, le néant: Digressions autour d'une mort occidentale. Paris: Presses universitaires de France, 1986.
2
Dorion, Hélène. Le temps du paysage. Montréal (Québec): Druide, 2016.
3
Bennett, Terry. Early Photography in Vietnam. GB Folkestone: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9781912961047.
Анотація:
Early Photography in Vietnam is a fascinating and outstanding pictorial record of photography in Vietnam during the century of French rule. In more than 500 photographs, many published here for the first time, the volume records Vietnam’s capture and occupation by the French, the wide-ranging ethnicities and cultures of Vietnam, the country’s fierce resistance to foreign rule, leading to the reassertion of its own identity and subsequent independence. This benchmark volume also includes a chronology of photography (1845–1954), an index of more than 240 photographers and studios in the same period, appendixes focusing on postcards, royal photographic portraits, Cartes de Visite and Cabinet Cards, as well as a select bibliography and list of illustrations.
4
Hannouch, Hanin. Gabriel Lippmann's Colour Photography. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463728553.
Анотація:
Physicist Gabriel Lippmann’s (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann’s death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography’s ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.
5
Mercer, Vera. Vera Mercer: Natura morta/natura viva. Soligo]: Punto Marte editore, 2015.
6
Berge, Valérie. Nature morte: Photographies. Bordeaux: Egone & Terre noire, 2001.
7
Holländer, Matthias, and Christoph Bauer. Matthias Holländer: Photographie : nature morte. Heidelberg: Kaden, 2010.
8
Heflin, Mark. American photography 36. New York, NY: American Photography, 2020.
9
Cole, Teju. Golden apple of the sun. London]: MACK, 2021.
10
Althouse, Stephen. Stephen Althouse. Boca Raton, Fla: Boca Raton Museum of Art, 2009.
Частини книг з теми "Mort – Photographie":
1
Massari, Alice. "The (In)Visibility of Migrants." In IMISCOE Research Series, 167–92. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71143-6_7.
Анотація:
AbstractBruno Catalano’s sculpture Voyageurs brilliantly catches an impalpable, yet pervasive, feature of refugees’ representation: their invisibility. This may seem an oxymoron but throughout my visual analysis, and while looking for what was represented in the images studied, I have been struck by what is not there. Susan Sontag has defined photography as “grammar and, even more importantly, an ethics of seeing!” (Sontag 1973, 1). If Sontag is right when she affirms that photography makes things represented worth being seen, we may be led to think that, on the contrary, what is not photographed is not worth seeing. On this arbitrary decision over presence and absence, visibility and invisibility, hinges a very important dimension of the power of photography.
2
Hodne, Lasse. "Unit 2 Lab: Portraits as Faces." In Neuroaesthetics, 101–6. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-42323-9_7.
Анотація:
AbstractNear where you live, there may be a park with one or more statues or busts of famous people. Take a trip there, or to a museum where photography is allowed. Stand in front of the statue and, first, take a photograph of the depicted person from the front, as shown in this photo.
3
Cat, Jordi. "Photographic Collaborations: Two More Cases." In Maxwell, Sutton and the Birth of Color Photography, 67–72. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137338310_7.
4
Marcus, Laura. "Autofiction and Photography: “The Split of the Mirror”." In Palgrave Studies in Life Writing, 309–25. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_16.
Анотація:
AbstractThis chapter explores the relationships between life writing, memory, and photography and suggests that the incidence of photographs (actual or described) in life-writing texts is most prominent in autofictional works which possess generic hybridity and often represent identity itself in hybrid terms. The chapter explores images of seeing and mirroring in autobiographical texts, focusing first on transsexual life-writings (including works by Virginia Woolf, Jan Morris, Jay Prosser, and Susan Faludi), in which photographs play a complex role in negotiating continuity and change within the life-course, old and new identities. The second part of the essay turns to recent life-writing texts, including the work of Annie Ernaux (who, like many other French writers, makes substantial use of photographs) and the film and cultural theorist Annette Kuhn.
5
Godfrey, Anne C. "More than both ways with photography." In Active Landscape Photography, 131–37. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351066662-11.
6
Quicke, Donald, Buntika A. Butcher, and Rachel Kruft Welton. "Adding photographs." In Practical R for biologists: an introduction, 332–34. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789245349.0029.
Анотація:
Abstract This chapter shows how to insert photographic files into plots. The R base package does not have any tools for handling photographs, but recently Simon Urbanek has created the CRAN packages jpeg (which seems to work with most versions) and tiff (which allows importing and exporting some of the standard tiff file types), and displaying them on the console. Inevitably because there are various graphics devices used by different R versions on different systems there will probably have to be some fiddling with code to get the perfect output. It may be easier on a MacOSX, and PCs do not support some graphics features of tiff files.
7
Quicke, Donald, Buntika A. Butcher, and Rachel Kruft Welton. "Adding photographs." In Practical R for biologists: an introduction, 332–34. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789245349.0332.
Анотація:
Abstract This chapter shows how to insert photographic files into plots. The R base package does not have any tools for handling photographs, but recently Simon Urbanek has created the CRAN packages jpeg (which seems to work with most versions) and tiff (which allows importing and exporting some of the standard tiff file types), and displaying them on the console. Inevitably because there are various graphics devices used by different R versions on different systems there will probably have to be some fiddling with code to get the perfect output. It may be easier on a MacOSX, and PCs do not support some graphics features of tiff files.
8
Bolloch, Joëlle. "La photographie post mortem." In La mort à l’œuvre, 205–26. Presses universitaires de Provence, 2013. http://dx.doi.org/10.4000/books.pup.27353.
9
Marco Vidor, Gian. "La photographie post mortem dans l’Italie des xixe et xxe siècles." In La mort à l’œuvre, 247–67. Presses universitaires de Provence, 2013. http://dx.doi.org/10.4000/books.pup.27368.
10
Le Poidevin, Robin. "The Cinematic Universe." In Travels in Four Dimensions, 148–63. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198752547.003.0009.
Анотація:
Abstract Has photography changed the way we think about time? More particularly, has it affected our view of change and motion? Early photographic processes involved long exposure times. and so the first photographs tended to be still lifes, such as Fox Talbot’s ‘The Open Door’, which depicted a broom leaning against a doorway at his home, Lacock Abbey in Wiltshire. But, as the technique developed, photographs gradually became ‘snapshots’. By the 1870s, cameras were capable of taking photographs with exposure times of a thousandth of a second or less. This allowed the American photographer Eadweard Muybridge to undertake a series of studies of animal movement.
Тези доповідей конференцій з теми "Mort – Photographie":
1
Ben Amor, Syrine. "Pour une lecture croisée des représentations de l'onde dans Bruges-la-Morte de Georges Rodenbach." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3068.
Анотація:
« Et cette eau elle-même, malgré tant de reflets : coins de ciel bleu, tuiles des toits, neige des cygnes voguant, verdure des peupliers du bord, s’unifie en chemins de silence incolores. » Georges Rodenbach L’eau constitue l’une des thématiques axiales de l’œuvre de Georges Rodenbach. Thématique commune à sa production scripturale dans son étendue, l’eau irrigue l’imaginaire poétique de l’écrivain. Pourquoi Bruges-la-Morte ? Bruges-la-Morte est le roman d’un veuf éploré qui a choisi Bruges, ville d’eau et de canaux, non pour y vivre mais pour y mourir, pour y dissoudre sa peine. Et, c’est à Bruges, la Venise Flamande, que Hugues Viane s’acharne à chercher le visage de sa femme « sur d’autres visages ». Précisons que l’élément aquatique se présente comme la véritable substance aussi bien du paysage que du travail analogique entrepris dans le roman. Récurrentes et labiles sont les particularités des images poétique et poétisante de l’eau. Plus intéressante nous semble le traitement des représentations de l’eau. Sujette à la modulation, à une distribution-redistribution sans cesse renouvelée, les images et les métaphores de l’onde fusent dans le roman. On se propose de faire découvrir comment la thématique de l’onde fait l’objet d’une configuration paradoxale. Elle est le réceptacle de la vie et de la mort (comme espace paradoxal, l’eau se présente comme la matérialisation d’un état de présence-absence). Nous analyserons comment l’eau, l’œil, le miroir et la photographie deviennent interchangeables. Ces mêmes surfaces, aux propriétés réfléchissantes et enchâssantes font l’objet de maintes associations analogiques. Nous verrons comment l’eau rodenbachienne est tantôt lascive et foncièrement féminine, tantôt inquiétante et violente. La dernière partie de la présentation constitue une réflexion métalinguistique portant sur le rapport eau / mots. L’eau comme espace de l’imaginaire et le roman comme espace de l’illusion.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3068
2
Li, Zinuo, Xuhang Chen, Shuqiang Wang, and Chi-Man Pun. "A Large-Scale Film Style Dataset for Learning Multi-frequency Driven Film Enhancement." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/129.
Анотація:
Film, a classic image style, is culturally significant to the whole photographic industry since it marks the birth of photography. However, film photography is time-consuming and expensive, necessitating a more efficient method for collecting film-style photographs. Numerous datasets that have emerged in the field of image enhancement so far are not film-specific. In order to facilitate film-based image stylization research, we construct FilmSet, a large-scale and high-quality film style dataset. Our dataset includes three different film types and more than 5000 in-the-wild high resolution images. Inspired by the features of FilmSet images, we propose a novel framework called FilmNet based on Laplacian Pyramid for stylizing images across frequency bands and achieving film style outcomes. Experiments reveal that the performance of our model is superior than state-of-the-art techniques. The link of our dataset and code is https://github.com/CXH-Research/FilmNet.
3
Sugiyama, Naoki, Tomoko Ota, and Akihiko Goto. "Quality analysis of images between expert and beginners taken by drone." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003180.
Анотація:
The use of drones provides a variety of images and video footage that we have not seen before. In non-destructive inspection, on the other hand, it is necessary to obtain an accurate image of the inspection area. The quality of the image is important because the image is used for inspection.In this study, expert and beginners drone pilots operated a drone to photograph the three subjects in the designated areas. Three subjects were photographed by different conditions. The quality of the photographs obtained was compared. The results showed that expert pilot were more likely than beginners to ensure that the subject was in the centre of the picture taken. In addition, distances between drone and subjects were set in almost the same position by expert.
4
Fuster pérez, Jaime. "La edición fotográfica en Ramón Masats." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.7055.
Анотація:
Resumen-Abstract El Premio Nacional de fotografía 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), ha sido considerado como un fotógrafo intuitivo. Sin embargo, un detenido estudio de sus fotolibros y ensayos fotográficos publicados en las revistas ilustradas, permiten revindicar otra faceta completamente desconocida: su labor como maquetador. A lo largo de su carrera Masats toma conciencia de la edición fotográfica. Desde la solitaria imagen de la noticia de un periódico, al ensayo fotográfico, entendido desde el punto de vista de E. Smith como un conjunto mayor de imágenes que profundizan y trascienden, permitiendo un reflexión más detenida de la historia que se cuenta; hasta llegar al foto libro, considerado como una unidad expresiva, un todo con significación completa: el formato más complejo de todos... Un Masats sofisticado y erudito se nos muestra consciente del montaje, del ritmo, del diálogo entre imágenes, de modo que la suma altera la percepción del conjunto. Un lenguaje que le llevará finalmente a explorar en el mundo del montaje cinematográfico y la dirección de documentales audiovisuales. En una época de auténtica explosión del fotolibro español como la que vivimos, conviene reconocer, recordar y aprender de nuestros antecedentes, de aquellos maestros en el arte de contar historias. The National Photography Prize 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), has traditionally been considered an intuitive photographer. However, a careful study of his photographs and photographic essays published in illustrated magazines unveils another aspect of his craft completely unknown until now: his work as a layout artist. Throughout his career Masats pays great attention to photographic edition: from the lonely image published besides the news in a newspaper, to the photographic essay, understood from E. Smith’s point of view as “a greater set of images that deepen and transcend leading the viewers to a more detailed reflection of the story that is being told; until reaching the photo book, which is considered an expressive unit, a whole with a complete meaning: definitely the most complex format of all. A sophisticated and academic Masats reveals a whole new aspect of his personality, showing his awareness of the layout, the rhythm and the dialogue between images, so that the sum and disposition of the images alter the perception of the whole. A language that will finally lead him to explore the world of filmmaking and the direction of audiovisual documentaries. In an age in which the Spanish photobook is at its peak, it is good to look back and give credit, remember and learn from our background, from those teachers in the art of storytelling. Palabras clave: Fotolibro, narración, edición, diseño, coherencia, autoría, comunicación, ritmo, análisis. Keywords: Photobook, narration, edition, design, coherence, authorship, communication, rhythm, analysis
5
Ahtik, Jure. "A new method for analysing eye-tracking measurement data." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p93.
Анотація:
When it comes to the function of photography in graphic communication, we should be aware of many different aspects of the medium. The standard criterion for a correct and successful photograph should always be its technical and artistic aspect. If something is not right, for example, if the exposure or composition are not correct, a photo should not be used for professional purposes. The third aspect is the content or meaning, where final decisions are usually made. With this in mind, editors are usually presented with photos from which they must select those to be used in a final publication. Since most editorial decisions are made on the basis of content or meaning, which is usually described as communication value, some decisions also involve technical aspects, such as whether it is better to use a slightly underexposed or slightly out-of-focus photo. In these cases, the standard criteria changes because the shooting conditions did not allow the photographer to take a technically correct photo, but the content or meaning is too important not to be published. The research focuses on measuring how the way people see different photos changes when they are not technically perfect. Using eye-tracking technology, where we can measure where a person is looking and for how long, we can get an accurate idea of what that person is seeing and the way their eyes move. This type of measurement is actually not a problem and has been successfully used in many research studies. The main question to be answered in this study was how the nature of image perception changes when the image is distorted in some way. Therefore, a new method for analysing eye-tracking data was developed. The results show that eye-tracking can be used to determine how technical aspects of photography affect the way we look at it. The final judgement that the method works was made by comparing the data with data gathered with subjective tests in which observers had to choose between different distorted images and decide which is more acceptable. The correlation between the results of new method and a subjective testing is very strong.
6
Štampfl, Veronika, and Jure Ahtik. "The influence of the surrounding space on the lighting conditions in a photographic scene." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p95.
Анотація:
Lighting conditions are one of the most important factors for good photographic exposure. In enclosed spaces, like a photography studio, we can control the light in several ways. We can adjust the type of light source, the shape of the light source, its intensity, and in some cases the colour temperature of the emitted light. The distance of the light source from the observed photographic scene affects the amount of light that reaches the desired target, and therefore the actual lighting conditions on the photographic scene. However, the environment surrounding the photographic scene is often overlooked. The light emitted interacts not only with the objects within the photographic scene, but also with any obstacle in the path upon which a light ray falls. Light rays can be reflected, partially reflected, absorbed, or scattered from any surface in the immediate vicinity of the scene, depending on the material properties of the objects they encounter. In the case of reflection, the observed scene is additionally illuminated by the reflected light, since the reflecting surface in the near environment acts as another light source. Lightabsorbing surfaces, on the other hand, do not affect the scene in the same way, since the light is absorbed and not multiplied by the reflection. Reflections from the surrounding environment can therefore affect the intended lighting conditions of the observed scene in ways that we did not anticipate. This study focuses on the influence of the surrounding space on the lighting conditions in an observed photographic scene by comparing the lighting situations in a scene from a photographic studio with a diverse environment and from a darkroom with minimal environmental influence. Halogen, LED, and xenon light sources are tested individually, illuminating the test scene with different intensities and colour temperatures. The illumination conditions at the observed photographic scene are described using spectrophotometric methods and image analysis to numerically describe the differences in uniform illumination of the flat scene surface. The results are analysed and compared to illustrate the influence of the surrounding space. Based on the results, guidelines for a suitable test environment in photographic research are proposed.
7
Campbell, Melanie C. W., W. R. Bobier, C. R. McCreary, A. M. Power, and K. Yang. "The Effect of The Eye’s Chromatic Aberration on Coaxial Photorefractive Patterns: A Geometrical Optical Analysis." In Ophthalmic and Visual Optics. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/ovo.1992.tuf3.
Анотація:
Photorefractive methods provide rapid photographic measures of the refractive and accommodative states of infants and young children whose brief attention spans and limited cooperation reduce the effectiveness of more traditional methods such as retinoscopy and autorefraction. Three photographic methods have been designed: orthogonal1,2, isotropic2,3 and eccentric4,5,6. In all three methods, light from a small flash source set near the aperture of a camera lens is reflected from the eye and photographed as a pattern of light whose extent varies with the refractive error and pupil size of the eye. In the past, complicated ray traces, using detailed optical specifications of the camera system, were required to determine the theoretical relationship between the blur size and the refractive error. The authors have developed a novel geometrical optical analysis for all three methods in which the pattern is defined at the plane of focus of the camera. Because this plane is conjugate with the detector plane of the camera, the predicted size of the pattern can be determined simply by measuring the magnification of an object located at the camera’s plane of focus. This does not require knowledge of the optical design of the camera lens.
8
Ribeiro Rabello, Rafaelle. "Between absence and presence: Augmented Reality as a self-fiction poetic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.
Анотація:
This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.
9
Bergey, Dana J., James P. Mills, and Steven K. Rogers. "Multiple aperture optical imaging." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1986. http://dx.doi.org/10.1364/oam.1986.ma6.
Анотація:
The effect of multiple aperture systems on coherent and incoherent optical imaging was analyzed. Most of the effort was concentrated on the coherent imaging case. A computer program was developed that predicted the images of several simple objects as viewed through various types of multiple aperture. Objects such as edges, bars, and circles were chosen since more complicated objects can be thought of as a collection of these simple objects. These multiaperture images were produced and photographed in the laboratory. The photographs and the computer-generated plots are then analyzed to determine how the spacing, size, and number of subapertures affect the image. These images are compared and contrasted to determine what information can be obtained from them. Essential information, such as shape, orientation, position, and dimensions of the object, was looked for. Finally, the effects of the same multiple apertures on incoherent imaging are studied, and the results are compared with those of the coherent case.
10
Camm, D. M. "World's most powerful lamp for high-speed photography." In 20th International Congress on High Speed Photography and Photonics, edited by John M. Dewey and Roberto G. Racca. SPIE, 1993. http://dx.doi.org/10.1117/12.145766.
Звіти організацій з теми "Mort – Photographie":
1
Onikzeh, Parinaz, Afshin Heidari, Aida Kazemi, Parisa Najjariasl, Kamran Dalvandi, Hamidreza Sadeghsalehi, and Hadi Zamanian. 3D photography versus digital planimetry in wound measurement : a systematic review protocol. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, October 2021. http://dx.doi.org/10.37766/inplasy2021.10.0069.
Анотація:
Review question / Objective: The aim of this study is to find whether there is concordance between two methods of wound area measurement: 3D photography and digital planimetry. Condition being studied: One of the most important factors in all types of wound management is wound measurement and two new digital techniques are : digital planimetry and 3D-photography. Eligibility criteria: the articles will be included only if the study cases would be measured by both methods of wound measurement including 3D photography and digital planimetry. patients with wound in any area of their body like diabetic ulcers, venous ulcers or burning. not models or animals.not bite or scar or bruising. without any restriction in age or gender.
2
Light. L51572 Demonstration of Realtime Radiography on Pipeline Girth Welds. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), September 1988. http://dx.doi.org/10.55274/r0011315.
Анотація:
Conventional radiography has been the accepted nondestructive testing (NDT) method used for many years to either accept or reject a field weld in the pipeline industry. However, conventional radiography requires the expense of film, developing chemicals, and manpower for film development. It also normally has a delay of 2 hours or more between when the weld was radiographed and when the radiographic film of the weld is available for interpretation. Over the last few years, a newer approach to performing radiographic testing, called real-time radiography, has been used in several different types of field inspection operations. The real-time radiography system forms the image with optical imaging in lieu of photographic film. The objectives of this project were to (1) Integrate various optimized real-time radiographic components (identified as a result of the previous project) into a field-usable, real-time-radiographic inspection (RTRI) system for single-wall inspection of pipeline girth welds and (2) Demonstrate the system in the field.
3
Sanborn-Barrie, M., N. M. Rayner, and A. Ford. Investigation into the feasibility of increasing geoscience accessibility through existing web platforms and mobile applications, Nunavut. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331384.
Анотація:
Accessibility and uptake of geoscience knowledge by First Nations and Inuit community members has traditionally been limited. This is, at least in part, due to the technical nature of geological maps and the expensive licensing requirements of the geographic information system software that is used to view and analyse geoscience data. During the Foundational Year of GEM GeoNorth, we investigated the potential of available apps and platforms, including NRCan Observer, Rockd and SIKU to broaden access and knowledge sharing of geoscience with non-specialists. Most prospective was SIKU - a mobile app developed by northerners for northerners that currently supports knowledge-gathering related to the natural world (currently mammals, birds, fish and sea-ice conditions). This report provides an overview of our investigation and presents detailed aspects of the feasibility and related costs of incorporating a geoscience component(s) into SIKU that could allow northerners the opportunity to calibrate geoscience through georeferenced photographs and structural trends for consideration and use on their terms.
4
Connell, Sean D. Geologic map of the Albuquerque - Rio Rancho metropolitan area and vicinity, Bernalillo and Sandoval counties, New Mexico. New Mexico Bureau of Geology and Mineral Resources, 2008. http://dx.doi.org/10.58799/gm-78.
Анотація:
This is the most comprehensive compilation of the geology of the Albuquerque Basin to be printed in 30 years. The area covered by this new compilation, though not as large as the earlier map, is presented at a scale nearly four times the detail (1:50,000 scale compared to the earlier map's 1:190,000 scale). This new geologic map is a compilation of sixteen 7.5-min USGS quadrangle maps and encompasses an area from Tijeras Arroyo on the south to Santa Ana Mesa north of Santa Ana and San Felipe Pueblos, and from the crest of the Sandia Mountains westward across the Rio Grande and onto the Llano de Albuquerque (West Mesa) west of the city limits of Albuquerque and Rio Rancho.This geologic map graphically displays information on the distribution, character, orientation, and stratigraphic relationships of rock and surficial units and structural features. The map and accompanying cross sections were compiled from geologic field mapping and additionally from available aerial photography, satellite imagery, and drill-hole data (many published and unpublished reports, examination of lithologic cuttings, and from the interpretation of borehole geophysical log data).The map and accompanying cross sections represent the most informed interpretations of the known faults in the Albuquerque-Rio Rancho area that are presently available. In addition to the positions of many faults, the cross sections show the approximate vertical extent of poorly consolidated earth materials that may pose liquefaction hazards. This map also contains derivative maps selected to portray geologically important features in the metropolitan area, such as elevations of ground water levels, and the mostly buried boundary between generally poorly consolidated and saturated aquifer materials and the more consolidated underlying materials. The gravity anomaly map is a geophysical dataset that shows major geological structures buried beneath the metropolitan area and vicinity.
5
Regis, D., and M. Sanborn-Barrie. Delimiting the extent of 'Boothia terrane' crust, Nunavut: new U-Pb geochronological results. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/330703.
Анотація:
The Boothia Peninsula - Somerset Island region of north-central Nunavut is a frontier region (70-74°N, 94°W) long considered as part of Rae craton. Recent field mapping and acquisition of isotopic (U-Pb, Sm-Nd) data as part of the GEM-2 Boothia-Somerset project allowed this region's exposed Precambrian bedrock to be better characterized with respect to petrology and litho-geochemistry, and to be more extensively and more precisely time-calibrated. The discovery of unique, possibly exotic, basement characterized by a ca. 2.55-2.51 Ga TTG suite overlain by ca. 2.5 Ga metasedimentary rocks, cut by 2.49- 2.48 Ga plutons, are all atypical components of the Archean Rae crust. This new knowledge and the hint of similar 'Boothia terrane' crust south of Boothia Peninsula (Ryan et al., 2009), east of the Queen Maud block (Davis et al., 2014) in central Nunavut, and in northernmost Saskatchewan (Cloutier et al., 2021), raised the possibility this terrane may extend >1600 km across north-central Canada. During the foundational year of GEM-GeoNorth, the extent of Boothia terrane crust was explored through legacy samples collected during the 2012 GEM Frontiers' transect across mainland Nunavut. As part of this new study, field descriptions, photographic records and legacy samples were examined, and new U-Pb zircon geochronology was acquired. The new data and knowledge were used to: i) identify new components of Boothia terrane on the mainland southwest of Boothia Peninsula; ii) further distinguish this crust from that of Rae affinity; and iii) better constrain the depositional age of Sherman Group metasedimentary rocks.
6
Douglas, Gordon, and David Moore. Analyzing the Use and Impacts of Oakland Slow Streets and Potential Scalability Beyond Covid-19. Mineta Transportation Institute, July 2022. http://dx.doi.org/10.31979/mti.2021.2152.
Анотація:
This report presents the results of a mixed-methods study of the 2020-2022 Oakland Slow Streets program. An official response to the Covid-19 pandemic, the program used signs and temporary barricades to limit thru-traffic on 21 miles of city streets to create more and safer space for walking, cycling, and outdoor recreation. Researchers collected data throughout the summer of 2021 on seven designated slow streets plus one cross street and one control street for each – a total of 21 street segments representing conditions in seven different neighborhoods across Oakland. Data collection comprised in-person passerby counts, observations and photographs of local conditions, and logged traffic speed data. Findings vary widely across study sites. In certain cases, observed slow streets saw less car traffic or more bicycle/pedestrian use than one or both of their comparison streets, and in at least one case the slow street was clearly embraced by the local community and used as planners intended; in others the slow street was no different than neighboring streets. The study draws on these findings to identify local conditions that seem likely to make slow treet treatments more or less successful. However, acknowledging that all neighborhoods deserve safer streets and greater outdoor recreational opportunities, the authors argue that better community outreach must be implemented to ensure areas not predisposed to make full use of slow streets can have the opportunity to do so. The study also makes suggestions regarding the potential for rapid, low-cost bike and pedestrian street safety improvements going forward.
7
Douglas, Gordon, and David Moore. Analyzing the Use and Impacts of Oakland Slow Streets and Potential Scalability Beyond Covid-19. Mineta Transportation Institute, July 2022. http://dx.doi.org/10.31979/mti.2022.2152.
Анотація:
This report presents the results of a mixed-methods study of the 2020-2022 Oakland Slow Streets program. An official response to the Covid-19 pandemic, the program used signs and temporary barricades to limit thru-traffic on 21 miles of city streets to create more and safer space for walking, cycling, and outdoor recreation. Researchers collected data throughout the summer of 2021 on seven designated slow streets plus one cross street and one control street for each – a total of 21 street segments representing conditions in seven different neighborhoods across Oakland. Data collection comprised in-person passerby counts, observations and photographs of local conditions, and logged traffic speed data. Findings vary widely across study sites. In certain cases, observed slow streets saw less car traffic or more bicycle/pedestrian use than one or both of their comparison streets, and in at least one case the slow street was clearly embraced by the local community and used as planners intended; in others the slow street was no different than neighboring streets. The study draws on these findings to identify local conditions that seem likely to make slow treet treatments more or less successful. However, acknowledging that all neighborhoods deserve safer streets and greater outdoor recreational opportunities, the authors argue that better community outreach must be implemented to ensure areas not predisposed to make full use of slow streets can have the opportunity to do so. The study also makes suggestions regarding the potential for rapid, low-cost bike and pedestrian street safety improvements going forward.
8
Young, Allison, Carey Baxter, Joseph Murphey, Karlee Feinen, Madison Story, and Adam Smith. US Air Force Academy Gallagher and Massey ranch houses : Historic American Buildings Surveys CO-237, CO-237-A, and CO-238. Engineer Research and Development Center (U.S.), June 2023. http://dx.doi.org/10.21079/11681/47190.
Анотація:
The US Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. Section 110 of the NHPA requires federal agencies to inventory and evaluate their cultural resources, and Section 106 requires them to determine the effect of federal undertakings on those potentially eligible for the NRHP. The US Air Force Academy is located at the base of the Front Range within El Paso County. The US Air Force Academy has been used for training US Air Force officers since 1954. The Gallagher Ranch House and its associated garage, erected circa 1953, and the Massey Ranch House, erected 1941, are eligible for the National Register of Historic Places. This report documents the buildings to the standards of the Historic American Buildings Survey and includes a historic context, architectural descriptions, photographs, and measured drawings. This report satisfies Sections 106 and 110 of the National Historic Preservation Act of 1966 as amended and will be used by the US Air Force Academy for mitigation, allowing for the demolition of the three buildings.
9
Barkatov, Igor V., Volodymyr S. Farafonov, Valeriy O. Tiurin, Serhiy S. Honcharuk, Vitaliy I. Barkatov, and Hennadiy M. Kravtsov. New effective aid for teaching technology subjects: 3D spherical panoramas joined with virtual reality. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4407.
Анотація:
Rapid development of modern technology and its increasing complexity make high demands to the quality of training of its users. Among others, an important class is vehicles, both civil and military. In the teaching of associated subjects, the accepted hierarchy of teaching aids includes common visual aids (posters, videos, scale models etc.) on the first stage, followed by simulators ranging in complexity, and finished at real vehicles. It allows achieving some balance between cost and efficiency by partial replacement of more expensive and elaborated aids with the less expensive ones. However, the analysis of teaching experience in the Military Institute of Armored Forces of National Technical University “Kharkiv Polytechnic Institute” (Institute) reveals that the balance is still suboptimal, and the present teaching aids are still not enough to allow efficient teaching. This fact raises the problem of extending the range of available teaching aids for vehicle-related subjects, which is the aim of the work. Benefiting from the modern information and visualization technologies, we present a new teaching aid that constitutes a spherical (360° or 3D) photographic panorama and a Virtual Reality (VR) device. The nature of the aid, its potential applications, limitations and benefits in comparison to the common aids are discussed. The proposed aid is shown to be cost-effective and is proved to increase efficiency of training, according to the results of a teaching experiment that was carried out in the Institute. For the implementation, a tight collaboration between the Institute and an IT company “Innovative Distance Learning Systems Limited” was established. A series of panoramas, which are already available, and its planned expansions are presented. The authors conclude that the proposed aid may significantly improve the cost-efficiency balance of teaching a range of technology subjects.
10
McKinnon, Mark B., and Daniel Madrzykowski. Four Firefighters Burned in Residential House Fire - Georgia. UL's Fire Safety Research Institute, June 2022. http://dx.doi.org/10.54206/102376/gekk4148.
Анотація:
On September 3, 2018, two career Fire Lieutenants and two career Firefighters suffered burn injuries as a result of a residential structure fire. On September 10, 2018, personnel representing several other fire departments in the area, including a member of the Fire Safety Research Institute (FSRI) Advisory Board visited the fire scene to document the incident and collect material samples from the structure. The narrative and analysis presented in this report rely on the photographs and evidence collected on September 10, 2018, dispatch transcript [5] and videos recorded at the time of the incident, and interviews conducted by a local investigator between September 3, 2018 and September 7, 2018 with fire service personnel involved in the incident and the resident of the structure [6]. The LaGrange Fire Department invited FSRI to study this incident as part of FSRI’s Near-Miss Project which is supported by a DHS/FEMA Assistance to Firefighters Grant. The goal of this project is to enhance the safety and situational awareness of the fire service by applying fire dynamics research results to near-miss or line of duty injury fire incidents. By identifying factors that contributed to the incident, perhaps future incidents may be prevented. FSRI’s analysis of this incident will apply research results and utilize fire research tools, such as computer fire models, to examine key fire phenomena and tactical outcomes. This report will explain the incident, what occurred, why it occurred, and what can be done differently in the future to result in a more favorable outcome