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Journal articles on the topic 'Animated photography'
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Herbert, Stephen. "Animated portrait photography." History of Photography 13, no. 1 (1989): 65–78. http://dx.doi.org/10.1080/03087298.1989.10442169.
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Kim, Ji-Hoon. "Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’." Animation 6, no. 3 (2011): 371–86. http://dx.doi.org/10.1177/1746847711417780.
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This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls ‘digital moving pictures’, hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of Jim Campbell, Ken Jacobs, David Claerbout, Julie Meltzer and David Thorne, the author argues that the pictures’ blurring of the boundaries between the live action and the animated images, and between the recorded and the manipulated, is meant to satisfy documentary epistephilia (a ‘desire to know’) and stimulate the viewer’s ‘pensive’ and ‘investigative’ engagements with the photographic trace as possible spectatorial modes of the documentary. The pictures then ask us to envision the documentary’s ‘expanded field’ (Rosalind Krauss), in which a series of binaries defining the modernist conception of the documentary are problematized, including prioritizing the photochemical qualities of analogue film and photography as directly guaranteeing evidential claims about their representations over the animated or graphically rendered image.
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Clarke, David B., and Marcus A. Doel. "Shooting space, tracking time: the city from animated photography to vernacular relativity." cultural geographies 14, no. 4 (2007): 589–609. http://dx.doi.org/10.1177/1474474007082295.
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Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.
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Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography
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Matthys, Mario, Laure De Cock, John Vermaut, Nico Van de Weghe, and Philippe De Maeyer. "An “Animated Spatial Time Machine” in Co-Creation: Reconstructing History Using Gamification Integrated into 3D City Modelling, 4D Web and Transmedia Storytelling." ISPRS International Journal of Geo-Information 10, no. 7 (2021): 460. http://dx.doi.org/10.3390/ijgi10070460.
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More and more digital 3D city models might evolve into spatiotemporal instruments with time as the 4th dimension. For digitizing the current situation, 3D scanning and photography are suitable tools. The spatial future could be integrated using 3D drawings by public space designers and architects. The digital spatial reconstruction of lost historical environments is more complex, expensive and rarely done. Three-dimensional co-creative digital drawing with citizens’ collaboration could be a solution. In 2016, the City of Ghent (Belgium) launched the “3D city game Ghent” project with time as one of the topics, focusing on the reconstruction of disappeared environments. Ghent inhabitants modelled in open-source 3D software and added animated 3D gamification and Transmedia Storytelling, resulting in a 4D web environment and VR/AR/XR applications. This study analyses this low-cost interdisciplinary 3D co-creative process and offers a framework to enable other cities and municipalities to realise a parallel virtual universe (an animated digital twin bringing the past to life). The result of this co-creation is the start of an “Animated Spatial Time Machine” (AniSTMa), a term that was, to the best of our knowledge, never used before. This research ultimately introduces a conceptual 4D space–time diagram with a relation between the current physical situation and a growing number of 3D animated models over time.
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Панченко, Ирина Александровна. "Moscow in photographs of the 1860s – erly 1900s from the collection of the Russian Museum." Искусство Евразии, no. 2(17) (June 27, 2020): 220–35. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.014.
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В собрании Русского музея хранится уникальный изобразительный ряд, разносторонне демонстрирующий фотографический образ Москвы периода 1860-х – начала 1900-х гг. Его творцами стали многие знаменитые фотоателье и фотографы. Их интерес к запечатлению облика древней столицы был чрезвычайно широк: видовые фотографии и фиксация фрагментов зданий и интерьеров, статичная архитектурная съемка и динамичные сцены повседневной городской жизни, большеформатные «августейшие подношения» и демократичные открытые письма. Сфотографированные нередко с разных видовых точек, в разные годы, эти исторические кадры предоставляют возможность современному зрителю увидеть, а исследователю изучить, былое местоположение, прежние архитектурные формы и прошлое предназначение сооружений. На многочисленных снимках из собрания музея запечатлены в различных техниках и форматах не только исчезнувшие навсегда московские виды и памятники архитектуры, но и сохранившиеся знаковые достопримечательности, а также воссозданные относительно недавно знаменитые исторические объекты. Особый интерес представляют панорамные изображения: отдельные снимки, самостоятельные серии, единственные в своем роде фотоальбомы и уникальная многокадровая фотопанорама Москвы, снятая в 1867 г. с четырех колоколен строившегося храма Христа Спасителя. Впервые фотографии старинного города из собрания Русского музея были экспонированы в 2018 г. на второй выставке из цикла фотографической ретроспективы музея «Путешествия по Российской империи». The collection of the Russian Museum contains a unique pictorial series, which variously demonstrates the photographic image of Moscow from the period of 1860s – early 1900s. Many famous photographic companies and renowned photographers became its creators, among them: “Scherer, Nabholz & Co.”, “Russian Photography in Moscow”, A. P. Reinbot, I. F. Barshchevsky, I. N. Alexandrov and many others. Their interest in capturing the appearance of the ancient capital was extremely wide: photographs of views and fixing fragments of buildings and interiors, static architectural photography and dynamic scenes of everyday city life, large-format “August offerings” and democratic open letters (postcards). Photographed often from different viewpoints, in different years, these historical shots provide an opportunity for the modern viewer to see, and to researcher to study, the former location, old architectural forms and past purpose of the buildings. At the same time, many images of pre-revolutionary Moscow are exclusively architectural and interior photofixations. Only a small part of the works includes scenes of urban life. Numerous photographs from the museum’s collection depict in various phototechniques and formats not only the Moscow views and architectural monuments that have disappeared forever, but also preserved iconic sights, as well as demolished but recreated relatively recently famous historical sites: the Cathedral of Christ the Savior, the Resurrection Gate and the Iversky Chapel. An important place in the museum’s collection is occupied by photographs of the historical center of Moscow: buildings and monuments of the ancient Kremlin and Red Square, surrounded by picturesque architectural ensembles. Of particular interest are panoramic images: individual photographs, independent photographic series, one-of-a-kind photo albums. Certainly, an important place in this row belongs to the unique multi-frame photo panorama of Moscow, taken in 1867 from the bell towers and gallery of the Cathedral of Christ the Savior under construction by the masters of the famous Moscow-based photographic company “Scherer, Nabholz & Co.”. The ability to see the transformed and disappeared places of the city is also demonstrated by numerous open letters of views issued by publishers both as independent copies and by thematic series, both in monochrome and in color. Moreover, it is precisely the plots of open letters, in contrast to photographs, that are «animated» and filled with everyday city bustle. For the first time, materials (photographs, photo albums, postcards, reproductions) depicting the views of Moscow from the collection of the Russian Museum were exhibited in 2018 at the second exhibition from the series of a photographic retrospective of the museum “Traveling around Russian Empire”.
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Rahmi, Syarifah. "تدريس المفردات باستخدام الأفلام الكرتونية في الجامعة الهلال سجلي". 'Arabiyya: Jurnal Studi Bahasa Arab 9, № 1 (2020): 49. http://dx.doi.org/10.47498/arabiyya.v9i1.307.
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Cartoon films are fun and simple art that is accomplished in the hands of children through colorful cardboard papers that are drawn and cut into parts and affixed to each other, then revived by photography and animation, and these drawings are stories from the lives of children and their dreams or stories that narrate the weave of their own imagination to finally end Animated film.So I found the problems in Al Hilal Colledge, that the teacher is unable to attract the attention of students during education and cannot excel students in the subject that he will teach, the poor preparation of Arabic language teachers in the teaching process, and his ignorance of teaching methods even the most students who are forced to absorb the Arabic language. As for the appropriate and interesting way in teaching Arabic to students, it is the teaching of vocabulary using animated films to help students understand educational materials in relationships and interconnections with their daily lives in terms of individual, societal and cultural in order to obtain what he wants from education.As for the research aims for this research, it is to find out the response of students using cartoon films at Al-HilalColledge. And to know the effect of using animated films on teaching vocabulary using a descriptive and qualitative approach. And to analyze the results using statistical analysis.
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Durden, Mark. "Light Catcher." Sophia Journal 5, no. 1 (2020): 90–95. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_09.
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Among his remarkable performance-based short films made in the garden of his family home, two films show the artist holding a mirror to both catch and reflect sunlight back to the camera and viewer. Such performances provide a fitting allegory for his relationship to the medium of photography. As a photographer Peter Finnemore is someone who catches and plays with light. Light is key to the pictures made in his home place in rural mid Wales, Gwendraeth House. The photographs relay the intimacy he has with his childhood home, which has been in his family for generations. Finnemore has been photographing his home for thirty years and his pictures are full of hints and suggestions, traces of those who live and lived there. With people’s passing, he is now its sole occupant and the house has become more and more a portrait of his own imagining, his dream space. Finnemore photographs feelingly and describes his home as “a dreaming centre to divine and survey the spaces between darkness and stars”. Working with black and white film and the chemical-based printing process his richly toned prints explore the opposition and gradations between non-light and light, negative and positive, with all their symbolic implications. Like film, the house and its rooms are seen as receptive and responsive spaces. In Dream Traces a partly decorated wall above a bed is animated both by the gestural traces of darker paint upon it and lighter rectangular areas where posters and pictures were once attached. The wall is not blank but a field of different energy forces, the slow photographic effect of the darkening of the wall around the absent pictures against the more immediate brushmarks of house paint at its edges. The wall is also suggestive of an awakening state, the sense of something not fully coming into consciousness. This is in contrast to the relative order and geometry introduced by the wooden bars of the bedstead and the clarity of the singing and piercing detail of the white dot at the centre of an eye, painted on glass. This Greek mati, used to ward off evil, becomes the focal point of this picture and cue to many objects and elements in his pictures that are felt to be imbued with energies and powers beyond their material form. [...]
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Romakina, Maria. "«Elementary units» in Multimedia: Cinemagraphy in Mass Media and Blogs in the 2010s." Theoretical and Practical Issues of Journalism 9, no. 2 (2020): 247–63. http://dx.doi.org/10.17150/2308-6203.2020.9(2).247-263.
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The article studies peculiarities of cinemagraphies - special types of images that appeared due to the development of digital technologies in the early 2010s and combine features of photography and video/cinema. Cinemagraphies are positioned as elementary multimedia units, and perception of these is technologically dependent: the viewer actively perceives not only the depicted image, but also the image-generating technology. Cinemagraphic way of seeing is not peculiar to human vision, its a «machines view». The author suggests defining the properties of these units, namely, multimediality, multimodality, affectivity of technological items, segmentary actuality and segmentary iconicity, hybrid temporality, visual variability; soundlessness; and poetic character, orientation to sensory perception. The duration of one cycle of cinemagraphies, according to the analysis, falls within the interval of 4-10 seconds. The effect exerted on the viewer is largely determined by the percentage of the animated area: if < 25 % of the frame area is animated, the focus is on the movement, while if > 50 %, it is on static objects perceived as «anomalous» in the flow of life. The use of cinemagraphies in the media as illustrative material has a precedent character nowadays. The author managed to detect 151 such cases. The article analyzes in detail some examples of cinemagraphies, published in The Guardian, The New York Times and other media, as well as in blogs in the period 2011-2019. The author defines the following criteria for the analysis: substantive, genre, structural, visual characteristics, functions and distribution channel.
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Novik, A. A. "Animated light painting: The public cabinets of camera obscura in St. Petersburg in the first years after the invention of photography." Shagi / Steps 3, no. 3 (2017): 108–25. http://dx.doi.org/10.22394/2412-9410-2017-3-3-108-125.
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McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.
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In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.
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Maxwell, David. "Photography and the Religious Encounter: Ambiguity and Aesthetics in Missionary Representations of the Luba of South East Belgian Congo." Comparative Studies in Society and History 53, no. 1 (2011): 38–74. http://dx.doi.org/10.1017/s0010417510000629.
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William F. P. Burton's career straddled several worlds that seemed at odds with each other. As a first-generation Pentecostal he pioneered, with James Salter, the Congo Evangelistic Mission (CEM) at Mwanza, Belgian Congo in 1915. The CEM became a paradigm for future Pentecostal Faith Mission work in Africa, thanks to Burton's propagandist writings that were published in at least thirty European and North American missionary periodicals. His extensive publications, some twenty-eight books, excluding tracts and articles in mission journals, reveal that the CEM was a missionary movement animated by a relentless proselytism, divine healing, exorcism, and the destruction of so-called “fetishes.” The CEM's Christocentric message required the new believer to make a public confession of sin and reject practices relating to ancestor religion, possession cults, divination, and witchcraft. It was a deeply iconoclastic form of Protestantism that maintained a strong distinction between an “advanced” Christian religion, mediated by the Bible, and an idolatrous primitive pagan religion. Burton's Pentecostalism had many of its own primitive urges, harkening back to an age where miraculous signs and wonders were the stuff of daily life, dreams and visions constituted normative authority, and the Bible was immune to higher criticism. But his vision also embraced social modernization and he preached the virtues of schooling and western styles of clothing, architecture, and agriculture. It was this combination of primitive and pragmatic tendencies that shaped the CEM's tense relations with the Belgian colonial state.
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Bøe, Espen Johnsen. "Remediation of Historical Photographs in Mobile Augmented Reality." Journal of Media Innovations 7, no. 1 (2021): 29–40. http://dx.doi.org/10.5617/jomi.8793.
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Being present at a location of historical significance, often demands imagination to understand the full scope of the area. An approach to spark one’s imagination is to present a mediated simulation of a historic location in situ. As an application example, we used the sitsim AR platform to develop a simulation that conveys the history of fishermen in the historic fishing village of Storvågan in Lofoten, Norway. The study presents a rendition of the sitsim AR platform’s functionality for engaging presentations of historical photographs. This functionality is enhanced from solely representing buildings in a historical photograph into also representing animated human characters. In Storvågan, a museum (Lofotmuseet) occupies historically significant buildings amid the historic surroundings. This museum exhibits a historical photograph of fishermen that also shows how the area once looked. This photograph is remediated into a 3D animation, presented as a real-time generated simulation, at the location where the photograph was originally photographed. The study documents a design experiment including the modelling and animation of a 3D representation depicting the photograph. The functionality is evaluated based on user feedback from a case study of a beta version on location in Lofoten. Users reported that the animated fishermen contribute to an engaging experience and a feeling of being “part of the history.” The majority of users perceived the 3D representation as credible. An analysis of the modelled characters concludes that the 3D-models lack perceptual validity; hence, the case study’s positive results were somewhat unexpected. Three theories are presented as conceivable explanations for the unexpected result. Ultimately, the study provides a method for modelling and animation of people from a historical photograph, and showcases how the animation of human characters in a sitsim may be applied to convey cultural heritage in an engaging way.
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Fathoni, Ahmad Faisal Choiril Anam, and Dermawan Syamsuddin. "Perbandingan Metode Depth of Field pada Lensa Kamera Fotografi dengan Efek Lensa pada Software Animasi." Humaniora 4, no. 1 (2013): 177. http://dx.doi.org/10.21512/humaniora.v4i1.3427.
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The knowledge of photography becomes fundamental importance in the understanding of digital cinematography. The work of a good photography is a blend of knowledge and photographic ability (skill) correctly. By learning photography properly, it allows an animator or digital art workers to apply some standard cinematography as well. By knowing the comparison between photography with "photographic" in 3D animation, animators will be easier to create a digital aesthetic standard with the help of the software. This paper discusses the comparison of the use of photographic camera lenses and camera parameters found in animation software 3D Studio Max. The final form is the camera pictures and parameters of used lens with the results of rendering images with the software-related parameter.
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DARDA, JOSEPH. "The Exceptionalist Optics of 9/11 Photography." Journal of American Studies 50, no. 1 (2014): 185–204. http://dx.doi.org/10.1017/s0021875814001881.
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During and after the 2001 attacks on New York City and Washington, thousands of photographs were taken. None, however, would become as iconic as Thomas Franklin's photo of three firefighters raising an American flag above the rubble of the World Trade Center. Franklin's photo, I argue in this essay, casts 9/11 in the familiar myth of American exceptionalism, screening out but still gesturing to the heterogeneous memories left unsettled and animate in amateur photographs, missing-person posters, bodies in pain, and performance. In considering the struggle over the visual memory of the attacks, I first consider how, in the wake of 9/11, the discourse of exceptionalism served to disavow the exceptions historically taken by the state and to rationalize the War on Terror. I show how this system of myths works in dialectical relation to other disruptive forms of cultural memory. I then read Franklin's iconic photograph as a screen by which traumatic memories are masked and onto which nationalist desires are projected. Finally, I analyze 9/11 photography that troubles the exceptionalist optics of Franklin's photo by evoking the visual legacy of the Vietnam War and so challenging the logic of righteous warfare.
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Soni, Dr Kritika, Mohak , Neha Kaushik, Dhruv Dhote, Dhruv Nigam, and K. Gopi Krishna. "Website Redesign with Animation." International Journal on Recent and Innovation Trends in Computing and Communication 10, no. 2 (2022): 01–10. http://dx.doi.org/10.17762/ijritcc.v10i2.5499.
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To analyse the previous website which means the original website. Trying to make more attractive and interesting. Methods: Analyse the old website. A website redesign shouldn’t just change the overall look of your website. It should enhance the ways in which it functions. Find out what is working on the current website. Building the website design plan. Added strong visual features and elements. Findings: website overall feels outdated i.e., make it more attractive and add some animated clip. Applications: the study highlighted various issues, redesign a IBM company website and you’re going to see that with very small tweaks to the layout and composition and have a dramatic impact on the webs design. The first thing notice is I’m overwhelmed, right in terms of graphic design terms of hierarchies there are so many things here they just try to grab attention, there is a image, styling so that grab my attention so many things are competing for my attention that just overwhelmed so, this is not a good user experience. First thing that that we were thinking about even before trying to get into what we do they even do here on the website is how can we simplify what’s going on here how can we create very clear hierarchies. We were thinking about how we can simplify this visually. A lot of times there’s so many things we can do here such as illustration, 3D rendering of this, do custom photography there’s so many ways to approach this. We can present it in a very interesting way
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Bryce, Benjamin. "Seeing Japan." Pacific Historical Review 91, no. 2 (2022): 190–219. http://dx.doi.org/10.1525/phr.2022.91.2.190.
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This article examines the photography and writing of Cooper Robinson, who worked as a missionary in Japan between 1888 and 1925. Drawing from over 4,000 images, it analyzes how one missionary represented Japan, his religious project, and his personal life to Canadian audiences. Whether he used photographs to animate his lectures about Japan while in Canada on furlough, sent them as postcards to coreligionists, or saved them for his own memories, the question of representation was intimately tied to the question of audience. This article argues that Robinson’s photography and the broader Canadian missionary interaction with Japan in the late nineteenth and early twentieth centuries played an important role in shaping the vision that Canadians had of the country. The positive yet selective image that this missionary fostered of the country co-existed with widespread anti-Japanese agitation in North America; these photographs and the support for missionary work that they helped garner should be read with that broader context in mind.
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Bailey, David A. "Photographic Animateur." Third Text 5, no. 13 (1991): 57–62. http://dx.doi.org/10.1080/09528829108576290.
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Igelmo Zaldívar, Jon. "Front Matter." Encounters in Theory and History of Education 17 (November 29, 2016): i—viii. http://dx.doi.org/10.24908/eoe-ese-rse.v17i0.6409.
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Cover Art: Photographs Fade by Ana Jofre
 Artist Statement:
 The purpose of this work is to point to the distortions, and changes in meaning, that are generated as images are reproduced over time and transferred to different media. To create this work, I started with a digital photograph of an archival photo from Bembibre, Spain, collected in Dr. Bruno-Jofre’s research, originally taken in 1963, and used it to produce a cyanotype print on watercolor paper. Then I took a digital photo of the cyanotype print. The two digital images, the photograph of the original and the photograph of the cyanotype, are super-imposed on one another and animated. The distortions of the cyanotype print create the illusion that the image is breathing as the changing transparency transfers visual weight from one image to the other. The breathing motion alludes to the life that viewers breathe into still documents.
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Serrazina, Pedro. "Editorial - Animated Space." International Journal of Film and Media Arts 6, no. 2 (2021): 4–6. http://dx.doi.org/10.24140/ijfma.v6.n2.edit.
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Since early days, the moving images of animated film have suggested a spatial freedom that challenges the limits of the photographic and traditional filmic space. When, in 1914, Winsor McCay drew himself onto the landscape to interact with Gertie, he was initiating a practice of expanding the space(s) we live in through the use of the animated image that lasts until today. Animation’s wide aesthetic and technical malleability, and its innate ability to suggest metamorphosis and unrest, has led its practice to cross boundaries and engage with the space beyond the limits of the traditional screen.
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Leite, Amanda Mauricio Pereira. "FOTOS INCRÍVEIS: anedotas que ganharam o mundo." Revista Observatório 4, no. 1 (2018): 200. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p200.
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Fotografias premiadas se consagraram na história da humanidade por capturar fatos incríveis de uma determinada época. Nomes como: Herald Tribune, Ruth Orkin, Robert Doisneau, Kevin Carter e outros exibiram fotografias que durante anos se sustentaram como uma espécie de narrativa documental produzindo no mundo um efeito de verdade. Fotografias que ao serem revistadas anunciam outras narrativas, novas miradas, leituras, escrita, cultivo de pensamentos. E se a fotografia for deslocada da representação do real para cogitar sobre si novos percursos e sentidos? Dois movimentos animam esta reflexão: a) tomar fotografias que marcaram fatos históricos não para buscar a verdade, mas para assumir o valor de superfície contido na imagem e refletir sobre realidade e ficção; b) entender que a fotografia é texto ficcional e pode ajudar a expandir a noção de pós-verdade indo ao encontro das diferenças, transbordando significados, significantes e sentidos.
 
 PALAVRAS-CHAVE: Fotografia; ficção; pós-verdade.
 
 
 ABSTRACT 
 Award-winning photographs have been made sacred in the history of humanity by capturing incredible events of a particular era. Names such as: Herald Tribune, Ruth Orkin, Robert Doisneau, Kevin Carter and others exhibited photographs that for years have held up as a kind of documentary narrative producing in the world a true effect. Photographs that, when searched, announce other narratives, new looks, readings, writing, thoughts. What if the photograph is moved from the representation of the real to think about new paths and senses? Two movements animate this reflection: a) taking photographs that marked historical facts not to seek the truth, but to assume the surface value contained in the image and in order to reflect about reality and fiction; understanding that photography is a fictional text and it can help to expand the notion of post-truth by meeting differences, overflowing meanings
 
 KEYWORDS: Photography; fiction; Post-truth.
 
 
 RESUMEN
 Fotografías ganadoras son consagrados en la historia humana mediante la captura de increíbles hechos de determinadas épocas. Nombres como: Herald Tribune, Ruth Orkin, Robert Doisneau, Kevin Carter y otros exhibieron fotografías que desde hace años llevan a cabo un tipo de narrativa documental que produce en el mundo un efecto real. Fotografías estas que al seren revisitadas anuncian otras narrativas, nuevas miradas, lectura, escritura, cultivo de pensamentos. Y si la fotografia for desplazada de la representación real para pensar sobre si misma nuevos caminos y direcciones? Dos movimientos animan esta reflexión: a) tomar fotografías que marcaron hechos históricos no para buscar la verdad, sino para tomar el valor de superficie de la imagen y reflexionar sobre realidad y ficción; b) comprender que la fotografía es un texto de ficcional y puede ayudar a ampliar el concepto de pos verdad yendo al encuentro de las diferencias, desbordando significados, significantes y sentidos.
 
 PALABRAS CLAVES: Fotografía; la ficción; pos verdad.
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Baldwin, James, Theodore Pelatowski, and Carmen Merport Quiñones. "Unto the Dying Lamb." PMLA/Publications of the Modern Language Association of America 135, no. 2 (2020): 344–49. http://dx.doi.org/10.1632/pmla.2020.135.2.344.
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In 1947 the Julius Rosenwald Fund Received an Application from a Young Writer Seeking to Document Harlem Life By “recording somehow the services of a store-front church in such a manner that it would emerge as neither savage, sensational, or sentimental” (Baldwin, Plan). The applicant—a twenty-three-year-old James Baldwin—explained that the work was already well under way. He and the photographer Theodore Pelatowski had begun to generate material for a photography book to be called “Unto the Dying Lamb.” “Dying Lamb” documents Baldwin's youthful gravitation toward the questions about religious belief and vicarious emotion that would animate his breakthrough work in Go Tell It on the Mountain and “Everybody's Protest Novel.” It also represents a rare instance of the author's experimenting with the photo-essay format. Until now, it has been assumed that no documents containing both Pelatowski's images and Baldwin's text have survived. However, an excerpt from a draft of the project, reproduced here, was published in the 27 April 1947 issue of PM, a short-lived newspaper that offered progressive photojournalism to the working-class New Yorker. The recovery of this early work allows us to reflect on Baldwin's interest in photography and his approach to collaboration, not to mention possible connections between these aspects of his practice.
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Savisaar, Remo. "Animal behaviour // Comportamiento animal." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (2015): 170–74. http://dx.doi.org/10.37536/ecozona.2015.6.1.646.
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Nature photography has many different categories: there’s no easy or hard one. One might think that taking photos of animals is harder than, for example, doing landscape photography. But all the best photography goes beyond mere documentation to overlay the moment with the artistic vision of the photographer. In the end, knowledge of subject, field craft, approach, patience (a lot of patience), composition and technical ability with the camera are all that matters. We nature photographers search for special moments which sometimes last only for brief seconds. These can be rarely seen moments of light on the landscape, the interesting behaviour of an animal or just the beauty of simplicity. Not every place or moment offers a perfect photographic opportunity. We have to keep on looking, searching, studying. And when the right moment occurs we have to be prepared for it, which means pretty often we have THAT picture in our mind long before we finally see it happen. From over ten years in wildlife photography I have found some fields to be my favourites. Animal behaviour is one of those which offer me most satisfaction. All the following pictures you see here can be placed in that category. More of my work can be seen in my daily blog (blog.moment.ee). Resumen La fotografía de la naturaleza se divide en muchas categorías, no existe ni una fácil ni una difícil. Uno puede pensar que hacer fotos de animales es más difícil que, por ejemplo, hacer fotografía del paisaje. Pero la mejor fotografía va más allá de la mera documentación hasta recubrir el momento con la visión artística del fotógrafo. Al final, el conocimiento del tema, la destreza, el enfoque, la paciencia (mucha paciencia), la composición y la habilidad técnica con la cámara son todo lo que importa. Los fotógrafos de la naturaleza buscamos momentos especiales que a veces sólo duran unos segundos. Estos momentos pueden ser instantes de luz en el paisaje raramente vistos, el comportamiento interesante de un animal o simplemente la belleza de la simplicidad. No todos los lugares o los momentos ofrecen una oportunidad fotográfica perfecta. Tenemos que seguir mirando, buscando, estudiando. Y cuando el momento adecuado ocurre tenemos que estar preparados, lo que significa que a menudo tenemos ESA imagen en nuestra mente mucho antes de que la veamos ocurrir. En cerca de diez años de fotografía de la vida salvaje he encontrado algunos campos que se han convertido en mis favoritos, dentro de los que se enmarcan las fotografías que pueden verse en esta revista. Puede verse más de mi trabajo en mi blog (blog.moment.ee).
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Lorteije, Jeannette A. M., J. Leon Kenemans, Tjeerd Jellema, Rob H. J. van der Lubbe, Frederiek de Heer, and Richard J. A. van Wezel. "Delayed Response to Animate Implied Motion in Human Motion Processing Areas." Journal of Cognitive Neuroscience 18, no. 2 (2006): 158–68. http://dx.doi.org/10.1162/jocn.2006.18.2.158.
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Viewing static photographs of objects in motion evokes higher fMRI activation in the human medial temporal complex (MT+) than looking at similar photographs without this implied motion. As MT+ is traditionally thought to be involved in motion perception (and not in form perception), this finding suggests feedback from object-recognition areas onto MT+. To investigate this hypothesis, we recorded extracranial potentials evoked by the sight of photographs of biological agents with and without implied motion. The difference in potential between responses to pictures with and without implied motion was maximal between 260 and 400 msec after stimulus onset. Source analysis of this difference revealed one bilateral, symmetrical dipole pair in the occipital lobe. This area also showed a response to real motion, but approximately 100 msec earlier than the implied motion response. The longer latency of the implied motion response in comparison to the real motion response is consistent with a feedback projection onto MT+ following object recognition in higher-level temporal areas.
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Fort, Jeff. "André Bazin's Eternal Returns: An Ontological Revision." Film-Philosophy 25, no. 1 (2021): 42–61. http://dx.doi.org/10.3366/film.2021.0156.
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The recent publication of André Bazin's Écrits complets (2018), an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple (“Bazin and ontology”) nonetheless retains its fascination. Rather than attempting to provide a systematic reworking of this couple along well established lines, particularly those defined by realism and indexicality, this article proposes to shift the notion of ontology in Bazin from its determination as actual existence toward a more radical concept of ontology based on the notion of mimesis, particularly as articulated, in a Heideggerian mode, by Philippe Lacoue-Labarthe. This more properly ontological concept, also paradoxically and radically improper, is shown to be at work already in Bazin's texts, and it allows us to see that far from simplistically naturalizing photographic technology, Bazin does the contrary: he technicizes nature. If Bazin says that the photograph is a flower or a snowflake, he also implies that, like photographs, these are likewise a kind of technical artifact, an auto-mimetic reproduction of nature. Bazin likewise refers to film as a kind of skin falling away from the body of History, an accumulating pellicule in which nature and history disturbingly merge. This shifted perspective on Bazin's thinking is extended further in reference to Georges Didi-Huberman on the highly mimetic creatures known as phasmids, insects that mimic their environement. I extend this into the dynamic notion of eternal return, an implicit dimension of Bazin's thinking, clarified here in reference to Giorgio Agamben and the “immemorial image” which, like Bazin's “Death Every Afternoon,” presents an eminently repeatable deathly image, an animated corpse-world that can be likened to hell.
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Medyńska-Gulij, Beata, Łukasz Wielebski, Łukasz Halik, and Maciej Smaczyński. "Complexity Level of People Gathering Presentation on an Animated Map—Objective Effectiveness Versus Expert Opinion." ISPRS International Journal of Geo-Information 9, no. 2 (2020): 117. http://dx.doi.org/10.3390/ijgi9020117.
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The aim of the following study was to present three alternative methods of visualization on animated maps illustrating the movement of people gathered at an open-air event recorded on photographs taken by a drone. The effectiveness of an orthorectified low-level aerial image (a so-called orthophoto), a dot distribution map, and a buffer map was tested in an experiment featuring experts, and key significance was attached to the juxtaposition of objective responses with subjective opinions. The results of the study enabled its authors to draw conclusions regarding the importance of visualizing topographic references (stable objects) and people (mobile objects) and the usefulness of the particular elements of animated maps for their analysis and interpretation.
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Noble, Geoffrey. "Clinical Histories Animate Muybridge and Dercum's Original Photographic Study of Neurologic Gait." Neurology 97, no. 22 (2021): 1026–30. http://dx.doi.org/10.1212/wnl.0000000000012879.
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In 1885, while working at the University of Pennsylvania, Eadweard Muybridge and Francis Dercum used nascent photographic technology to perform the first-ever motion picture study of neurologic patients. To date, our clinical understanding of the Muybridge-Dercum project has been limited to those clinical details included in a handful of contemporaneous publications by Dercum et al. In this study, recently rediscovered clinical notebooks from the Hospital of the University of Pennsylvania's Dispensary for Nervous Diseases were reviewed and found to contain the original clinical records of 9 of Muybridge and Dercum's photographic subjects. These records add new clinical insights into our understanding of this historic photographic study and revive the zeitgeist of a foundational period in the development of neurology as a medical subspecialty in the United States.
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Siegel, Zachary S., and Scott A. Kulp. "Superimposing height-controllable and animated flood surfaces into street-level photographs for risk communication." Weather and Climate Extremes 32 (June 2021): 100311. http://dx.doi.org/10.1016/j.wace.2021.100311.
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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.
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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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Joynt, Chase, and Emmett Harsin Drager. "Condition Verified: On Photography, Trans Visibility, and Legacies of the Clinic." Arts 8, no. 4 (2019): 150. http://dx.doi.org/10.3390/arts8040150.
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We approach this paper with a shared investment in historical and contemporary representations of trans and gender non-conforming people, and our individual research in the archives of early US Gender Clinics. Together, we consider what is at stake—or what might be possible—when we connect legacies of photography used as diagnostic tools in gender clinics with snapshots of early, community-based gatherings, and the presence of trans people in contemporary art. From the archives of Robert J. Stoller and photos of Casa Susanna, to the collaborative photography of Zackary Drucker and Amos Mac, and the biometric data art-theory experiments of Zach Blas, we engage a series of image-based projects, which animate underlying questions and socio-political debates about the politics of visuality, and visibility’s impact on trans and gender non-conforming people. Moreover, we argue that rhetorical strategies of proof—from conditions verified in clinics to shared existence through photography—are tethered to, and thus trapped by, the logics and discipline of legibility and re-institutionalization.
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Post, Tina. "Williams, Walker, and Shine: Blackbody Blackface, or the Importance of Being Surface." TDR/The Drama Review 59, no. 4 (2015): 83–100. http://dx.doi.org/10.1162/dram_a_00498.
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At the turn of the last century, Bert Williams and George Walker performed as a minstrel duo in which only Williams wore burnt cork. By mixing the surfaces of blacking and their own black skin, Williams and Walker offered an aesthetic critique of the subject/object status of the black body—animating the inanimate substance of burnt cork while objectifying animate black skin. Examples from portrait photography and the visual art of Whitfield Lovell and Kara Walker support arguments about the agency of surface.
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Yaqub, Nadia. "Teaching with Film and Photography in Introductory Middle East Courses." Review of Middle East Studies 51, no. 1 (2017): 50–54. http://dx.doi.org/10.1017/rms.2017.53.
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Some years ago, a colleague from another institution told me how much she was looking forward to screening Nasser 56 in her introductory Middle East history course. Students had just finished reading about the Nasser era, and the screening of Muhamad Fadel's stylish biopic starring the charismatic film star Ahmed Zaki would serve as an enjoyable way to round out the unit. I was surprised, not at my colleague's use of the film in her class, but at her timing. Released in 1996, Nasser 56 is very much the product of the Mubarak era. It offers rich opportunities to discuss the particular challenges Egypt faced in the 1990s and how this nostalgic look back at a triumphant moment in Gamal Abdel Nasser's (Jamal ʿAbd al-Nasir's) presidency was marshalled to animate an economically and politically fraught period. Its celebration of ʿAbd al-Nasir as an effective and caring patriarch to the nation could be interpreted as an endorsement of Egypt's authoritarian political system. However, the film is less useful as an explication of ʿAbd al-Nasir as a political figure, or of 1950s Egypt.
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Mather, George, and Sophie West. "Recognition of Animal Locomotion from Dynamic Point-Light Displays." Perception 22, no. 7 (1993): 759–66. http://dx.doi.org/10.1068/p220759.
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To date, studies of biological motion have been restricted to displays of humans filmed (or synthesised by computer) with lights attached at the major joints. Observers can readily extract meaning from such displays. There have been no studies to assess the generality of this ability by assessing observers' accuracy in identifying various animals solely on the basis of biological motion. An experiment is reported for which biological-motion displays were created from the stop-action photographs taken by Muybridge in the last century. Naive observers could reliably identify the animals involved when biological-motion displays were animated, but not when they were given static views of dot positions. Thus the ability to interpret biological motion is general and is not restricted to human movements.
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Lobben, Amy, Megan Lawrence, and P. William Limpisathian. "Representations of Place in the Human Brain." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-226-2019.
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<p><strong>Abstract.</strong> Cartographers have been representing places and scenes for thousands of years. We know that there is not one single way to represent place. We can use a reference map, thematic map (not to mention all the different types), large scale, small scale, oblique and overhead remotely sensed image, hand-drawn cartoon maps, street view photographs, animated maps, and digital maps. We also know that the methods and then the resulting representations can be differentiated cartographically using established criteria. But, are these methods all equally effective in conveying a sense of place?</p><p>We measure “effectiveness” by comparing activation differences in the parahippocampal place area when viewing different representations of place. The parahippocampal place area (PPA) is a region in the human brain that allows humans to recognize and characterize a place (or a representation of it) (Weiner et al., in press). The PPA is a functionally, as opposed to an anatomically, defined region. It overlaps several anatomical regions, including the parahippocampal cortex, the lingual gyrus, the collateral sulcus, and the fusiform gyrus (Figure 1) (Epstein, 2014). The place recognition function of the PPA has been well-documented (Weiner et al., in press; Epstein 2014, 2008; Baldassano et al. 2013; Aguirre et al., 1998; Epstein and Kanwisher, 1998), and we now know that this region is what allows humans to differentiate between a place and other objects such as faces, chairs, or apples.</p><p>In this study, we measured the effect of cartographic representation on the human brain’s recognition of “place” by comparing the activation differences in the PPA. We compared four types of place representation: a street-view photograph of an urban environment, a drawn schematic similar to a subway-style map, a Google Maps street map, and a Google Maps satellite view. (Figure 2). The Google Maps images were used because they are common cartographic representations, and thus are likely representative of a general “map” condition.</p>
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Freer, Scott. "Remediating ‘Prufrock’." Arts 9, no. 4 (2020): 104. http://dx.doi.org/10.3390/arts9040104.
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This article examines remediated examples of T.S. Eliot’s ‘The Love Song of J. Alfred Prufrock’ (1915). Eliot’s innovative dramatic monologue has sustained an enduring inter-media afterlife, mainly because visual artists generally capitalized on the poem’s residual Victorian painterly and semi-narrative qualities. Here I look at a wider range of visual forms from old and new media that, for both pedagogic and artistic purposes, remediate the poem’s ekphrastic, semi-narrative and modernist aesthetics: the comic strip, the animated film, the dramatic monologue film, the split-screen video poem and the photographic spatial montage. Together, they demonstrate the dialogic and multi-directional nature of remediation and articulate via inter-media strategies various literary properties and themes (e.g., character, setting, visual motifs, paralysis) of ‘Prufrock’.
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Paatela-Nieminen, Martina. "Remixing real and imaginary in art education with fully immersive virtual reality." International Journal of Education Through Art 17, no. 3 (2021): 415–31. http://dx.doi.org/10.1386/eta_00077_1.
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This article explores digital material/ism by examining student teachers’ experiences, processes and products with fully immersive virtual reality (VR) as part of visual art education. The students created and painted a virtual world, given the name Gretan puutarha (‘Greta’s Garden’), using the Google application Tilt Brush. They also applied photogrammetry techniques to scan 3D objects from the real world in order to create 3D models for their VR world. Additionally, they imported 2D photographs and drawings along with applied animated effects to construct their VR world digitally, thereby remixing elements from real life and fantasy. The students were asked open-ended questions to find out how they created art virtually and the results were analysed using Burdea’s VR concepts of immersion, interaction and imagination. Digital material was created intersubjectively and intermedially while it was also remixed with real and imaginary. Various webs of meanings were created, both intertextual and rhizomatic in nature.
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MacRae, Christina. "‘Grace Taking Form’." Video Journal of Education and Pedagogy 4, no. 1 (2019): 151–66. http://dx.doi.org/10.1163/23644583-00401003.
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Inspired by Erin Manning’s use of Marey’s photography to explore time and movement, this article works with slow-motion video drawn from research with two-year olds. It takes a genealogical approach, considering how the medium of film has been implicated in colonising constructions of childhood. It then deploys Bergson’s notion of ‘grace taking form’, making the case that video’s unique capacity to attend to the virtual potential of movement can be used as a de-colonising methodology. Slowing-down video enlivens data in ways that resist interpreting behaviour through the logic of consciousness, giving credence to what Olsson calls a different ‘bodily logic of potentiality’. The article ends with a slowed video-clip voiced by the author as an emerging response to the entanglement between film and child development theory in order to re-animate the sensori-motor as a relational mode of engagement with the world.
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Yang, Lung-Jieh, Chandrashekhar Tasupalli, Reshmi Waikhom, and Nikhil Panchal. "Soap Film Visualization of a 10 cm-Span Flapping Wing." Fluids 6, no. 10 (2021): 361. http://dx.doi.org/10.3390/fluids6100361.
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Flapping wing micro-air-vehicles (FWMAVs) animate the small-space dexterous flight, hovering, and energy-saving characteristics of birds and insects, and are believed to have enlightenment for the development of bionic flight in the future. When designing FWMAVs, detailed unsteady aerodynamic information is required. Besides the computational fluid mechanics (CFD) technology study, the flow visualization is also needed to assist this research. This article innovatively used soap film visualization with high-speed photography to record two kinds of the 2D flow fields laterally and longitudinally, respectively, generated by a flapping wing of 10 cm span. Different from the qualitative comparison of soap film imaging with the conventional smoke tracing method, the subsequent processing of the soap film images was demonstrated. This work explains how to quantify the soap film imaging into lift and thrust forces, and the corresponding results are compared with the wind tunnel force measurement data preliminarily.
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Green, Monica, and Iris Duhn. "The Force of Gardening: Investigating Children's Learning in a Food Garden." Australian Journal of Environmental Education 31, no. 1 (2015): 60–73. http://dx.doi.org/10.1017/aee.2014.45.
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AbstractSchool gardens are becoming increasingly recognised as important sites for learning and for bringing children into relationship with food. Despite the well-known educational and health benefits of gardening, children's interactions with the non-human entities and forces within garden surroundings are less understood and examined in the wider garden literature. Using a relational materialist approach (Hultman & Lenz Taguchi, 2010) that considers the material artefacts that constitute a learning environment, this article examines children's interactions with the animate and inanimate life forces through three specific garden photographs. The photos belong to data derived from a study that examined food, ecology and design pedagogies in three Australian primary schools. This paper argues that children's interactions with the non-human materialities of a garden are a vital dimension of gardening practice. The agential powers of gardens have great capacity to mobilise and inform children's inhabitation of food gardens.
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VIREN, DENIS G. "DOCUMENTARY ANIMATION OR ANIMATED DOCUMENTARY? Reflections on the history and the current situation on the example of Poland and other countries." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 101–35. http://dx.doi.org/10.30628/1994-9529-2021-17.1-101-135.
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Documentary animation is a hybrid cinematic form, the history of which goes back over 100 years. Earlier such films were rather a rarity, while lately they appear on screens more and more often. Using numerous examples, the article discusses the goals of artists turning to this unusual and controversial practice. The main thematic blocks are highlighted, the boundaries between the fictional artistic world and the real basis of a film are determined. The author also attempts to distinguish between animated documentary and “full-fledged” documentary animation. After reviewing the genesis (films by W. McCay, J. and F. Hubley) and films that have become modern classics of the direction (Waltz with Bashir, Crulic: The Path to Beyond etc.), the most notable modern samples—primarily those filmed in Poland and in Russia, where animadoc is rapidly gaining momentum—were analyzed in detail. Directors use this form when talking about historical events (reconstruction), ambiguous personalities and unusual places, as well as about their own or others’ internal problems and experiences. Documentary animation is becoming a common means of (auto)psychotherapy and fits into the current trend of pronouncing taboo topics and working out hidden traumas. Animation allows to penetrate deeply into the world of characters without violating their personal boundaries. An important place is held by metafilms, reflecting on the language of the animadoc and cinema in general. Today, documentary with the use of animation is more common than “real” animadoc, although the line between the fictional artistic world and the actual basis of films is rather fluid. The phenomenon is still in the making. Nevertheless, such films must have a real component: interviews (usually off-screen), newsreels, photographs, genuine objects, etc. The factual basis is not a sufficient argument to classify the work as a documentary animation—the decisive factor here is the hybridization of the form.
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Konow, Heike, Florian Ewald, Geet George, et al. "EUREC<sup>4</sup>A's <i>HALO</i>." Earth System Science Data 13, no. 12 (2021): 5545–63. http://dx.doi.org/10.5194/essd-13-5545-2021.
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Abstract. As part of the EUREC4A (Elucidating the role of cloud–circulation coupling in climate) field campaign, the German research aircraft HALO (High Altitude and Long Range Research Aircraft), configured as a cloud observatory, conducted 15 research flights in the trade-wind region east of Barbados in January and February 2020. Narrative text, aircraft state data, and metadata describing HALO's operation during the campaign are provided. Each HALO research flight is segmented by timestamp intervals into standard elements to aid the consistent analysis of the flight data. Photographs from HALO's cabin and animated satellite images synchronized with flight tracks are provided to visually document flight conditions. As a comprehensive product from the remote sensing observations, a multi-sensor cloud mask product is derived and quantifies the incidence of clouds observed during the flights. In addition, to lower the threshold for new users of HALO's data, a collection of use cases is compiled into an online book, How to EUREC4A, included as an asset with this paper. This online book provides easy access to most of EUREC4A's HALO data through an intake catalogue. Code and data are freely available at the locations specified in Table 6.
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Gyenes, Zsolt. "CT a művészetben." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 5 (2018): 313–18. http://dx.doi.org/10.26080/krrmkozl.2018.5.313.
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Experimental artists are consciously looking for possibilities to make the program fail. So they play against the apparatus. Tomography is a process of imaging by sec-tions, done through the use of any kind of penetrating wave. The normal use for Computer Topography is in medical imag-ing of the human body as object. The artist makes “improper use” of this system through placing different objects in the tomograph. The photographic images produced can be then animated, creating unexpected results in the form of abstract moving images. Metal causes disturbances to the magnetic field. It is considered to be a failure in CT-technology. At the same time, the aesthetic aspect of such disturbances prove interesting to the artist. She/He does not attempt to eliminate the disturbance, but on the contrary strengthen it. Stepping artefacts are inherent in this process. It can be a unique voy-age; peeping into the inner workings of different technical in-struments/apparatuses in an aesthetic and informative way. The CT scans of the author were taken at the Health Center of Kaposvar University in Hungary.
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Carrabine, Eamonn. "Unsettling appearances: Diane Arbus, Erving Goffman and the sociological eye." Current Sociology 67, no. 5 (2019): 669–85. http://dx.doi.org/10.1177/0011392118823828.
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Both the photographer Diane Arbus and sociologist Erving Goffman were fascinated by the way we present ourselves to others and this article sets out how each understood the drama of human interaction. It begins by exploring how their work parallels some developments in the sociology of deviance, and notes how Goffman was one of the earliest critics of this field, before briefly sketching out Arbus’s controversial career and then turning to a more detailed look at three of her images. It concentrates on how the gap between intention and effect, or what Goffman terms the difference between the impressions we ‘give’ and those we actually ‘give off’, are at the core of her work and this sociological insight animates her compositions. The article then describes how their work unsettles ‘normal appearances’ and provides rich resources for understanding human conduct.
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Player, Mark. "Media-Morphosis. Intermediality, (Re-)Animation and the Medial Uncanny in Tsukamoto Shinya’s Tetsuo: The Iron Man (1989)." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (2016): 167–89. http://dx.doi.org/10.1515/ausfm-2016-0009.
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Abstract Operating self-sufficiently on the fringes of the Japanese film industry for almost his entire career, the work of independent filmmaker Tsukamoto Shinya1 is perhaps best-known for its uncompromising, musical freneticism, as well as its corporeal spectacle. However, Tsukamoto’s dynamic clashing of visual media signifiers, such as those of theatre and television (industries within which he also operated prior to his film career during the 1980s), and how these impact upon his reflexive cinematic style, has yet to be fully considered. Drawing on Laura Mulvey’s conception of the ‘uncanny’ in response to cinema’s potential to confuse animate and inanimate, as well as Tsukamoto’s own under-discussed background in experimental street theatre and television advertising production, this essay seeks to examine Tsukamoto’s unique method of stop motion photography within his signature, self-produced feature Tetsuo: The Iron Man (1989). The intention is to show that these hyperbolic sequences instil not only an uncanniness in their live-action subjects, who are rendered inanimate then reanimated to form staccato, cyborg characters, but also a ‘medial uncanny’ that simultaneously emulates and subverts the qualities of a vast range of visual media, particularly television and its associated post-medial peripherals and artefacts.
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Furl, Nicholas, Forida Begum, Francesca Pizzorni Ferrarese, Sarah Jans, Caroline Woolley, and Justin Sulik. "Caricatured facial movements enhance perception of emotional facial expressions." Perception 51, no. 5 (2022): 313–43. http://dx.doi.org/10.1177/03010066221086452.
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Although faces “in the wild” constantly undergo complicated movements, humans adeptly perceive facial identity and expression. Previous studies, focusing mainly on identity, used photographic caricature to show that distinctive form increases perceived dissimilarity. We tested whether distinctive facial movements showed similar effects, and we focussed on both perception of expression and identity . We caricatured the movements of an animated computer head, using physical motion metrics extracted from videos. We verified that these “ground truth” metrics showed the expected effects: Caricature increased physical dissimilarity between faces differing in expression and those differing in identity. Like the ground truth dissimilarity, participants’ dissimilarity perception was increased by caricature when faces differed in expression. We found these perceived dissimilarities to reflect the “representational geometry” of the ground truth. However, neither of these findings held for faces differing in identity. These findings replicated across two paradigms: pairwise ratings and multiarrangement. In a final study, motion caricature did not improve recognition memory for identity, whether manipulated at study or test. We report several forms of converging evidence for spatiotemporal caricature effects on dissimilarity perception of different expressions. However, more work needs to be done to discover what identity-specific movements can enhance face identification.
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Zulić, Omer. "Cultural Activity of the Archives of the Tuzla Canton during the Sars-Cov-2 Pandemic." Moderna arhivistika 4, no. 1 (2021): 25–39. http://dx.doi.org/10.54356/ma/2021/ybkc4252.
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The cultural activity of archives is crucial in terms of presentation of archival material as a cultural and historical heritage. In this way, archives animate the professional, scientific and general public to come to the archives and use the archival material for scientific research and other purposes. The most popular ways of presenting archival material are various archival exhibitions, documents, photographs, and other archival material. In addition, the promotion of professional and scientific publications also enriches the cultural activity of archives, and through them, archival activity and archival material are additionally affirmed. This paper aims to present the cultural activity of the Archives of Tuzla Canton in the year of the coronavirus virus pandemic, 2020, and to analyze, through comparative indicators from previous years, the extent to which cultural activity in the Archives of Tuzla Canton stagnated as a result of the pandemic. Also, the paper will present some new modalities of the work of the Archives of Tuzla Canton, in terms of presenting exhibitions to the general public in the year of the pandemic.
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Pomar Tojo, Carmen, Guillermo Calviño Santos, and Andrea Irimia Nores. "“EL RESULTADO DEL PROYECTO QVO: METAMORFOSIS 5”." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 5, no. 1 (2016): 493. http://dx.doi.org/10.17060/ijodaep.2014.n1.v5.711.
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Abstract.“THE RESULT OF QVO PROJECT: METAMORPHOSIS 5”If you look at each of the arts and try to see them as large containers of disciplines, we find that cinema is the most porous of all. The film has a tremendous ability to filter and take - bind - hundreds and thousands of disciplines not only inherent in the result, the film, but in all the stages involved in the creation process. To cite some examples that are found only in the most superficial layer of all film production : script writing, deco-architecture, costume design, storyboard drawing, acting work, capturing sound, camera operation, still photography, graphic design posters, video editing, audio mastering and sound, com ¬ position soundtrack etc. Over and above this surface layer film no limits, for example, a master armory, insect specialist, animal trainer, technician in augmented reality and motion capture, and 3D designer, special effects technician, historian, technical animator pyrotechnics, and even industrial engineer aerospace engineer. That is why in the QVO, Enrichment program for children gifted project we decided to work with cinema, from cinema and to make cinema.Key Words: Enrichment, High Capacity, Film, Screenplay, Building, Decorations, Performance.Resumen.Si nos fijamos en cada una de las artes y tratamos de verlas como grandes contenedores de disciplinas, comprobaremos que el cine es la más porosa de todas ellas. El cine posee una enorme capacidad para filtrar y asumir –aglutinar- cientos y miles de disciplinas no sólo inherentes al resultado, la película, sino en todas aquellas etapas que intervienen en el proceso de creación. Por citar algunos de los ejemplos que se encuentran solo en la capa más superficial de toda producción cinematográfica: Escritura de guión, arquitectura de deco rados, diseño de vestuario, dibujo de storyboard, trabajo actoral, captación de sonido directo, operación de cámara, fotografía fija, diseño gráfico de cartelería, edición de vídeo, masterización y sonorización de audio, com posición de banda sonora etc. Profundizando más allá de dicha capa superficial el cine no encuentra límites, por ejemplo, maestro en armería, especialista en insectos, adiestrador de animales, técnico en realidad aumentada y motion capture, diseñador y animador 3D, técnico de efectos especiales, historiador, técnico en pirotécnica, ingeniero industrial e incluso ingeniero espacial. Es por ello que en el proyecto QVO, programa de Enriquecimiento para niños y niñas de altas capacidades, nos hemos decidido a trabajar con el cine, desde el cine y para hacer cine.Palabras Clave: Enriquecimiento, Altas Capacidades, Cine, Guión, Arquitectura, Decorados, Actuación.
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FAREBROTHER, RACHEL. "The Lesson Which India Is Today Teaching the World: Nationalism and Internationalism inThe Crisis, 1910–1934." Journal of American Studies 46, no. 3 (2012): 603–23. http://dx.doi.org/10.1017/s0021875811001319.
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This article aims to test the limits of current assessments of the New Negro renaissance, which tend to emphasize either its investment in cultural nationalism or its Pan-African focus, by exploring the international contours ofThe Crisisunder Du Bois’s editorship. Recent analysis ofThe Crisishas paid considerable attention to the productive juxtaposition of what Anne Carroll has termed “protest and affirmation,” whereby Du Bois positioned reports on racial violence next to accounts of African American achievements in order to prompt acknowledgement of the realities of racism. But such criticism has focussed almost exclusively upon Du Bois’s treatment of American issues, overlooking his sustained interest in international cultural and political concerns. Focussing on the editorial framing of Indian nationalism, this article contends that the common distinctions drawn between internationalism and nationalism are too simplistic to accommodateThe Crisis's formulation of cultural nationalism by way of internationalism. Indeed, scrutiny of the magazine's formal texture, which stages dynamic interplay between poetry, short fiction, investigative journalism, photography, readers' letters and political cartoons, reveals tensions that animate Du Bois's project, not least his dependence upon colonialist ways of seeing and a narrative of racial unity across the African diaspora that serves to elide cultural and historical specificity.
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James, Thomas W., Robert F. Potter, Sungkyoung Lee, Sunah Kim, Ryan A. Stevenson, and Annie Lang. "How Realistic Should Avatars Be?" Journal of Media Psychology 27, no. 3 (2015): 109–17. http://dx.doi.org/10.1027/1864-1105/a000156.
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Abstract. Increased interaction with characters in games and online necessitates a better understanding of how different characteristics of these agents impact media users. This paper investigates a possible neurological underpinning for a common research finding – namely, that animated characters designed to be comparatively more human, more real, and more similar to the people they represent elicit more positive self-reported evaluations. The goal of this study was to examine the extent to which these results might be due to differential processing of character features in brain networks recruited for face recognition. There is some evidence that parts of the face network may be specifically tuned for real human faces. An experiment was conducted where participants viewed photographs of faces of actual agents (humans and animals) or colored drawings of matched agents (cartoon humans and animals). Using functional magnetic resonance imaging (fMRI) to measure blood oxygen-level dependent (BOLD) activation in the whole brain and specifically in the face network, we investigated the variation in patterns of activation with human and animal faces that were more or less real. The results were consistent with previous reports that the core regions of the face network are sensitive to the humanness of faces. However, our results extended previous work by showing that regions of the core and extended regions of the face network – and some regions outside the network – were sensitive to realism, but only realism of human faces.
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Okoye, Adaobi Ngozi. "Posture Verbs in Igbo." Theory and Practice in Language Studies 10, no. 8 (2020): 843. http://dx.doi.org/10.17507/tpls.1008.01.
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Studies on posture verbs in other languages suggest that speakers use posture verbs to describe the position of objects thus revealing the varied conceptualization of entities in space among languages. Despite these diverse conceptualizations, the studies have identified the verbs sit; stand and lie as key members of the posture verb class (Newman 2002, Lemmens 2002, Atintono 2012). In the present study, verbs that indicate the positions of entities in space are explored in the Igbo language. The study specifically seeks to identify the members of this verb class, ascertain if there are specific conceptualizations that can affect the posture used within a given context in addition to determining whether the verbs apply to animate and inanimate entities. Data for the study were elicited from native speakers of the Igbo language adapting the Max Plancks picture series for positional verbs comprising series of photographs of objects in specific configurations. Other strategies devised by the researcher also formed sources of data for the study. From the analysis of the collected data, the initial findings of the study show that nò̩du̩ ‘sit’, kwu̩ru̩ ‘stand, dinà ‘lie’ , tú̩kwù̩ ‘squat’ amongst others constitute Igbo verbs denoting posture. In addition, the study posits multiple verbs for different varieties of the Igbo posture verb dinà ‘lie’.