Dissertations / Theses on the topic 'Camera obscura'
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1
Bubb, Martine. "La camera obscura : philosophie d'un appareil." Paris 8, 2008. http://www.theses.fr/2008PA082968.
Abstract:
Ma thèse porte sur la "camera obscura" en tant qu'appareil, un appareil se différenciant d'un simple dispositif par son caractère technique et poïétique. Dans cette optique, il importe moins de se pencher sur la "camera obscura" en tant qu'outil pour savants ou artistes, que de réfléchir à la façon dont elle dépasse largement ce rôle, en structurant la pensée et la pratique. On pourra alors la considérer comme un appareil à part entière, au même titre que le musée, la photographie, le cinéma ou la perspective. Il faudra le démontrer en insistant plus particulièrement sur le rapport perspective / "camera obscura". Cette dernière, selon moi, est paradigmatique d'une nouvelle vision qui apparaît dans l'art hollandais du XVIIème siècle puis dans la peinture romantique allemande du XIXème. Si elle a été utilisée dès le Moyen-Age par les astronomes arabes, la "camera obscura" ne devient un appareil qu'au XVIIème, car elle génère alors de l'art, des significations, de la pensée. . . En particulier avec Kepler et Vermeer. Mais l'art hollandais a été longtemps ignoré ou étudié selon les critères de l'art italien, qui privilégie le dessin. C'est pourquoi il serait temps de faire sortir de l'ombre cette "oubliée de l'histoire" qu'est la "camera obscura" et avec elle, la couleur, la lumière, l'imaginaire. Quel est le "monde" de la "camera obscura", comment pose-t-elle le problème de l'articulation entre réel et représentation ? Quelle pensée et quel sujet génère-t-elle, quels concepts implique-t-elle ? Nous avons tenté de déterminer la spatialité et la temporalité de cette entité technique et poiétique, et plus généralement de comprendre sa philosophieMy thesis is about the "camera obscura" as an apparatus; an apparatus which differentiates between a simple device through its technical and symbolic characteristics. From this point of view, it is less likely to treat the "camera obscura" as a tool for scientists or artists, but to focus more, on the way it goes widely beyond this function through structuring thought and practice. It is possible therefore, to consider this apparatus as a full entity, in the same light as the museum, cinema, photography or perspective. It must be broken down, insisting particularly on the ratio between perspective and "camera obscura". In my opinion, the latter is paradigmatic of a new vision, such as that which appears in XVIIth century Dutch art and XIXth century German romantic paintings. If it had been used during the Middle Ages by the Arab astronomers, the "camera obscura" did not become an apparatus until the XVIIth century, because only then does it generate art, meaning and thought, notably with Kepler and Vermeer. However, Dutch art had long been ignored or studied within the Italian art criteria which concentrated more on drawings. That is why it would be time to take out this "neglected part of history" from the shadows, i. E. The "camera obscura"; and with it, colour, light and imagination. What is this world of the camera obscura ? How does it deal with the articulation between what is real and what is considered as a representation? What thoughts and which themes does it generate; what concepts does it imply? We have attempted to determine the spatiality and temporality time-frame of this technical and symbolic entity and moreover, its own philosophy
2
Rekhari, Suneeti School of Sociology & Anthropology UNSW. "Camera obscura: representations of indigenous identity within Australian cinema." Awarded by:University of New South Wales. School of Sociology and Anthropology, 2006. http://handle.unsw.edu.au/1959.4/25765.
Abstract:
Karen Jennings (1993) and Peter Krausz (2003) in their works, written ten years apart, note the changing ways in which the academic world and the media have dealt with representations of Indigenous identity. It was hoped that the latter work would have been discussing the way in which things have already changed. The fact that it does not, initiates the questions addressed in this thesis: whether Australian cinema explores Indigenous issues in sufficient depth and with cultural resonance. Can a study of cinematic representations lead to a better understanding of Aboriginal identity? In representing Aboriginality on screen does the cinema present a representational complex for Indigenous Australia, which is constructed on their behalf by the cinema itself? In this thesis these questions are theoretically framed within a semiotic methodology, which is applied to the examination of the complexities of representation. This is done through an analysis of the connotations and stereotyping of Indigenous identity in filmic narratives; and the operation of narrative closure and myth making systems through historical time periods; and dualisms in the filmic narratives such as primitive/civilised, us/them, self/other; and the presence of Aboriginality as an absent signifier. The four films chosen for comparative analysis are Jedda, Night Cries, Walkabout and Rabbit Proof Fence. These films span a period of fifty years, which allows for an explication of the changes that have occurred over the passing of time in their visual representations of Aboriginal identity. Hence social and cultural filmic identity representations are juxtaposed with the historical and political discourses prevalent at the time of their production. Through such a detailed analysis of the four film texts, the dominant social discourses of Australia are analysed in relation to their operation as representational frameworks for Indigenous Australians.
3
Storey, Jacqueline Anne. "The camera obscura and the pursuit of the uncanny." Thesis, University of Gloucestershire, 2005. http://eprints.glos.ac.uk/3142/.
Abstract:
This practice based research seeks to explore and extend the potential of camera obscura projections to perceptually transform objects and spaces by using their unique visual qualities. These pertain to immediacy and directness. Although apparently tangible, the projected images appear to reside in a void where there is an absence of surrounding visual reference. This causes the images to appear disconnected from any context, thereby prompting associations with Freud's notions of the uncanny and Proust's narrative of the transitional. The research consists of a sequence of practice based studies. These commenced with an exploration into the perceptual ambiguities of reflection and shadow. Perceptual ambiguity was further explored through the distorting effects of curved pinhole cameras. The latter began to suggest using the camera itself as an object within which something could be viewed. With the incorporation of focusing lenses, this led to projections where the observer was situated within the camera obscura. Throughout the research, the objects projected were always ordinary and familiar, commencing with a light bulb. The addition of lighting sequences thus enabled further exploration of various phases of ambiguity, as well as enhanced definition and recognition of the projected image. This was followed by projections of other objects, which sought to place them in a particular visual context; for example a mug projected into' an actual microwave located within a kitchen. Although this produced surreal connotations, the surrounding visual material diluted the impact of the projected image. A decision was therefore made to concentrate entirely on the presentation of the projected images by refining projection techniques to enhance their quality and definition. The introduction of movement subsequently heightened perceptual ambiguity, as did the addition of the multiplication of images. This led to a rich variety of projected imagery which ranged from the perceptible to the imperceptible, involving synchronicity, transparency, juxtaposition, transposition from line to plane, and contrast between stasis and movement. The increasingly extraordinary images prompted a reevaluation of the observer's visual assumptions. These practical investigations, together with historical, literary, and philosophical issues, combine to extend the possibilities of the camera obscura in terms of contemporary artistic practice.
4
Naude, Irene. "The Ontology of Photography Visually Analysed through the Camera Obscura." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/58764.
Abstract:
This practice-led visual research is on the ontology of photography. Owing to the pervasive use of photography to inform, and conform to, contemporary visual culture, an alternative approach to (and understanding of) the medium seems viable.
This study visually examines the following aspects of photography in contemporary society: Is it possible to create an alternative approach in the ontological understanding of photography? Will the use of visual works to identify these alternative approaches using the concepts of heterotopia, intersubjectivity, liminality and khôra be able to justify this alternative approach? How applicable are these concepts to the ontology of photography?
The camera obscura is used as a primary medium to visually analyse the ontology of the medium. The research is conducted at three different locations: termite mounds, Robben Island prison cells, and a vulture feeding station. The concepts of heterotopia, intersubjectivity, liminality and khôra are used as lenses through which these works are interpreted. They present an alternative approach to the understanding of the darkened space inside the camera as well as the space of the photographic image.Thesis (DPhil)--University of Pretoria, 2017.
Visual Arts
DPhil
Unrestricted
5
Hammond, Mary Sayer. "The camera obscura : a chapter in the pre-history of photography /." Ann Arbor : University microfilms international, 1987. http://catalogue.bnf.fr/ark:/12148/cb370317960.
6
Hammond, Mary Sayer. "The camera obscura : a chapter in the pre-history of photography /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984314364.
7
Norris, Davon N. "A Camera Obscura? Understanding How Credit Rating Agencies See City Government." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531830251553098.
8
King, Taryn. "Through the Camera Obscura : exploring the voyeuristic gaze through Grahamstown's architecture." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018937.
Abstract:
My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.
9
Walker, Ulrike Hainle. "Performing the self in camera, Charlotte Brontë, the camera obscura and the protocols of female self-enactment." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq24765.pdf.
10
Helfenstein, Denise Valéria. "A captura da paisagem : entre apreensões fotográficas por camera obscura e registros sonoros." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26087.
Abstract:
A presente pesquisa, intitulada A Captura da Paisagem: entre apreensões fotográficas por câmera obscura e registros sonoros, analisa os procedimentos de instauração do trabalho A Captura da Paisagem, abarcando as questões que emergem das práticas com câmeras obscuras fotográficas. Neste contexto, são investigadas as relações conceituais e teóricas envolvidas nas ações de apreensão e registro espaço-temporal que ocorrem nesta produção, que envolvem longas durações nas obtenções fotográficas, bem como a simultânea gravação de registros sonoros. Além disto, a pesquisa trata das questões imbricadas nas possibilidades de junção de tais elementos dentro das proposições de apresentação do trabalho.The present research, entitled Capture of the landscape: between photographic apprehensions through camera obscura and sonorous records, analyzes the procedures for the instauration of the work Capture of the Landscape, including questions emerging from the practice with camera obscura photography. In this context, the conceptual and theoretical relationships involved in the actions of time-space apprehension and recording that occur in this production are investigated. They involve photographic attainments of long duration as well as the simultaneous recording of sonorous registries. In addition, this research deals with the questions involved in the possibilities of junction of such elements within the presentation propositions of this work.
11
Dietrich, Jochen. "Vom Ansehen der Dinge : die Camera Obscura als Mittel und Medium in der Lerntätigkeit ; eine vergleichende qualitative Fallstudie mit Jugendlichen in Brasilien und Deutschland /." Oberhausen : Athena, 2001. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=009352883&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
12
Hüsch, Anette. "Der gerahmte Blick : zu einer Geschichte des Bildschirms am Beispiel der Camera obscura /." [S.l. : s.n.], 2003. http://swbplus.bsz-bw.de/bsz109387635inh.htm.
13
FAUSTINO, DOS SANTOS JOÂO PEDRO. "Estudio teórico-práctico de la Cameroa Obscura y de la Camera Lucida. Una nueva propuesta de máquina de dibujo digital." Doctoral thesis, Universitat Politècnica de València, 2012. http://hdl.handle.net/10251/17867.
Abstract:
La tesis propone la creación y el desarrollo de una nueva
máquina de dibujo digital en la que el acto de dibujar
permita ver más y conocer mejor. Con base en los
estudios teóricos-prácticos de la cámara oscura y la
cámara lúcida, como dispositivos para dibujo de imagen.
En la primera parte se presenta la investigación teórica-práctica de estos dispositivos, con especial énfasis en el
análisis histórico y conceptual de la evolución tecnológica
que se complementa con la utilización de las máquinas
como un medio para representar y cuestionar la realidad.
Este análisis se complementa con la presentación de
otras referencias que van desde la ingeniería informática
a las artes visuales, durante el siglo 20 hasta la
actualidad, como contribución a un conocimiento
actualizado de los conceptos subyacentes del dibujo y los
mecanismos que aquí se presentan. En los Capítulos 2 a
4 se realiza un estudio de los mecanismos de percepción
visual que participan en este tipo de dibujo (cap.2), el
dibujo como un medio para la comprensión (cap.3), y la
localización como una posible intención de ver más (cap.
4). Estos tres capítulos son transversales en toda la tesis.
En la segunda parte, los experimentos que apoyan la
metodología utilizada y que están en el origen de las
diferentes versiones de la máquina son presentados.
El módulo computacional está programado en Pure Data,
y toda la máquina se compone como un sistema modular,
con una gran elasticidad y posibilidades de desarrollo.
El uso de la máquina permite la percepción del acto de
dibujar, y al mismo tiempo indica nuevas posibilidades
para futuros desarrollos.Faustino Dos Santos, JP. (2012). Estudio teórico-práctico de la Cameroa Obscura y de la Camera Lucida. Una nueva propuesta de máquina de dibujo digital [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/17867
Palancia
14
Persson, Skare Ragnar. "Exploring Architecture : Time, Photography and Virtuality." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-169193.
Abstract:
The thesis project explores the architectural themes of time and virtuality in two parts. The first theme - time - is investigated through a photographical study of Kulturhuset in Stockholm, searching for physical traces of change. The study also reveals a faster time scale relating to the inhabitants and users of space. The second part of the project relates to the photographs, building on the technique of the camera obscura to investigate the theme of virtuality. Through three full scale tests and different experiments, an attempt was made to manipulate the border between the physical and the virtual, demonstrated in a room obscura built up at the courtyard of the School of Architecture during the Diploma Days in June 2015. The project moves from the observational part of the photograph into a physical exploration of what architecture is, how it works and possibly what it could be, from virtual to physical and back again. As a whole, the project is a collection of thoughts, of sights, of connections and of experiences.Examensarbetet undersöker de arkitektoniska begreppen tid och virtualitet i två delar. Det första temat - tid - undersöks genom en fotografisk studie av Kulturhuset i Stockholm, ett sökande efter fysiska spår av förändring. Studien visar också en snabbare tidsskala som relaterar till användaren och brukaren av rummet. Den andra delen av projektet utgår från fotografierna och använder camera obscurans teknik för att undersöka temat virtualitet. Genom tre fullskaliga tester och olika experiment prövades gränsen mellan det fysiska och det virtuella, och demonstrerades slutligen i ett rum obscura som byggts upp på gården i Arkitekturskolan under Diploma Days, juni 2015. Projektet rör sig från ett observerande i fotografiet till en fysisk undersökning av vad arkitektur är, hur arkitektur fungerar och eventuellt vad det skulle kunna vara, från det virtuella till det fysiska och tillbaka igen. Som helhet är projektet en samling tankar, sevärdheter, kopplingar och erfarenheter.
15
Chik, Caroline. "L'image paradoxale : les relations fixité-mouvement dans l'image optique, de la "camera obscura" aux animations interactives." Paris 8, 2009. http://www.theses.fr/2009PA083029.
Abstract:
Cette thèse vise à analyser la nature des relations entre fixité et mouvement qui se sont nouées tout au long de l'histoire de l'image optique — ou issue d'une prise de vue(s) — depuis ses origines jusqu'à ses formes les plus récentes. À l'ère du numérique, les frontières entre les catégories, les états de l'image s'ouvrent de manière évidente. Dans certaines animations interactives artistiques en particulier, l'image optique n'est plus nécessairement une image fixe ou une image animée. Elle semble être, paradoxalement et de plus en plus, les deux à la fois. La nature ainsi bouleversée de l'image ne se caractérise plus par son état, puisque celui-ci est désormais variable. Mais bien plus, il semble que le clivage "image fixe versus image animée" n'ait pas toujours eu cours. Un regard rétrospectif et panoramique sur l'image optique nous enseigne qu'elle fut de tout temps travaillée par des liens étroits, spécifiques et féconds entre les deux états. Cette hypothèse se vérifie à travers une étude historique, esthétique et technique de l'image photographique dans ses rapports au mouvement, de l'image optique animée dans sa fixité constitutive ainsi que de l'image optique interactive en tant qu'image fixe-animée. Elle s'appuie sur de multiples images, œuvres, dispositifs, formes et figures allant de la camera obscura aux animations interactives, qui tous tendent à souligner la nature paradoxale de l'image optiqueThis thesis aims to study the nature of links between fixity and motion that have been established all along the history of optical image, from its origins up to its most recent forms. In the digital era, the boundaries between image categories or states are opening up obviously. In particular in some artistic interactive animations, optical image is not necessarily a fixed picture or a moving picture anymore. Its seems to be, paradoxically and more and more, both at a time. The nature of image is not characterized by its state anymore since this one from now on is variable. Furthermore, it seems that the divide « fixed picture versus moving picture » has not always been in effect. A retrospective and panoramic look of optical image teaches us that it has always been questionned by close, specific and fecund links between both states. This hypothesis is borne out through a historical, aesthetic and technical study of photographic image in connection with movement, of optical moving picture in its constituent fixity, and at last of optical interactive image as fixed-moving picture. It relies on many pictures, works, devices, forms and figures that get from camera obscura to interactive animations, and that all tend to underline the paradoxical nature of optical image
16
Martin-Rainaud, Claude. "Dans le regard de la chambre." Thesis, Avignon, 2015. http://www.theses.fr/2015AVIG1143/document.
Abstract:
Par un trou, l’image renversée de ce qui se trouve à l’extérieur se projette à l’intérieur d’une chambre obscure. Ce phénomène, à l’oeuvre en permanence dans les espaces naturellement sombres, dans les yeux de l’homme et de la plupart des animaux, occasionnellement à l’intérieur de l’habitation, est aussi le principe à la base de la photographie et du cinéma. Ce problème d’optique a été observé et décrit pour la première fois en Europe dans les Problemata d’Aristote. Au cours des siècles, ce principe du «phénomène de la camera obscura» a été étudié et utilisé pour mesurer le temps et l’espace, effectuer des observations et des expériences astronomiques, produire des images ou des spectacles. Ces dernières décennies, les sciences ont démontré que pour prendre vie, se reproduire et évoluer, la matière s’est emparée progressivement de ce phénomène issu de la lumière. À travers la vision, il a un rôle premier dans notre perception du monde et notre conscience d’être. Cependant, rares sont les études de ses caractéristiques et de ses applications naturelles, techniques et esthétiques. Notre recherche voudrait contribuer à faire émerger une cohérence globale dans ces domaines. La méthode utilisée ici repose sur une pratique artistique de la capture photographique dans la camera obscura elle-même des images qui y apparaissent. En outre, cette pratique s’appuie sur une approche analytique fondée sur un choix de sources philosophiques, scientifiques et romanesques, poétiques et cinématographiques. Nous suivons d’abord à travers ces documents la genèse des objets techniques qui se rattachent au phénomène de la camera obscura. Puis la recherche se focalise sur certains artistes qui sont présumés avoir fait usage, ou qui ont effectivement employé des appareils «optiques» pour réaliser leurs oeuvres depuis le quinzième siècle. Nous concluons sur la démarche et l’oeuvre de certains photographes contemporains qui se consacrent à photographier le phénomène de la camera obscura, dont les travaux ouvrent à l’art de la photographie des perspectives inédites, tout en se référant à des questions picturales fondamentalesThrough a hole, the inverted image of what is outside, is projected inside a dark room. This phenomenon,constantly at work in naturally sombre closed spaces, in the eyes of humans and most animals, occasionallyinside habitations, is also the optical principle that made photography and motion pictures possible. This opticalproblem was observed and described for the first time in Europe by Aristotle in his Problemata. Then, over thecenturies, this “camera obscura phenomenon” was studied and used to measure time and space, makeastronomical observations and experiments, produce images or theatrical performances. In the last few decades,science has demonstrated that for matter to come to life, breed and evolve, it has gradually taken hold of thisphenomenon produced by light. Through vision it plays a fundamental role in our intimate perception of theworld and our self-consciousness. However, few academic studies address its natural, technical as well asaesthetic characteristics. This research will try to bring forth a global coherence in this field. The method that weuse is founded on our artistic practice of the photographic capture of the images as they appear inside thecamera obscura. In addition, this practice is also based on an analytical approach founded on a range ofphilosophical, scientific and fictional sources including poetry and movies. We follow through these documentsthe genesis of the technical objects related to the camera obscura phenomenon. Then, our research focuses onsome artists alleged to have, or have actually utilized "optical" devices to perform their works of arts since thefifteenth century. We conclude with the approach and practice of some contemporary photographers committedto photographing the camera obscura phenomenon, whose works of arts open new perspectives forphotographic art, yet still refer to fundamental questions about art
17
Sternö, Linda. "Filmpedagogik i en digital era : att sätta barnen och kameran i centrum." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6190.
Abstract:
Denna studie syftar till att undersöka filmpedagogik i en digital era, genom att sätta barnen ochkameran i centrum. Studien placerar sig inom forskningsområdet visuell kultur och är gjordmed hjälp av dubbla perspektiv; det konstnärliga/praktiska och det vetenskapliga/pedagogiska.Frågeställningarna undersöks med hjälp av ett filmat dokumentationsmaterial från en workshopmed barn, samt genom dokumentationsmaterial från en workshop inne i en camera obscura påKonstfacks vårutställning 2017. Workshopen i camera obscuran utgjorde även den gestaltandedelen av detta mastersarbete. Det empiriska materialet är insamlat genom metoden visuellperformativ etnografi. I analysen letar jag upp situationer där barnens agerande stör mig pånågot sätt, vilket blir en metod att hitta de konventioner inom filmpedagogiken jag villgenomlysa och utmana. Med hjälp av teoretiska verktyg från det posthumanistiska tänkandetanalyserar jag materialet. Resultaten från studien pekar på att en ny filmpedagogik, anpassadtill det digitala, skulle kunna utgå från barnen och drivas av barnens intresse och utforskandemed kameran, snarare än att barnen ska lära sig en fast norm för vad film är. Resultaten visarockså att genom att göra bildfenomenet som uppstår i camera obscura till en utgångspunkt förfilmpedagogiken kan synen på vad film är och kan vara idag utforskas vidare och därmedlösgöras från konventioner bundna till en analog teknik.
18
Straukaitė, Ieva. "Karteziškosios regėjimo sampratos transformacija M. Merleau-Ponty „Suvokimo fenomenologijoje“." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20140626_193344-98810.
Abstract:
Šiame darbe dėmesys sutelkiamas į dviejų mąstytojų, atstovaujančių moderniąją ir fenomenologinę tradiciją – Rene Descartes’o ir Maurice’o Merleau-Ponty – regėjimo sampratų analizę. Kaip pagrindinis darbo metodinis įrankis pasirenkama okuliarcentrizmo ir antiokuliarcentrizmo diskursų perskyra, kurią įveda šiuolaikinio vizualinio diskurso teoretikas Martinas Jay. Tokiu principu rašto darbe iškeliama ir analizuojama okuliarcentrizmo kaip epistemologinio regėjimo privilegijavimo problema, kurios ištakos siekia Platono filosofiją. Regėjimo kaip intelektinės veiklos, kontempliuojančios teorinės žiūros ar idealaus/iškūnyto žvilgsnio samprata išryškėja Platono filosofijoje, kuomet pabrėžiama juslinio pasaulio ir idėjų pasaulio bei juslinės akies ir proto akies skirtis, iškeliant pastarosios prioritetą bei nuvertinant pirmąją. Darbe parodoma, jog Descartes’as radikalizuoja šias perskyras, sąmonės/kūno bei sąmonės/pasaulio dualizmo pagrindu, įtvirtindamas regėjimo į sąmonę redukciją. Šioms skirtims eksplikuoti remiamasi Descartes’o regėjimo modelio kaip cameros obscuros, karteziškojo perspektyvizmo ir negyvos akies identifikacijomis. Iškeltos problemos pagrindu darbe suformuluojama tezė, kad Merleau-Ponty vykdoma karteziškosios regėjimo sampratos transformacija yra okuliarcentrizmo kaip sąmonės/kūno ir sąmonės/pasaulio dualizmo problemos įveika. Tvirtinama, jog Merleau-Ponty įveikia sąmonės/kūno ir sąmonės/pasaulio perskyras, formuluodamas regėjimo kaip komunikacijos, įkūnytos... [toliau žr. visą tekstą]The work focuses on the analysis of the visual conception of the two thinkers – Rene Descartes and Maurice Merleau-Ponty – who are representing modern and fenomenological traditions. As a main methodological tool is chosen the typology of the discourses of ocularcentrism and antiocularcentrism, which are introduced by the contemporary visual theorist Martin Jay. Thus the problem of ocularcentrism is raised and analyzed as a problem of the epistemological privilegiation of the visual, which origins are found in Plato’s philosophy. The conception of the visual as an intellectual act, contemplative theoretical gaze or ideal/disembodied vision is emphasized in the philosophy of Plato, where he distinguishes the sensual world and the world of ideas, the sensual eye and the eye of mind, raising the priority for the latter and devaluating the previous one. The paper shows Descartes to radicalize those distinctions on the basis of the dualism of consciousness/body and consciousness/world, establishing reduction of the vision into the consciousness. To explicate that, it is refered to the visual Descartes’ model as identifications of camera obscura, Cartesian perspectivalism and dead eye. On the basis of the arised problem the thesis of the paper is being formulated: transformation of the Cartesian visual conception made by Merleau-Ponty is the solution of ocularcentrism as the problem of consciousness/body and consciousness/world dualism. It is stated that Merleau-Ponty resolves the... [to full text]
19
Lenot, Marc. "Jouer contre les appareils : une tentative de définition de la photographie expérimentale contemporaine." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H086.
Abstract:
Le concept de photographie expérimentale a été rarement défini et peu étudié dans l’histoire de la photographie contemporaine. Ce travail de recherche en propose une définition à partir des thèses que le philosophe brésilien Vilém Flusser a développées autour du concept de l’apparatus, telles qu’exposées dans son essai Pour une philosophie de la photographie (1983). La définition proposée est basée sur le fait que certains photographes ne respectent pas les règles et perturbent le bon fonctionnement du dispositif photographique en en modifiant les paramètres établis et en jouant contre les appareils. Environ 150 photographes contemporains ont été étudiés à l’aune de cette définition ; ils sont principalement européens (français, britanniques, italiens et allemands surtout) et nord-américains. Certains démontent l’appareil photographique, en le réinventant ou en n’utilisant pas d’objectif (camera obscura) ou pas d’appareil du tout (photogramme). D’autres défont le processus de création de l’image en jouant avec le temps, avec la lumière, avec la chimie du développement ou avec le tirage. D’autres enfin déplacent l’auteur-photographe, en l’effaçant ou en l’impliquant autrement dans le geste photographique. Cette recherche s’est limitée à la photographie analogique, postulant que l’apparatus numérique implique un changement radical de définition de l’expérimental. En conclusion, la photographie expérimentale contemporaine ne constitue pas une école, ni même un mouvement, mais simplement un courant, un moment entre le déclin de la photographie analogique documentaire traditionnelle et l’avènement de la photographie numérique à la fin du XXe siècle et au début du XXIe siècleThe concept of experimental photography has rarely been defined, nor has it been the subject of much research in studies of contemporary photography. This research attempts to define it on the basis of the theses that the Prague born Brasilian philosopher Vilém Flusser (1920-1991) developed around the concept of apparatus, principally in his 1983 essay Towards a Philosophy of Photography. The proposed definition is based on the practice of some photographers who do not abide by the rules of photography and perturb the standard operations of the apparatus by playing against the camera. About 150 contemporary photographers have been studied along these lines ; they are mostly Europeans (from France, UK, Italy and Germany principally) and North-Americans. Some deconstruct the camera, reinventing it or photographing without a lens (pinhole) or even without a camera (photograms). Some undo the image creation process, playing with time, with light, with the chemical development process or with image printing. And some redefine the author-photographer, erasing him or giving him a different role in the photographic process. This research is concerned only with analog photography, considering that digital photography implies a radical difference in the definition of the experimental concept. The conclusion is that contemporary experimental photography is not a school, nor a movement, but simply a current, a moment between the decline of traditional documentary analog photography and the rise of digital photography at the end of the XXth century and the beginning of the XXIst century
20
Nicodemos, Monise. "Obsolescence et réinvention du cinéma argentique à l’âge du numérique." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA017.
Abstract:
Depuis les années 1990, face à l’expansion du numérique, le cinéma argentiqueest confronté aux enjeux économiques, politiques et poétiques de l’obsolescence.Notre étude vise à explorer les ambiguïtés, les ambivalences et les potentialitésde l’obsolescence qui ouvre des nouveaux champs de possibles à la réinventiondu cinéma argentique. Nous nous intéressons notamment à cette période de réinventiondu médium-film à partir de la fabrication de l’émulsion-maison, de la réactivationdu sténopé et de l’exposition de la machinerie du cinéma argentique.Conçu comme une articulation entre esthétique et technique, comprenant une viséehistorique, ce travail propose une systématisation théorique de la pratique du laboratoire,de la camera obscura, du sténopé et de la machine avec l’analyse d’un corpusd’oeuvres actuelles réalisées avec ces outils argentiques. Dans le parcours esquissé,qui s’appuie sur des entretiens avec les artistes, nous tentons d’élucider lestechniques impliquées dans les oeuvres et le processus créatif des artistes. Nousverrons enfin comment, à partir de ces liens entre théories et pratiques, des artistesréinventent aujourd’hui, grâce à l’obsolescence, le cinéma argentique à l’âge dunumérique et entretiennent une mémoire de toute sa technicité et machinerieSince the 1990s, in the face of digital expansion, analogue cinema has been confrontedwith economic, political, and poetic issues of obsolescence. Our study aimsto explore the ambiguity, ambivalence and potential of obsolescence, which opensup new fields of possibilities for the reinvention of analogue cinema. We are particularlyinterested in this period of reinvention of medium-film from the manufactureof the handmade emulsion technique, the reactivation of the pinhole, and theexhibition of analogue cinema machinery. Viewed through a historical lens andconceived as an articulation between aesthetics and technique, this work proposesa theoretical assessment of laboratory practices, the camera obscura, the pinholeand the machine, and an analysis of a body of current work realized using thesefilm tools. Through interviews with artists, we aim to illuminate their creative processesand reveal the techniques involved in the artworks. Finally, we will showhow thanks to obsolescence, artists today are reinventing analogue cinema in thedigital age and maintaining a memory of all its technicality and machinery
21
Nowottny, Vera [Verfasser], Karl [Akademischer Betreuer] Schawelka, Hermann [Akademischer Betreuer] Stamm, and Gerhard [Gutachter] Glüher. "Die Camera Obscura als Kondensationsmobil : Der Weg von der formalen Ästhetik in der Fotografie bis hin zum künstlerischen Akt des Atmens / Vera Nowottny ; Gutachter: Gerhard Glüher ; Karl Schawelka, Hermann Stamm." Weimar : Promotionsstudiengang Kunst und Design/Freie Kunst/Medienkunst (Ph.D), 2014. http://d-nb.info/1116284650/34.
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Canato, Veranice. "A solução para os problemas da câmara escura no Paralipomena de Johannes Kepler (1571 1630)." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/13395.
Abstract:
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Previous issue date: 2008-10-02Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
In the year of 1604, with the objective to produce a theory, that would explain the refraction of light of celestial bodies and solve the existing problems in the observation of solar eclipses through camera obscura, Johannes Kepler published Ad VItellionem Paralipomena, quibus Astronomiae pars Optica Traditvr. Paralipomena has been raising the attention of history of science researchers since the first decades of the twentieth-century, and its classification, as either a continuity or a break with the treatises of optics developed during the Middle Ages, has become a controversial theme. Different aspects in this debate lead to a comprehension of Kepler's work as an appreciation of several studies of optics, astronomy and natural magic available at the end of sixteenth- century. Several studies available in Kepler s times, which probably contributed for his solution of the problems with the camera obscura, are presented in this dissertation in an attempt to show that Kepler s elaboration of his camera obscura theory, presented in chapter second of Paralipomena, is a consequence of this appreciation
Com o objetivo de apresentar teorias capazes de explicar a refração da luz nos corpos celestes e de solucionar problemas nas observações de eclipses solares com câmaras escuras. Johannes Kepler (1571-1630) publicou, em 1604, o seu Ad VItellionem Paralipomena ,quibus Astronomiae pars Optica Traditvr. Esse livro vem despertando a atenção de pesquisadores em história da ciência desde as primeiras décadas do século XX e se constituiu como objeto de um polêmico debate em torno de sua classificação como uma continuidade ou uma ruptura com os tratados ópticos desenvolvidos no medievo. Os diferentes aspectos destacados nesse debate possibilitam uma compreensão do trabalho de Kepler como uma apreensão dos diversos estudos de óptica, de astronomia e de magia natural que circulavam no final do século XVI. Nesta dissertação, procuramos mostrar que a elaboração de sua teoria para a câmara escura, apresentada no segundo capítulo do Paralipomena, é uma conseqüência dessa apreensão. Para tal, procuramos analisar vários trabalhos que circulavam à época de Kepler e que possivelmente contribuíram para a sua solução dos problemas da câmara escura
23
Enström, Anna. "Färgen och den fysiologiska estetiken : Goethe, Novalis och Caspar David Friedrich." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-5636.
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Heyer, Gina Margareta. "Explorations of the painted real : technological mediation in the work of four artists." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6633.
Abstract:
Thesis (MA)--University of Stellenbosch, 2011.ENGLISH ABSTRACT: This thesis is an investigation into the relationship between photorealistic painting and specific devices used to aid the artist in mediating the real. The term 'reality' is negotiated and a hybrid theoretical approach to photorealism, including mimesis and semiotics, is suggested. Through careful analysis of Vermeer's suspected use of the camera obscura, I argue that camera vision already started in the 17th century, thus signalling the dramatic shift from the classical Cartesian perspective scopic regime to the model of vision offered by the camera long before the advent of photography. I suggest that contemporary photorealist painters do not just merely and objectively copy, but use photographic source material with a sophisticated awareness in response to a rapidly changing world. Through an examination of the way in which the camera obscura and photographic camera are used in the works of four artists, I suggest that a symbiotic relationship of subtle tensions between painting and photographic technology emerges. This results in visions of the painted real that may be meaningful to contemporary society and have the ability to emotionally affect the viewer.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die verhouding tussen fotorealistiese skilderkuns en die spesifieke metodes wat die kunstenaar se vertolking van die werklikheid vergemaklik. Die term, 'realiteit' word krities oorweeg te midde van 'n saamgestelde teoretiese aanslag tot fotorealisme wat mimesis en semiotiek insluit. Deur 'n noukeurige analise van Vermeer se oënskynlike gebruik van die camera obscura, hou ek voor dat fotografiese sig reeds sedert die 17e eeu teenwoordig is. Hierdie gewaarwording dui op 'n dramatiese skuif vanaf 'n klassieke, Kartesiaanse perspektief en skopiese regime tot die model van visie gebied deur die kamera, lank voor die ontwikkeling van fotografie. Ek stel voor dat kontemporêre fotorealistiese skilders nie bloot objektief kopieër nie, maar fotografiese verwysings met 'n gesofistikeerde bewussyn in reaksie tot 'n vinnigveranderende wêreld gebruik. Deur 'n ondersoek na die wyse waarop die camera obscura en fotografiese kamera in die werke van vier kunstenaars gebruik word, stel ek voor dat 'n simbiotiese verhouding die subtiele spanning tussen skilderkuns en fotografiese tegnologie meemaak. Dit lei tot visionêre weergawes van 'n geskilderde realiteit wat 'n betekenisvolle posisie in die kontemporêre samelewing beklee en die moontlikheid besit om die toeskouer op 'n emosionele vlak te affekteer.
25
Lammerich, Yvonne. "The camera obscura, a paradigm." Thesis, 1995. http://spectrum.library.concordia.ca/6190/1/MM01369.pdf.
26
Sung, Ju-Feng, and 宋如峯. "Pinhole Photography, The Study of Modern Observe by Camera Obscura." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/62854385885144204251.
Abstract:
碩士世新大學
圖文傳播暨數位出版學研究所(含碩專班)
98
From ancient times to the present, Image has always been that people used to show art, continuation of civilization, one of the most important methods to pass messages. Whether from France Lascaux and Spain Altamira prehistoric cave paintings, to modern day Da Vinci, Michelangelo and many other well-known artists painted numerous paintings, Paintings can be found in the image record of the evidence. In fact, painting and photography has always been a close correlation exists, as many painters who have used a tool called “Camera Obscura” as a painting, when the auxiliary. By the camera obscura pinhole imaging principle, so that camera obscura in the Kind effort, eventually evolved into today's photographic equipment, and thus make photographic images of the world today changed the outlook, so photography is an extension of painting is not an exaggeration. Therefore, the study will start from the self-made original camera obscura, from the production process of painting and photography in the observation of the evolution of the association. Secondly, the use of camera obscura actually shot through the traditional methods to create differentiated and digital photographic images. Finally, this combination of photography and painting concept called pictorialism exhibition created to understand the audience watching, the intersection of classical and modern visual reaction, and academic and artistic value. And propose follow-up to the direction of development and suggestions, hoping to get more in different areas of image reproduction.
27
Arán, Pellegrino Agustina Inés. "A paisagem na Fotografia Contemporânea: Através da Camera Obscura de Abelardo Morell." Master's thesis, 2020. http://hdl.handle.net/10362/101590.
Abstract:
A presente pesquisa compreende o estudo da representação da paisagem no
contexto das artes visuais, com foco na fotografia contemporânea, para observar sua
significação e potencialidade metafórica no que diz respeito à comunicação e expressão
a través da criação artística e subjetiva. Buscamos encontrar quais as características da
presença da paisagem em trabalhos fotográficos contemporâneos. O caminho para esta
análise, busca, num primeiro capítulo, definir o conceito de paisagem, observar sua
história e evolução, assim como, sua presença nas artes visuais, desde as origens de sua
representação. A seguir, propõe-se uma investigação do lugar da paisagem no universo
da fotografia contemporânea, observando seu contexto histórico e visual; assim como a
riqueza da utilização conceitual e física do registo fotográfico que, por sua natureza
semiótica, pode ultrapassar o registo documental, para criar imagens que incentivam à
reflexão. Para exemplificar esta análise de forma objetiva, foram escolhidos dois projetos
fotográficos do artista visual Abelardo Morell: o Camera Obscura (executado desde 1991)
e o Tent Camera (a partir dos anos 2000). Ambos os projetos partem do princípio ótico
criador da câmera fotográfica: a câmera escura, transformando habitações em câmeras
escuras gigantes, para registar, simultaneamente, a paisagem exterior fusionada no
espaço interior. Num segundo capítulo, concentraremos o olhar nestas obras para
descobrir como uma reinterpretação subjetiva da realidade revela o inconsciente do
artista, ao mesmo tempo que ativa o imaginário do espectador.The present research comprises the study of landscape representation in the context of the visual arts, focusing on contemporary photography, to observe its meaning and metaphorical potentiality regarding communication and expression through artistic and subjective creation. We seek to find the characteristics of the presence of landscape in contemporary photographic works. In order to do this analysis, in the first chapter we define the concept of landscape, observe its history and evolution as well as its presence in the visual arts, from the origins of its representation. Next, we propose an investigation of the place of landscape in the universe of contemporary photography, observing its historical and visual context, as well as the richness of the conceptual and physical use of the photographic register that, by its semiotic nature, can surpass the documentary register to create images that encourage reflection. To exemplify this analysis objectively, we focused on two photographic projects by visual artist Abelardo Morell: Camera Obscura (performed since 1991) and Tent Camera (from the 2000s). Both projects begin from the photographic camera's creative optical principle: the camera obscura, transforming rooms into giant cameras obscuras, to simultaneously register the outer landscape merged into the inner space. In a second chapter, we will focus on these works to discover how a subjective reinterpretation of reality reveals the artist's unconscious while activating the viewer's imagination.
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Hsu, Shao-Yun, and 許韶芸. "From “Camera Obscura” to “Camera Lucida”: “Body like a receptacle” and The Feminine Tone of Tatsumi Hijikata’s Ankoku Butoh." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/qdyy64.
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Violante, Rute Luisa Gordalina de Sousa. "Reclusão vigiada: da escuridão à luz." Master's thesis, 2014. http://hdl.handle.net/10400.26/8214.
Abstract:
Projeto de fotografia autoral realizado em torno do edifício do ex-presídio militar de
Santarém.
Este projeto apresenta-se como uma exploração imagética do espaço arquitetónico
enquanto veículo de reconstrução e redenção do ser humano.
Neste projeto explora-se também a questão da vigilância inerente às prisões de estrutura
panóptica, numa perspectiva crítica e utilizando o espaço “Presídio” como uma metáfora
para outras realidade sociais.
Este projeto visa também um enriquecimento do papel atribuído à fotografia, aludindo ao
poder da mesma no contexto das prisões.
Sendo um projeto de natureza conceptual, apresenta contudo uma componente de
fotografia experimental.Instituto Politécnico de Tomar. Escola Superior de Tecnologia de Tomar
30
Grundy, Susan Audrey. "The projected image and the introduction of individuality in Italian painting around 1270." Thesis, 2008. http://hdl.handle.net/10500/3020.
Abstract:
Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards
the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well.Art History
D.Litt. et Phil. (Art History)
31
Wong, Johnathan. "Niagara Prospects." Thesis, 2009. http://hdl.handle.net/10012/4523.
Abstract:
This thesis proposes a fresh engagement with the idea of the archaic as a means to recover and replenish some of the lost vitality suffered during what William Barrett characterized the modern period as “the gigantic externalization of life.” An introductory essay examines how the related ideas of the archaic, the primal, and the prehistoric have at key moments provided a source of creative energy for the arts of the last century. Collections of found material, and several photographic studies document the city of Niagara Falls—icon of American pop culture and faded relic of romanticism. The photographs present an alternative to the world of the touristic snapshot, and address the questions: In the age of simulation how do we know what is real anymore? Can we learn to see with archaic eyes?
32
Marcelino, Américo. "Da semelhança no desenho." Doctoral thesis, 2012. http://hdl.handle.net/10451/8412.
Abstract:
Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2012Partindo da ideia enraizada da semelhança como critério de figuração, recupera-se o debate entre o que há de convencional, de natural, de inato e de cultural nas representações tendo como eixo director o desenho enquanto disciplina primordial nas artes visuais. O estudo centra-se nos paradigmas da figuração e de semelhança que têm vigorado na tradição pictórica ocidental, sobretudo balizados entre dois marcos históricos fundamentais: da invenção da perspectiva à invenção da fotografia. O enfoque explora com particular relevância as relações entre a praxis do desenho e os modelos de representação assentes na ideia seminal de projecção. Destaca-se o arquétipo da imagem projectada, consubstanciada nas visões da perspectiva e da óptica, pela sua relevância enquanto paradigma de representação que acabaria por vigorar na nossa cultura visual. Neste contexto, elege-se a relação entre desenho e dispositivos ópticos, nomeadamente a câmara obscura e a câmara lúcida, enquanto modelo paradigmático do desejo de verosimilhança, legitimada pela ideia neutral de “olho artificial”. A investigação das ligações entre arte e óptica passa em revista certos aspectos do debate levantado por David Hockney (2001), discutindo e sublinhando pontos ainda não explorados. Abordando as questões da vista e do retratar, os dois casos de estudo de fundo, centrados nos desenhos de Antonio Canaletto e de Jean-Auguste-Dominique Ingres, são sintomáticos das flutuações da semelhança entre aquilo que designamos por “visão objectiva” e “olhar subjectivo”. Do confronto entre conceitos de ponto de vista, conformidade, precisão ou invenção, consequentes da relação entre imagem óptica e desenho de observação, a tese procura demonstrar a relatividade e os paradoxos da semelhança na representação, nas suas dimensões de verdade, credibilidade, fidelidade, ilusão, imitação, informação ou inculcação. Este confronto é explorado com o complemento de trabalho prático aplicado no desenho com dispositivos ópticos, disponibilizando dados de pesquisa originais e material de reflexão inédito
Starting from the deep-rooted idea of resemblance as a criterion for the figure, we recall the debate between what is conventional, natural, innate and cultural in representations, taking drawing as a primary discipline in the visual arts. The study focuses on the paradigms of figuration and likeness that have prevailed in the Western pictorial tradition, particularly marked out between two key milestones: from the invention of perspective to the invention of photography. The approach exploits with particular relevance the relations between the praxis of drawing and the models of depiction based on the seminal idea of projection. We emphasize the archetype of the projected image, embodied in the views of perspective and optics, as a relevant paradigm of representation witch becomes a standard in our visual culture. In this frame view, we elect the relationship between drawing and optical devices, specifically the camera obscura and the camera lucida, as paradigmatic models for the ambition of verisimilitude, legitimized by the idea of a neutral "artificial eye". Research on the basis of art and optics review certain aspects of the debate raised by David Hockney (2001), discussing and highlighting some cases that have not yet been explored. Putting in question the subject of view and portraiture, the two main case studies, focused on the drawings of Antonio Canaletto and Jean-Auguste-Dominique Ingres, are symptomatic of the balance on the similarity between what we call "objective view" and "subjective look." From the confrontation between the possible concepts of conformity, point of view, accuracy or invention, arising from the relationship between optical image and drawing from observation, the thesis seeks to demonstrate the paradoxes and the relativity of similarity in depiction, in its dimensions of truth, credibility, fidelity, imitation, illusion, information or inculcation. This confrontation is explored with the complement of a practical fieldwork applied in the drawing with optical devices, providing original research data and new material for reflection
Fundação para a Ciência e a Tecnologia (FCT)
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Dotřel, Jan. "Transformace kultovní a konceptuální hodnoty v dějinách fotografie." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-266282.
Abstract:
This historical work focuses on the theory of photography. It is divided into three autonomous episodes chronologically correspond to three historical stages. These parts are connected with one genealogies of one possible reading of the photography. The first part deals with the historical circumstances and causes of the birth of photography. The second phase describes the later period of history of the Weimar Republic and photographic movement of Neue Sachlichkeit. The last part concentrates on Düsseldorf School of Photography and its current followers. These historical eras combines the aesthetic issues of cult and conceptual values, which is demonstrated on the way how read the photographic medium as a specific aesthetic phenomenon.
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Grundy, Susan Audrey. "Artemisia Gentileschi and Caravaggio's looking glass." Diss., 2004. http://hdl.handle.net/10500/2987.
Abstract:
Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the
concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a
shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father
Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the
camera obscura effect. Painting from a projection meant that Artemisia could achieve
an extreme form of realism and detail in her work. This knowledge, which was of
necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to
manipulate the technology, an extreme competitive edge over their rivals. This
dissertation challenges the naive assumptions that have been made about Artemisia's
working practices, effectively ignoring the strong causal links between art and science
in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up
her story to a whole new generation of scholarship.Art History
M.A. (Art history)
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Benická, Alexandra. "Živé obrazy VJingu." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313515.
Abstract:
The subject of the thesis Live images of VJing is an aesthetic activity, based on visual projections and on work with new media in real-time, known as VJing, or more generally "live audiovisual performance". As these performances usually complement auditory events or are supplemented by music. The first part follows the origins of VJing out of three angles: First the historical development of projected image, electronic music and the discourse of synaesthesia principle as an principle joining different sensory perceptions into one. Second part of this thesis is introducing an philosophical perspective and it's defining terms, through which can be glimpsed the tendencies in the development of contemporary art of new media, particularly following the example of the German new-media philosophy with terms like homöotechnik, performativity, mediality and gesture. The outcome of this thesis is the finding, that it's not the media-philosophy bringing the textures and shapes to VJing, but the opposite - VJing as an art form is a valuable contribution to defining of the media-philosophy, which seem to be forming along with the new media itself and with the experimental arts exploring it's radical possibilities.