Дисертації з теми "Photographic aspects"
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Wendt, Gunvor von. "Screening for diabetic retinopathy : aspects of photographic methods /." Stockholm, 2005. http://diss.kib.ki.se/2005/91-7140-398-1/.
Повний текст джерелаTriantaphillidou, Sophie. "Aspects of image quality in the digitisation of photographic collections." Thesis, University of Westminster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251575.
Повний текст джерелаDonelson, Sarah L. "Cries of agony : a work in photographic montage." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.
Повний текст джерелаDepartment of Art
Gavard, Sandra. "Photo-graft : a critical analysis of image manipulation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/MQ54990.pdf.
Повний текст джерелаScheffknecht, 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.
Повний текст джерелаMountain, Michelle Fiona. ""The secret rapport between photography and philosophy" considering the South African photographic apparatus through Veleko, Rose, Goldblatt, Ractliffe and Mofokeng." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002211.
Повний текст джерелаAllan, Christopher. "An analysis of digital photojournalistic practices: a study of the Sowetan's photographic department." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1003071.
Повний текст джерелаGeyer, Xanthe Amanda. "Correction, addition and deletion : memory and its function in creating "visual narratives" (and identity) in photographic art." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002198.
Повний текст джерелаPinto, José Alberto de Lima Machado. "A holografia estereográfica como meio de expressão artística." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Engenharia, 1999. http://hdl.handle.net/10216/12048.
Повний текст джерелаBlomgren, Constance, and University of Lethbridge Faculty of Education. "Family photos : an exploration of significant exposures." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 1999, 1999. http://hdl.handle.net/10133/93.
Повний текст джерелаxvii, 199 leaves : ill. ; 28 cm.
Barthélemy, Anne. "La photographie vorticiste : un aspect de la photographie d'avant-garde /." Paris : l'auteur, 1996. http://catalogue.bnf.fr/ark:/12148/cb370652877.
Повний текст джерелаGodeau, Vincent. "La photographie africaine contemporaine : vers une photographie panafricaine." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040097.
Повний текст джерелаContemporary African photography is here photography practiced by Africans living in Africa. In our period (1989-2009), the acknowledgement of the absence of specificity of African photography takes the place of the photographic gaze brought by Westerners to Africa: “What is the real african photography?” is a question that characterizes this photography. In parallel, the portrait genre imposes itself, searching to end up outside of the consciences of an ambient afropsessimism, while documentary photographs show the Africa lived by Africans. Even more militant, citizen photography develops and is accompanied by a discursive hegemony. But the true photography engaged has been given by some of the Anglophone countries that therefore contribute to the collective march to recognition, France and the United States playing an essential role, since 1990, in this process. The interest in those two northern countries may also be explained by a diaspora of African photographers whose work feeds a number of manifestations that highlight a relative deficit of local photographers that practice “art photography”. In this fragile context, the nursery of South African photographers evolving in an economic market similar to that of the occident takes a counter-point to French speaking countries where French civil servants distribute state assistance of European origin. It is this South Africa, alongside other English speaking countries and Mozambique, that demonstrates the path of a clearly gestating African photography
譚美兒 and Mei-yee Eve Tam. "Orientalism and photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B4413938X.
Повний текст джерелаHerrerias, Cuevas Vesta Mónica. "Le masque social ou la representation de la bourgeoisie mexicaine dans le portait photographique (1854-2008)." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030058.
Повний текст джерелаFar from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas
Pinto, José Alberto de Lima Machado. "A holografia estereográfica como meio de expressão artística." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Engenharia, 1999. http://dited.bn.pt:80/29117.
Повний текст джерелаSchnarr, Christopher E. "Moments between the surface : photography and fiction." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935913.
Повний текст джерелаDepartment of Architecture
Zekri, Walid. "La photographie d'architecture mise en espace." Paris 1, 2013. http://www.theses.fr/2013PA010501.
Повний текст джерелаSolinas, Stéphanie. "Photographie et identité : images du corps surveillé." Paris 1, 2008. http://www.theses.fr/2008PA010709.
Повний текст джерелаPetitjean, Joël. "Recherches sur la photographie et la Commune." Paris 4, 1996. http://www.theses.fr/1995PA040075.
Повний текст джерелаPhotographies on paris commune (1871) are very often reproduced for illustration purposes in historical publications. For many years, it is regularly question of theses pictures in works dedicated to photography. Nevertheless it odes not exist yet any reference book. The reading of contradictory commentaries justify an open analysis, of aesthetic, historical and sociological nautre, based on a methodical inventory of pictures. For fhe first time, this work direct in public collections (paris, bibliotheque nationale, etc. ) has been made. This report includes a study accordingy to three approaches : a typological and thematic analysis, a situation of the pictures in comparison with other means of representation (endgraving) or expression (writting), an analysis of the various photography appropriations created by the events. The stidy is followed up of a chronology, of an important catalogue of printings and albums, including biographical notes, of a bibiliography, and of a choice of reproductions. In an extreme historic situation, the photography takes a wider place and is revealing. Some of its uses are systematized (communication, propaganda, police identification). Antidote against spacio-temporal distance, photography is a vehicle for some aspects of reality. It searches its identity in its relation to the event, it registers the sites and the characters, in an increasing proximity report "historical photography" is syubstituating to history painting. Photography transmits symbols, contributes to conditioning. It is used, and censored by authorities
Vigliotti, Jeanette C. "The Double Sighted: Visibility, Identity, and Photographs on Facebook." UNF Digital Commons, 2014. http://digitalcommons.unf.edu/etd/506.
Повний текст джерелаLemaire, Thierry. "La télédetection spatiale à haute résolution : aspects juridiques." Brest, 2003. http://www.theses.fr/2003BRES5002.
Повний текст джерелаThe recent launching of private satellites, able to deliver high resolution remote sensing data, point out an unprecedented evolution in the sector of remote sensing due to the usual utilisation of this accurate imagery only by States for strategic and military uses. The proliferation of private companies and the commercial utilisation of the remotely sensed data raise a lot of legal questions as regards the application of space law principles and those of the United Nations Resolution n°41/65 of 3rd december 1986 (as for example, the freedom to observe and to disclose the remote sensing data) which are issued from a compromise between developing States and those using Earth remote sensing satellites. Indeed, the international Community adopted the freedom of observation at the condition that data would be available for sensed States on a non-discriminatory basis. It seems that this principle is accepted for the private high resolution remote sensing systems but the use of imagery for civil and military needs may engage the international responsability of States for national activities carried out from space. Then, the private activities have to be controlled at national and international level and some commercialisation restrictions can be adopted by States when the use of space imagery can compromise public interests. This public intervention has to respect the freedom of competition and the access od sensed States to remote sensing data on a non-discriminatory basis. Besides, the data protection has to be harmonised a international level in order to secure private companies investments and facilitate the development of the commercial space imaging sector. Moreover, the use of remote sensing data has not to be prejudicial to individual rights related to the protection of private property, applicable to goods sensed from space, and the right to privacy
Zuccante, Luigi. "Du négatif au positif ou de la remédiation pédagogique par la photographie." Toulouse 2, 1999. http://www.theses.fr/1999TOU20012.
Повний текст джерелаBrunel, David. "Corps et visage de l'image photonique : (la photographie vue de dos)." Montpellier 3, 2008. http://www.theses.fr/2008MON30041.
Повний текст джерелаThe overall theme of this thesis relates to the division of the photonic image. The picture is seen as a twofold entity, caught between meaning and appearance, front and back, surface and depth, something halfway between copy and simulacrum, backing (body of the picture) and surface (face of the picture). This duality, interface of appearance and apparition, imitation and imagination induces an aesthetic questioning, a theoretical resistance, a tension in the representation that this work attempts to capture and analyse. It is from these obstacles, these unstable and stumbling encounters that the picture has been reflected upon. The process, in a phenomenological method, consists approximately in a transposition of the photography to the core of various aesthetics grounds (focused differently by ontology, poetry, mythology, psychoanalysis. . . ) stating its acceptance or rejection. The subsequent operations implies thorough re-examination, along with a statutory redistribution of the supposed intrinsic and essentials criteria of the photonic image from which a shift of the eidos is possible – the Idea of the element to be known moving from the represented element (referent) towards the representing element (medium). This swing has allowed us to speculate about a photography as a metaphor of itself. These aesthetic rotations endlessly take us back to the primeval place where the relations to the representations are created, i. E. The representation itself (see final exegesis). The whole of our research spans a sporadically perceptible thematic background, the characteristics of which are thought as symptomatic of the medium. It deals with reversal, inversion, repetition and above all ambivalence
Aubert, Didier. "Photographie et progressisme : the Pittsburg survey, 1907-1914." Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/aubert_d.
Повний текст джерелаBarberini, Marta. "The Impact of Humanitarian Photography on the Generation of Sympathy and on Donation Behavior." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/18.
Повний текст джерелаBach, Caroline. "Quand l’art contemporain s’intéresse à l’économie : espaces de travail et formes économiques en question." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30088.
Повний текст джерелаIn a book entitled Art and Economy, Jean-Marc Huitorel stated, in his introductio,n that 'artist provides tools to read the world.' For the artists whose practice is looking outward and consists, among other things, into provide tools to understand the read (Allan Sekula or Alfredo Jarr, for instance), an approach with economy is inevitable, without, however becoming necessarily specialists. Whether through flows cartography or exploring global trade mechanisms, on a large scale, or whether through a different scale, exploring spaces and working conditions, they fit perfectly into the current 'heterodox' (which claims the plurality of approaches) and give full legitimacy to the dialogue between art and economy
Agbo, George Emeka. "Photography, facebook and virtualisation of resistance in Nigeria." University of the Western Cape, 2016. http://hdl.handle.net/11394/5465.
Повний текст джерелаNigerian post-independence history (1960 to the present date) is steeped in socio-political upheavals. The majority of the citizens are frustrated with the injustice, inequality and fraudulent politics that pervade the country. The central argument of this thesis is that these conditions are critiqued through the photographic practices produced on Facebook. Through the circulation of photographs and the conversations around them on the social media platform, Nigerians demand social change. The sociality that underpins the visuality of social networking is explained by Ariella Azoulay's notion of "civil discourse," which theoretically organises the thrust of this thesis. The formulation suggests that the photograph is an outcome of the interaction among many individuals. It is a site of exchange, a process which I have argued to be reinforced by digital and internet technology. For five years, I have followed the visual social production on Facebook in the context of virtual participant observation, downloading photographs and the comments that go with them. A number of the photographs and the accompanying comments are analysed with semiotic tools to understand the key concerns of Nigerians. To explain how the agitation is presented, and the efforts invested in the production, I have reflected on the related questions of technological mediations and appropriations. A network of digital infrastructure conditions the creation and editing of the photographs and their dissemination and meaning-making processes on Facebook. Again, the Nigerian example demonstrates how state failure fuels activism, insurgency and counter-insurgency, all of which are actuated by digital photographic production. In this situation, the photographic image is burdened with the task to produce violence and to counter it. What ultimately emerges are complex relations among people, photography and technology. I conclude that the virtual movement presents possibilities for socio-political transformation in Nigeria. From the perspective of photography, this thesis contributes to the debates in social media activism and how it is shaping politics in Africa. It demonstrates the possibility of reading the tensions in an African postcolony through the connected digital, visual and social practices of the ordinary people. We are prompted to acknowledge the influence of digital infrastructure in the political use of the image.
Zare, Khalili Fathollah. "La photographie dans une société en transition : le cas de l'Iran." Paris 1, 2009. http://www.theses.fr/2009PA010633.
Повний текст джерелаBui, Quang Ngoc Adiba Michel. "Aspects dynamiques et gestion du temps dans les systèmes de bases de données généralisées." S.l. : Université Grenoble 1, 2008. http://tel.archives-ouvertes.fr/tel-00321849.
Повний текст джерелаDelage, Chollet Colette. "Pratique de photographie et de videoscopie familiales dans la France contemporaine." Toulouse 2, 2001. http://www.theses.fr/2001TOU20026.
Повний текст джерелаThe development of photography, a result of economic growth, has led to its appropriatio by individuals (trought the democratization of the portrait and amateur photography). Anthropologists also used photographs then films (for illustration as participant observers) before becoming interested in them as an object of study in their own right. This research proposes the analysis of family usesof photographs and video in France (1990-2000). Work carried out on recent developments in the family and that related to family uses of photography define its context. Besides the actual subject of the views taken, what do these uses represent in themselves, how are they related to the functioning of contemporary families ? To what extent do the use of photographs or video reveal, translate, participate in and/or organise ways of "being" part of a family ? Observation of the corpus, together with an analysis of the way 37 people use photographs/video, complemented by their commentaries, confirms the central position and selective nature of the "album", but also its role in the contruction and fragmentation of time. These two points are expression of autobiographical intention of the organiser. The analysis also underlines the importance of the other photographs which are not included in the album. The intermingling of family rites and photographic/video rituals on the occasion of formal marriage celebrations or unofficial ones, or on the arrival of a child (by birth or adoption) proves that photography and video reflect and are a part of changes in family arrangements. Divorce, separation, re-formed families, all these have had an effect on their use. The way they are used is revealing of current attitudes in the face of death (the corpse as "taboo" and also of how the family's photographic inheritance is managed and transmitted. It is thus, that photographs and video, by provoking speech and expressing affects, provide an insight into their link with individual and family memories
Valenzuela-Escobedo, Sergio. "Mänk’áčen : mécanique photographique, mysticisme et superstition chez les peuples originaires d'Amérique du Sud." Thesis, Aix-Marseille, 2021. http://www.theses.fr/2021AIXM0328.
Повний текст джерелаToumayacha Alakana : this popular expression lays at the root of my research. It means “to look with a veiled head”. It is how the Fuegians named the act of photographing in the19th century, when they saw their first cameras, as operators came to America around 1840.What names did native people give to those new images-cum-objects ? How was that unknown device perceived ? What does it mean to be looked at by a veiled head ? My doctoral research offers a shift of of focus and point of view on the act of photography in South America. Can our understanding of photography change if we take native peoples’ perspective on the camera as a starting point ?The idea that native people do not want to be photographed, especially because it would be “stealing their souls”, is a colonial myth. This western belief gave value to the images brought back by explorers. The reasons behind refusing the camera are much more complex and diverse : they can be about the camera angle, the circulation of the image of the self, the one-sided nature of the transaction, the lack of understanding of the device, or political and spiritual considerations
Ractliffe, Jo. "Nadir : a graphic interpretation of dispossession and aspects of conflict." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/17181.
Повний текст джерелаDispossession, aspects of conflict and the breakdown of the relationship between people and their environment is the subject of this thesis. The body of work presented consists of twenty-four photographs and sixteen screen-printed off-set lithographs (referred to as the prints). The photographs are largely intended to introduce and contextualize the prints which act as the main body and conclusion of the thesis. In the series of prints I have manipulated certain photographic imagery in order to explore the ways in which meaning can shift with changes in context, and reveal associations not apparent in the original photographs. This book is divided into four sections: 1. Sources and context: This section contains a brief outline of the historical tradition of apocalyptic literature and its relevance to our times, as well as a discussion of some of the literary texts to which I have referred. All the visual source material for my prints was derived from my own photographs. As a result, I have not looked to other artist's works for reference, or for the development of my theme. Of great importance, however, were the texts I read during the course of my study, which included a wide and diverse range of literature and poetry. I have also looked to film as a source, including popular cinema such as George Miller's "Mad Max" series, as well as the more serious aspects of cinema, for example, the films of Francis Ford Coppola, Werner Herzog and Wim Wenders. While my prints do not necessarily fall within the mainstream of apocalyptic, they have in common with it, a particular attitude towards the present. It is the vision of imminent chaos and the desire for a return to a restored natural order that has informed my work. 2. My working methods and their implications: This section contains an explication of the processes involved in the making of the prints, and the manner in which these processes contributed to the meaning of the images. Also included is a discussion of the relationship between my photography and my printmaking. 3. Introduction to the work: This section introduces my theme. In my photographs I have documented those aspects of southern African urban and rural landscape which reveal evidence of the erosion of the natural environment, as well as the physical manifestations of displacement. In my prints, I have disintegrated, translated and recontextualised these images. While the theme of my work lies within the broad context of apocalyptic, it is the individual's conflicts and sense of displacement within that context that has been of particular interest to me. As the apocalypticist expressed the tensions and conflicts of his time in a language of symbols, so I have similarly presented a response to my environment. It is not my intention in this section to present an interpretation of my work, but rather to highlight those aspects important to an understanding of the motives I had in making the images. In addition, this book includes documentation of the photographs and prints, preparatory sketches and collages, reproductions of source photographs, and a selection of literary texts which informed the work.
Tiberi, Dominique. "La photographie et l'image de la Corse : 1839 1962." Caen, 1992. http://www.theses.fr/1992CAEN1117.
Повний текст джерелаWilliams, Sarah. "Depth of field : aspects of photography and film in the selected work of Michael Ondaatje." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2401/.
Повний текст джерелаLeiva, Quijada Gonzalo. "Modernité et histoire de la photographie au Chili (1879-1920)." Paris, EHESS, 1997. http://www.theses.fr/1997EHESA033.
Повний текст джерелаWalton, Shireen Marion. "Camera Iranica : popular digital photography in/of Iran." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:7f6516bf-64c6-4551-b58c-08e42915183f.
Повний текст джерелаSupartono, Alexander. "Re-imag(in)ing history : photography and the sugar industry in colonial Java." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11909.
Повний текст джерелаDelpeux, Sophie. "Les formes de la disparition : art corporel et photographie : 1963-1983." Paris 1, 2004. http://www.theses.fr/2004PA010610.
Повний текст джерелаCharpentier-Boude, Christine. "La photographie de groupe en classe comme palimpseste de l'institution scolaire : essai d'une approche sémiologique de ce document." Paris 10, 2006. http://www.theses.fr/2006PA100097.
Повний текст джерелаSince the middle of the nineteenth century the photograph of class at school has become, year after year, part and parcel of the memory of the school and the society it represents. It seems to accompany the mourning of the great number of school stories and, at the same time, to prevent these disappearances. This particular picture, the setting of an institutional reality caught by the camera eye and repeated in a ritualistic code – treasured or not by its owners – far from being monolithic or unequivocal, seems to be conveying a mixture of institutional and personal impressions. This photograph may reveal things about what and who it in showing as well as about those who show it. It might reveal things about what you can see but also about the persons who took it or are responsible for it, about those who have kept it and look at it, either they are or not on the snapshot. Witnessing a world outside the family but staying in the family album all the same, it seems to be a go-between, linking the individual, the family group and the school world. This work deals with the different aspects, more or less obvious, mixing implicit and explicit, witch are born from this picture and make you think that this medium carries within itself both a collective and a personal imagination. Therefore this research offers to capture this peculiar illustration of the school establishment in order to reveal its meaning by using this document not just as a mere illustration but as an object of study that can be considered as a memory as well as an analysis tool. The first parts of this study will introduce a historical, iconic and socio-institutional analysis of this document and will consider this photograph as a ritualistic rite of the school establishment. The last part will see the snapshot as a more intimate archive and will deal with the relationships existing between the photograph and the users of the school and the training centres. Finally, the conclusion will consist in a "mythographical" approach of the class photograph and will present you with the possible branching-outs of this research
FELIPE, Carla Beatriz Marques. "Os aspectos sociocognitivos para a indexação de fotografias." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/17608.
Повний текст джерелаMade available in DSpace on 2016-08-04T13:21:33Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertaçao.doc carla.pdf: 1821084 bytes, checksum: ab6482337563c409c6df35c23834957c (MD5) Previous issue date: 2016-02-15
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Esta dissertação aborda a história da fotografia apresentando a sua importância para a sociedade desde a sua invenção e a descreve como documento e suas variadas formas de disseminação da informação. Em consequência, explica a relação entre fotografia e memória, destacando a primeira enquanto um dispositivo de memória institucional. Nesse cenário, foi abordada a indexação de fotografias, bem como o seu processo de execução e os aspectos linguístico, lógico e cognitivo a ela envolvidos. Por conta disso, foi realizada uma pesquisa exploratória em duas instituições que possuíam acervo fotográfico, cujo objetivo geral foi analisar os aspectos sociocognitivos inerentes ao procedimento de indexação de fotografias e, de cada instituição, participaram dois bibliotecários indexadores. Esses profissionais indexaram quatro fotografias, sendo duas de cada instituição participante. O instrumento de coleta de dados utilizado foi o Protocolo Verbal Individual. Os principais resultados mostraram que por meio da cognição que o indexador faz a leitura das fotografias e analisam qual o tema da foto. Para isso, faz uso das memórias de curto e longo prazo e também da percepção sensorial. Os aspectos sociocognitivos influenciam diretamente o processo de indexação, pois são estes aspectos que regem o modo como os bibliotecários fazem a pesquisa para coletar informações sobre o acervo. Se utilizam ou não um vocabulário controlado para a tradução dos termos. Para a análise de assuntos os bibliotecários analisam as fotografias de maneiras muito parecidas com as metodologias sugeridas para estes procedimentos, sempre partindo do geral para o específico. Como última categoria analisada temos os descritores. Estes sofrem influência direta das categorias anteriores. Para a escolha dos descritores, entre todas as metodologias apresentadas no trabalho, como a de Rodrigues, Shatford, Manini, Panofsky e Bléry, a metodologia de Bléry (1979) é utilizada, de fato, pelo menos em uma instituição pesquisada.
This dissertation approaches the history of photography presenting their importance to society since its invention and it is described as a document and its various forms of information dissemination. As a result, it explains the relationship between photography and memory, highlighting the first one as an institutional memory device. In this scenario, the indexing of photographs was studied, as well as its implementation process and linguistic, logical and cognitive aspects involved with it. Because of this, an exploratory survey was conducted in two institutions that had photographic collection, whose main objective was to analyze the socio-cognitive aspects of the photographs indexing procedure. In each institution two indexers librarians attended it. These professionals indexed four photos, two of each participating institution. The data collection instrument used was the Single Verbal Protocol. The main results showed that through the cognition an indexer reads the photographs and analyzes what is its subject. To be successful, he uses short and long term memory and also sensory perception. Social cognitive aspects influence directly in indexing process, as these are aspects that govern how librarians do the research to gather information about the collection. If they should use or not a controlled vocabulary for translation of terms. For topics analysis, librarians analyze the photos in very similar ways to the methodologies suggested for these procedures, always from the general to the specific. As a last category we analyzed the descriptors. These ones suffer direct influence of the previous categories. For the choice of descriptors, the Bléry methodology (1979) is used, in fact, at least in one research institution.
Gatward, Cevizli Antonia. "Beyond Bellini : aspects of Italian-Ottoman cultural exchange 1453-1512." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49653/.
Повний текст джерелаChiller-Glaus, Sarah. "Testing the limits of face recognition : identification from photographs in travel documents and dynamic aspects of emotion recognition /." [S.l.] : [s.n.], 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000281129.
Повний текст джерелаMassin, Pascale. "Dépistage de la rétinopathie diabétique : aspects techniques et organisationnels." Paris 7, 2002. http://www.theses.fr/2002PA077122.
Повний текст джерелаPeretti, Pascale. "La "ritualité héroïnomaniaque" : à propos d'un mode d'initiation à la négativité." Montpellier 3, 2008. http://www.theses.fr/2008MON30048.
Повний текст джерелаThe model of the heroin-addiction experience, far from reducible to this sole, death-bearing, desire of the subject's retreat to a quasi-absolute narcissism, that seems at first to motivate it, could appear as an attempt, for individuals in liminary situations, to question their membership in "the community of the living". As in the phenomenon of ritual liminarity, it is within a move of subjective and social reserval towards their simple "bare life" - through the de-subjecting and de-identifying experience of "symbolic death" that seems to be present in their "descent into hell" - that the drug addicts, fundamentally exposed to loss and mortal risk, question the foundations of the community that they are trying, perhaps violently, to join. The rapport of the contemporary subject with their "bare life", due to radically otherising potentialities, appears as a new, postmodern, type of connexion to the Sacred
Kwiatkowski, Maksymilian. "Backwards, forwards and in-between : nostalgic landscapes, photography, identity and the return journey 'home'." Phd thesis, School of Geosciences, 2007. http://hdl.handle.net/2123/10237.
Повний текст джерелаLemay, Yvon. "Peter Henry Emerson : essai sur l'histoire sociale de la photographie." Doctoral thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/33506.
Повний текст джерелаMontréal Trigonix inc. 2018
Bélanger, Michelle. "Vers le paysage : photographie et aménagement des territoires miniers." Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/34173.
Повний текст джерелаThese past years, a change of attitude towards mining territories can be felt. Long seen as derelict or even ruined, those territories are now perceived as important historical witnesses and are, therefore, preserved as heritage landscapes. In 2012, for example, the Nord-Pas de Calais Mining Basin was included in the World Heritage List as an organically evolved cultural landscape. Having unique characteristics, mining landscapes are also requalified, in certain regions , as touristic attractions. They then become , just as natural landscapes are today, vectors of economic growth. The mine, harnessed for its natural ressources, is now assigned new values and, as well, new roles. Indeed, who would have thought that it would one day be managed and planned the same way beautiful landscapes are ? Conveying this new attitude towards mining sites , more and more photographers, from all backgrounds, represent them as landscapes. Artists , for example, showcase their wide range of shapes through esthetic images. With the advent of the digital era and online photography sharing, the amateur photographer , who is always searching for spectacular places to photograph , reclaims this type of representation. Disseminated on the web in an ever - increasing number, these photographies do not only attest of a new way of seeing mining territories as landscapes, but without a doubt also shape their perception. This research aims mainly at better understanding the spread of a new way of perceiving mining sites as landscapes . Since the photographic image stands as a witness and possibly as an actor of this phenomenon , it is used as the connecting piece to examine how mines can become landscapes. Focusign on the province of Quebec , this thesis analyses the practices through which mining sites are modeled and converted into landscapes, like patrimonialization, tourism development and nature restoration. These pratices, taking part in a process called empaysagement minier (mining landscaping), are then examined through photography and the landscape archetypes it produces. The photographic image quickly reveals itself as influencing not only the way we see mining sites, but it also seems to guide the way they are reappropriated and inhabited once they are perceived as landscapes . Therefore, photography and planning of mining territoires both reveal themselves as being more and more landscape oriented .
Coltelloni, Anne. "Le documentaire comme forme symbolique." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00812350.
Повний текст джерелаLàzaro, Angelique Maria. "An informed community's perception of the impact of digital technology on the credibility of news photography." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002905.
Повний текст джерелаDemers, Sylvie. "LES RÉCURRENCES DANS LA REPRÉSENTATION PHOTOGRAPHIQUE D'ENJEUX INTERNATIONAUX ET INTERCULTURELS : LOGIQUES, NORMES ET CONTINGENCES." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28310/28310.pdf.
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