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1
Albahari, Steven W. "Photographic representation." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/71053.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 51-52.
by Steven W. Albahari.
M.S.V.S.
2
Ukmar, Victor Alexander. "The Photographic Representation of Refugees." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21902.
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This thesis tries to shed light on the visual portrayal of refugees within German and the British newspapers during the European refugee crisis in 2016. Furthermore, a visual autoethnography of my own refugee photography complemented this study.Through the analysis of 80 newspaper photographs from Germany and Britain (quality press & tabloids), as well as nine of my own pictures, the following research questions had to be answered:Q1: How were refugees photographically represented in German newspapers (quality press & tabloids) during 2016?Q.2 How were refugees photographically represented in British newspapers (quality press & tabloids) during 2016?Q.3 How was I, as an amateur photographer, indirectly influenced in my own photographic portrayal of refugees by contemporary media.The analysis was conducted by coding all images into different visual categories, while observing reoccurring patterns and visual styles. Furthermore, the icnonographic-iconologic image framework was used for an in-depth review of certain newspaper images (each representing a different newspaper) and for two pictures of my own photography in an autoethnographic manner.The findings suggested that women and children were predominantly featured in both, German and British newspapers. German quality press focused on the representations of state control and on the integration of refugees. Furthermore, German tabloids did not refrain from very graphic imagery.British press featured a high number of pictures with women and children, while no representation of refugee integration could be found. Furthermore, the most notorious British tabloid seemed to portray a rather negative and partially criminal image of refugees.My own photography indicated a strong influence of commonly usedrefugee motifs. Thus, a subconscious reflection of international newspaper photography could be identified.
3
Davey, Gerald John. "Understanding Photographic Representation : Method and Meaning in the Interpretation of Photographs." Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/5372.
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The "linguistic turn" in early twentieth-century philosophy established that through language we not only live in a world but create it as well. Language, in this sense, incorporates the entire range of media and cultural artifacts through which we create and share meaning. In contemporary post-industrial societies, photographic images play a central role in communicating and creating the world in which we live. In part, this increasingly visually oriented culture is possible because we tend to equate what we see in photographs with what is real. Photographs, however, bring to light a vision of the world, not the world itself. From the inception of photography, traditions of aesthetic interpretation have challenged this dominant view. Here, the created image becomes a vehicle for the artist's unique expression. Proponents of social scientific and critique of ideology perspectives, however, reject the aesthetic view and typically see art objects as social constructs, instruments which enhance and maintain a certain social order. Each of these perspectives ultimately holds that the meaning of photographs can be determined objectively. At the same time, each presents a world view which tends to exclude the insights of the others. Any attempt to preserve the apparent insights of these views must, then, transcend the basic contradictions and incompatibilities between them. Philosophical hermeneutics holds that the presumption of an absolute, objective grounding represents a failure to grasp the nature of the path toward understanding, a path which can never arrive at its destination because it always exists in history. It argues that (1) the photograph cannot be transparent to the world for the world is constituted in our representations of it; (2) art is a creation whose origin and meaning always exceeds the artist's own understanding of it; (3) critique is not the application of universal reason but a reading from a particular vantage point and is always grounded in a tradition of its own. Most importantly, however, it calls us to recognize the participatory nature of all understanding, the universality of language and provides a criterion for assessing the relative value of our interpretations across the entire language world.
4
Johnston, Paul Anthony. "Sero-logues, a collaborative approach to AIDS photographic representation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22859.pdf.
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BRANDAO, CLAUDIO DE SAO PLACIDO. "REFLECTIONS ON THE PHOTOGRAPHIC ACT AS MODERN SOCIAL REPRESENTATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21126@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRONos últimos anos temos ouvido que as novas tecnologias associadas à produção e circulação de informações e imagens são responsáveis por uma espécie de revolução da vida contemporânea, pautando ativismos sociais, bem como a forma como nos relacionamos socialmente. De fato as transformações ocorreram, mas não podemos pensar em uma relação determinista entre tecnologia e as mudanças sociais a ela atribuída. Mostramos neste trabalho que as tecnologias só se impõem na medida que encontrem um público que as aceite ou que de certa forma esteja preparado para recebê-las. Bem como na medida que parece neutra ou transparente. Deste modo voltamos nosso olhar para o papel da sociedade na chancela da fotografia como representação social moderna, sendo a fotografia o objeto deste trabalho. Procuramos mostrar, em três momentos distintos, as formas de ver, suas práticas e convenções sociais usadas na representação, bem como a maneira que os sujeitos sociais se dão a ver. Em um primeiro momento investigamos as formas de representação desde as primeiras imagens encontradas no interior de cavernas como Lascaux e Altamira, até o aparecimento da fotografia. Em seguida mostramos como o processo fotográfico é apresentado publicamente como democrático, natural e independente da mão do representador. Destacamos que é o uso da fotografia pelo poder político e a circulação nos jornais e revistas, que de fato a valida como a forma de representação social dominante. O uso da fotografia como documento de identificação e vigilância aliada às formas capitalistas de produção e industrialização do processo de representação identificam a fotografia como produto típico da modernidade. Por último, buscamos as influências das transformações econômicas e sociais sobre a representação fotográfica no período que se convencionou chamar de pós-moderno que culminaram na chamada Revolução Digital. Mostramos que de fato esta passagem não foi assim radical, visto que se deu paulatinamente, respeitando a lógica do mercado, apresentando novidades em doses calculadas de olho no comportamento dos consumidores.
In the past few years we have heard that new technologies associated to information and image production and circulation are responsible for some kind of contemporary life revolution; underlining social activism, as well as the way we relate socially. Indeed transformations occurred, but we can not think of a deterministic relationship between technology and social changes attributed to it. We show in this paper that technologies impose only as they find an audience that will either accept them or that is somehow prepared to receive them. Insofar as it appears neutral or transparent. Thus, we turn our attention to the role of society in the endorsement of photography as a modern social representation, being photography the scope of this paper. We tried to show three different moments; the ways of seeing, its practices and social conventions, as well as the way social subjects display themselves. At first have investigated the forms of representation from the earliest images found inside caves like Lascaux and Altamira, until the advent of photography. Next we show how the photographic process is publicly presented as democratic, natural and independent of the hand of the artist. We highlight that it is the use of photography by political power and the circulation in newspapers and magazines that actually validates it as a dominant form of social representation. The use of photography as identification and surveillance document, combined with capitalist forms of production and industrialization of the process of representation, identify photography as a typical product of modernity. At last, we have looked for the influences of economic and social transformations on the photographic representation, during what has been called post-modern period, that culminated in the so-called digital revolution. We show that in fact this passage was not so radical as it happened gradually, respecting the logic of the market, presenting news in calculated doses with eyes on consumer behavior.
6
Kama, Lunga. "Imaginative acts of photographic of self-representation as a critical response to representations of the black male body in South African photography." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86412.
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Thesis(MA)--Stellenbosch University, 2014.ENGLISH ABSTRACT: The first part of this thesis discusses some of the problematic photographic practices that form part of the modern visual discourse employed in defining the representation of the black man in South African photography. The aim of this thesis is to critically investigate the visual discourse in contemporary South African photography and to outline the inherent flaws whereby the black male subject is represented according to racial stereotypes inherited from the photographic conventions of colonial discourse. The purpose of this is to investigate my own photographic practice by drawing a critical comparison with the works of German photographer Gustav Theodor Fritsch (b.1834-1927), South African photographers Alfred Martin Duggan-Cronin (b.1874-1954), the Caney brothers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo (b.1976-), Zanele Muholi (b.1972-) and Zwelethu Mthethwa (b.1960-), and Nigerian-born British photographer Rotimi Fani-Kayode (b.1955-1989). My argument is centred around the discussion of these photographer’s works and the visual impact on the manner in which the black subject is portrayed as a ‘noble savage’. The predominant visual representation of the black body in South African photography perpetuates the kinds of discourse that rely on anthropological photographic methods of representation. I argue that where the depiction of the black male body is concerned, a number of contemporary South African photographers mentioned in this thesis continue to unconsciously appropriate a colonial discourse wherein the body of the black man is cast in the exotic role of ‘noble savage’ with extreme attributes regarding sex and gender, either as extremely ‘effeminate’ or, alternatively, as ‘hyper-masculine’ and exuding a ‘raw’ sexual prowess (Read, 1996:64). The work that I create and my photographic practices utilise some of the abovementioned artists’ problematical visual devices in order to subvert them but also to create an alternate perception of black representation. In the second chapter of this thesis, I critically evaluate the work of Rotimi Fani-Kayode as a strategy to employ alternate means of visual representation of the black body in order to critically re-evaluate the work of contemporary South African artists in their depiction of the black male body through either studio photography or documentary photography. The aim is to point out imaginative forms of representation as an alternative to either of the two modes of photography mentioned above. The argument then aims to put emphasis on acts of imaginative self-representation, a contemporary mode in photographic art practice made popular by Rotimi Fani-Kayode. Imaginative self-representation involves “the ritualistic transformation of the colonial imagery into creations of our own” as black artists in order to subvert the dominant discourses on representations of the black body (Fani-Kayode, 1997:6). This is just one of the important strategies used by the artists mentioned in this thesis to critique black sexuality. My works and practices draw their influence from the discourses that dominate the contemporary discourse on the representation of the black body. My argument looks at stereotypical forms of photographic practice and critiques the problematical construct of such representations of black male sexuality. The purpose is to expose some of the Western principles that seek to regulate and control the black body. My own practice focuses on creating works of art that form part of my cultural and historical background. Sexuality and gender are discussed in the third part of this thesis as a means to outline my own photographic practice and its influences. The third chapter investigates the masculinity of the black subject through a discussion of sexuality and gender performativity. In this chapter, gender proves to be a performative, unlike some of the essentialist assumptions made about how sexuality and gender are unchanging. A visual mechanism that seeks to critically question racist representations of black sexuality such as drag and performativity is applied in the construction of affirmative imagery of black masculinity. The final chapter of the thesis focuses on my own work as an example of imaginative forms of self-representation. The first, second and third parts of the argument serve to provide a theoretical framework in which to situate my own practice.
AFRIKAANSE OPSOMMING: Hierdie tesis bespreek van die problematiese fotografiepraktyke wat deel uitmaak van die visuele diskoers waarvolgens die swart man in Suid-Afrikaanse fotografie uitgebeeld word. Die doel van die tesis is die kritiese ondersoek van die visuele diskoers in kontemporêre Suid-Afrikaanse fotografie, en die blootlegging van die inherente leemtes waarin die swart manlike subjek uitgebeeld word volgens rassestereotipes wat uit fotografie gebruike van die koloniale diskoers spruit. Die oogmerk is om my eie fotografiese praktyk te verken deur ’n kritiese vergelyking te tref met die werk van die Duitse fotograaf Gustav Theodor Fritsch (b.1834–1927); die Suid-Afrikaners Alfred Martin Duggan-Cronin (b.1874-1954), die Caneybroers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo(b.1976-), Zanele Muholi (b.1972-) en Zwelethu Mthethwa (b.1960-), en die Britse fotograaf Rotimi Fani- Kayode (1955-1989), ’n Nigeriër van geboorte. ). My argument is gesentreer rondom die bespreking van hierdie fotograaf se werke en die visuele impak op die wyse waarop die swart onderwerp word uitgebeeld as 'n 'edel barbaar ". Die visuele voorstelling van die swart liggaam in Suid-Afrikaanse fotografie is hoofsaaklik ’n voortsetting van die soort diskoerse wat op antropologiese fotografiese uitbeeldingsmetodes berus. Ek voer aan dat, wat die uitbeelding van die swart manlike liggaam betref, ’n paar kontemporêre Suid-Afrikaanse fotograwe wat in hierdie tesis ter sprake kom, steeds onbewustelik ’n koloniale diskoers handhaaf wat die eksotiese rol van ‘edel barbaar’ met uiterste geslags- en genderkenmerke – hetsy uiters ‘vroulik’ of ‘hipermanlik’ met ’n ‘rou’ seksuele manhaftigheid (Read, 1996:64) – aan die swart man toeken. In my eie werk en fotografiepraktyke het ek van bogenoemde kunstenaars se problematiese visuele middele gebruik gemaak, nie net om dit bloot te lê nie, maar ook om ’n alternatiewe opvatting van ‘swart’ uitbeelding te skep. In die tweede hoofstuk van die tesis gebruik ek alternatiewe metodes om die swart liggaam visueel uit te beeld in ’n kritiese herbeoordeling van die werk van kontemporêre Suid- Afrikaanse kunstenaars wat die swart manlike liggaam deur hetsy ateljeefotografie of dokumentêre fotografie voorstel. Sodoende verskuif die klem na verbeeldingryke vorme van uitbeelding as alternatief vir bogenoemde twee vorme van fotografie. Daarná val die soeklig op handelinge van verbeeldingryke selfvoorstelling – ’n kontemporêre metode in fotografiese kunspraktyk wat deur Rotimi Fani-Kayode gewild gemaak is. Verbeeldingryke selfvoorstelling behels “die rituele transformasie van koloniale beelde tot ons eie skeppings” as swart kunstenaars, ten einde die oorheersende diskoerse oor die uitbeelding van die swart liggaam omver te werp (Fani-Kayode, 1997:6). Dít is bloot een van die belangrike strategieë wat die kunstenaars in hierdie tesis gebruik om op swart seksualiteit kritiek te lewer. My werk en praktyk word beïnvloed deur die oorheersende kontemporêre diskoerse oor die voorstelling van die swart liggaam. In my argument bestudeer ek stereotiepe vorme van fotografiese praktyk, en lewer ek kritiek op die problematiese konstruk van sodanige voorstellings van swart manlike seksualiteit. Sodoende word sommige van die Westerse beginsels wat die swart liggaam wil reguleer en beheer aan die lig gebring. My eie praktyk konsentreer op die produksie van kunswerke wat deel uitmaak van my kulturele en historiese agtergrond. Deel 3 van die tesis ondersoek seksualiteit en gender ten einde my eie fotografiepraktyk, én die faktore wat dit beïnvloed, te omskryf. Die derde hoofstuk ondersoek die manlikheid van die swart subjek deur ’n bespreking van seksualiteit en gender performatiwiteit. Uit hierdie hoofstuk blyk dit dat gender as performatief verskil van die essensialistiese aannames oor die onveranderlike aard van seksualiteit en gender. Visuele meganismes om rassistiese voorstellings van swart seksualiteit te bevraagteken, soos fopdossery en performatiwiteit, word toegepas in die konstruksie van bevestigende beelde van swart manlikheid. Die laaste hoofstuk van die tesis konsentreer op my eie werk as voorbeeld van verbeeldingryke vorme van selfvoorstelling. Gesamentlik dien die drie dele van die argument as teoretiese raamwerk waarin my eie praktyk geplaas kan word.
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Wise, Jonathan. "Photographic memory : Inuit representation in the work of Peter Pitseolak." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0019/MQ54350.pdf.
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Warburton, Nigel William Reginald. "Mirror with a memory? : a philosophical analysis of photographic representation." Thesis, University of Cambridge, 1989. https://www.repository.cam.ac.uk/handle/1810/250960.
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Hall, Alison. "The Shelter photographs 1968-1972 : Nick Hedges, the representation of the homeless child and a photographic archive." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6534/.
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The thesis examines the work of photographer Nick Hedges (b. 1953) who made photographs for the housing charity Shelter between 1968 and 1972. It concentrates on Hedges’ methodology, his representation of the homeless child, and how this was deployed in Shelter’s campaign strategy. Moreover, it examines the wider political, sociological and cultural debates surrounding the conception, production, dissemination and reception of the Shelter photographs. The thesis argues that Hedges’ photographs, although contextualised by an ostensibly radical charity agenda, were shaped by an established photographic and art historical tradition reaching back to the nineteenth century. This is examined in the light of a shifting conception of what constituted an ethically sound representation of homelessness amongst leftist critics in Britain from the 1970s onwards. The thesis equally discusses the archive as a site of photographic accession, interpretation and display, and outlines the issues that face archive professionals charged with the presentation of the Shelter photographs to a contemporary audience. By combining art historical analysis of Hedges’ photographs with research into their current framing in the archive, the thesis offers a distinctive contribution to scholarship, exploring how photographic meaning is shaped, subverted and disseminated by individuals, organisations and institutions alike.
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Bakht, Nazli. "Analysis Of The Limits Of Representation Of Architectural Photographic Images In Periodicals." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608921/index.pdf.
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This study aims to analyze the limits of representation of architectural photographic images in periodicals within architectural media that shape today’
s architectural production. This aim is accomplished in three sections
examining the power of image in architecture
examining architectural media and examining the periodicals&
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attitudes towards using architectural photography. A case study is done to uncover the relationship between the photograph and the medium that it takes place on and determine the continuities and discontinuities between the architecture and visual language that is used to &
#8216
represent&
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it. Zaha Hadid is selected as she is one of the leading figures in contemporary architectural culture and her projects are widely published in media. The exemplary periodicals from different cultural domains are selected according to their positions in architectural media. Selected examples are thought to be the representative for each domain. The contextual properties of each domain are outlined and compared through a set of variables. These variables appear to form the ground for the identification of the limits of architectural media within contemporary architectural production. Finally, the case study aims to understand the periodicals&
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attitudes towards using photographic imagery and finally compare architect&
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s intentions and design considerations about his projects and the way it is represented in selected periodicals.
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Sert, Gul Berrak. "A Survey On Photographic Representation In Architectural Magazine Covers: Covers Of Arredamento-mimarlik." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608044/index.pdf.
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This study has an aim of exploring how a Turkish architectural magazine, Arredamento Mimarlik, communicates itself to the reader by its cover designs. Since, representation is a tool for architects to transmit ideas and express positions in the discipline of architecture, usage of representation in architectural media has a critical role to promote the communication in architecture.
The theoretical framework of the research based on the photographic image investigation of Roland Barthes. In the light of this investigation, the study cites that photographic images with accompaniment of texts transmit messages which construct the communicative role of magazine covers in architectural media. In the realm of predefined identity of a magazine, the interpretation of cover concept confronts with a critical position which identifies magazine&rsquos approach to both architecture and its mediatic character. Since Arredamento-Mimarlik is a significant magazine which has a discursive approach on cover concept, the publication history and critical position of the magazine is investigated elaborately in the light of Bü
lent Erkmen&rsquo
s, the designer of the covers, and Ugur Tanyeli&rsquo
s, the managing editor, citations. Through this survey on Arredamento Mimarlik covers, the representation of architecture in media through a significant representative tool-magazine cover- is studied in terms of signification character of image and text. In this sense, the critical role of magazine which orients the comprehension of architecture in society is emphasized as a discursive value in addition to magazine&rsquo
s informative character.
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Brundrit, Jean. "Photographic representation of lesbian identity with special reference to the Southern African context." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51873.
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Thesis (MA)--Stellenbosch University, 2000.ENGLISH ABSTRACT: This thesis presents a discussion of a photographic representation of lesbian identity in Southern Africa. Two photographic series, Does your lifestyle depress your mother? and the Dyke Career Series (collectively referred to/exhibited as Lavender Menace) produced during the period 1997 to 1999 form the practical component of this MA submission. Lavender Menace is considered in relation to lesbian identity, lesbian social visibility, stereotypes and the relationship between photography and 'reality'. The various readings that the works can be said to have, are discussed and an explanation of the purpose in photographing the 'ordinariness' of the lesbians who were imaged, is included. A historical overview of the concepts 'lesbian', and 'visibility'specifically in South Africa during the last 50 years, and how homophobia has affected lesbian life is presented in Chapter One. In Chapter Two, the notion of stereotypes is examined, particularly those of the 'butch' lesbian and the 'lipstick' or 'chic' lesbian. Neither of these stereotypes is entirely accurate and the role of stereotypes in potentially disseminating mis-information and prejudice, and how this influences potential ways of identity construction, is discussed. It can be seen that this influence of stereotypes on lesbians and lesbian visual representation cannot be ignored as the dominant stereotypes in society are too pervasive. The notion of readability is explored in Chapter Three. The constructed nature of photography, specifically with regard to Lavender Menace, is discussed in relation to truth, theatricality, the use of text and possible readings of the work. An explanation of my particular purpose in choosing to photograph in the way I did is included, concluding that although meaning is not fixed, the intention of the artist can be visually presented in a 'legible' manner (if desired) to assist possible interpretations. This thesis/research has been utilised to inform my own artistic production, by exploring the questions and issues raised while producing Lavender Menace, namely lesbian visibility, the use of stereotypes and how images are interpreted. This thesis and Lavender Menace should contribute to the general research area by promoting social visibility of lesbians in South Africa.
AFRIKAANSE OPSOMMING: Hierdie tesis bied 'n bespreking van 'n fotografiese voorstelling van lesbiese identiteit in Suid-Afrika. Die praktiese komponent van die voorlegging vir die Meestersgraad bestaan uit twee reekse fotos, Does your lifestyle depress your mother? en Dyke Career Series, wat in die periode vanaf 1997 tot 1999 geproduseer is (en gesamentlik as Lavender Menace uitgestal/beskou word). Lavender Menace word in verhouding tot lesbiese identitieit, lesbiese sosiale sigbaarheid, stereotipes en die verhouding tussen fotografie en 'werklikheid' beskou. Die verskillende lesings/beduidenisse wat die werk sou kon hê, word bespreek en 'n verduideliking van die doelstelling met die fotografering van die 'gewoonheid' van die lesbiese wat verbeeld is, word ingesluit. 'n Historiese oorsig van die konsepte 'lesbies' en 'sigbaarheid', veral in Suid-Afrika gedurende die afgelope 50 jaar, en hoe homofobie die lesbiese lewenswyse geaffekteer het, word in Hoofstuk Een aangebied. In Hoofstuk Twee word die idee van stereotipes ondersoek, veral die van die 'butch' en die 'lipstiffie-', of'sjiek' lesbiese vrou. Geeneen van hierdie stereotipes is geheel-en-al korrek nie en die rol van stereotipes in die potensiële verspreiding van verkeerde inligting en vooroordeel en hoe dit die potensiële wyses vir die konstruksie van identiteit affekteer, word bespreek. Daar word getoon dat die invloed van stereotipering op die lesbiese vrou en die lesbiese visuele voorstelling nie geïgnoreer kan word nie, aangesien die oorheersende stereotipes in die samelewing te deurdringend is. Die idee van leesbaarheid word in Hoofstuk Drie ondersoek. Die gekonstrueerde aard van fotografie, veral met betrekking tot Lavender Menace, word met betrekking tot die waarheid, die teatrale, die gebruik van teks en moontlike lesings/interpretasies van die werk bespreek. 'n Verduideliking van my besondere doelstelling met die keuse van hoé om te fotografeer word ingesluit, met die konklusie dat, alhoewel betekenis nie finaal vasgelê is nie, die bedoeling van die kunstenaar visueel op 'n 'leesbare' manier voorgestel kan word (indien dit verlang word) om moontlike interpretasies te ondersteun. Die tesis/navorsing is aangewend om my eie artistieke produksie in te lig deur die vrae en kwessies wat gedurende die produksie van Lavender Menace na vore gekom het, namens lesbiese sigbaarheid, die gebruik van stereotipes en hoe beelde geïnterpreteer word, te ondersoek. Hierdie tesis, tesame met Lavender Menace, behoort Inbydrae te lewer tot die navorsingveld in die algemeen deur die bevordering van die sosiale sigbaarheid van die lesbiese in Suid-Afrika.
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Tasini, Emma. "Photographic Representation and the Syrian Refugee Crisis: A Case Study at the Claremont Colleges." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/pitzer_theses/90.
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This thesis focuses specifically on student media consumption around the Syrian Refugee Crisis at the Claremont Colleges through interviews and participant observation in order to understand the role of media photos in knowledge production around the Syrian Refugee Crisis. Looking at the role of photos in a cross-cultural understanding of the Refugee Crisis, this thesis analyzes the way individuals read and interpret these photos. I argue that photos have a vital role in knowledge production of the Syrian Refugee Crisis however their presentation and consumption occurs in a complex world without guidelines of what photos impact are and how they should be used. Finally, I aim to understand the potential for more ideal representation of the Syrian Refugee Crisis.
14
Herrerias, Cuevas Vesta Mónica. "Le masque social ou la representation de la bourgeoisie mexicaine dans le portait photographique (1854-2008)." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030058.
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Loin de la dénonciation sociale ou d’un exercice strictement historique, le présent travail cherche à comprendre comment se construit l’image du personnage bourgeois à travers l’étude de portraits de la bourgeoisie mexicaine entre 1854 et 2008. Le concept de masque permet de rendre compte du portrait en tant que construction d’un modèle de représentation sociale. La première partie propose un aperçu général des origines et de l’évolution du portrait pictural, de son influence sur le portrait photographique, des conséquences des idées humanistes sur l’art, enfin de l’histoire de la bourgeoisie mexicaine et du portrait photographique bourgeois au Mexique. La deuxième partie s’intéresse au phénomène de la carte-de-visite en tant que source et modèle du portrait photographique de la bourgeoisie mexicaine, avant d’examiner la question de la figure : l’interprétation de la pose et du visage en tant qu’éléments constitutifs de la construction d’une identité sociale. La troisième partie étudie le fond, c'est-à-dire les différents espaces dans lesquels le personnage bourgeois se fait photographier, les objets qui l’entourent et son rapport à eux. Cette recherche s’appuie sur les contributions théoriques de philosophes, d’écrivains, d’historiens et de photographes tels qu’André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Parmi les photographes mexicains abordés dans cette étude, l’on citera les frères Valleto, Cruces et Campa, les Archives Casasola, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell et Ivonne VenegasFar from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas
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Collard, Megan R. "Capturing Authority: Analyzing the Representation of the Authority of the Photographic Image in NADJA and WHITE NOISE." Miami University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1178304977.
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Bruce, Janine. "Static Moments Photographic Notions of Time in the Paintings of Degas, Vuillard, Bonnard and Sickert." Thesis, University of Canterbury. Art History and Theory, 2012. http://hdl.handle.net/10092/8192.
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This thesis explores the relationship between photography and painting from the mid-nineteenth-century to the early twentieth-century. Specifically, I focus on the artistic outputs of four painters, Degas, Vuillard, Bonnard and Sickert, and the different manners in which they incorporated photography within their creative practices. In particular, I concentrate on photography’s representation of and relationship with time, discussing this in relation to three concepts, that of the narrative moment, memory and motion; concepts that painters often experimented with and explored during the timeframe mentioned.
Throughout the thesis I examine how the paintings of my selected artists compare and contrast with photographic imagery. By doing so I demonstrate how these artists incorporated and commented on photographic notions of time within their paintings. Three of the artists, Degas, Vuillard and Bonnard, also experimented with photography and I look at how their photographic experiments related to and/or impacted their painting practices. This thesis argues that the selected painters’ experimentation with photography did not hinder their creative vision, but rather enhanced it. Further, I comment on how these artists recognised the differences between photographic representations of life and their own visual and emotional experiences, thereby challenging photography’s connection with objective truth; an important critique considering that photography was still in its infancy.
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Belete, Roman Yiseni. "The contest of representation : photographic images of Ethiopian women in national print media, development aid organisations and galleries." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10631/.
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The repetition of particular photographic narratives may homogenise women from the non-European world, particularly those from sub-Saharan Africa, who are often portrayed as victims of drought, famine, war and conflict. The research critically analyses the historical and contemporary construction of female bodies in Ethiopia through photographic images. It provides a novel overview of the least explored representational practices, by comparing photographic works commissioned by aid and development organisations with those produced by Ethiopian photographers. It specifically considers how far stereotypical representations are being challenged and deconstructed in contemporary practices of photography in Ethiopia. This project assesses over seventy photographic images, ranging from picture postcards to photojournalism and photo-essays, and seeks to critically interpret them from their site of production to their final presentation in different modes of circulation (Rose, 2003). It triangulates the meanings of images through developing an understanding of the specificity of documentary photographs, the photographers’ intent and the demands of institutions, including the national print media, development aid organisations and galleries. The research argues that some Ethiopian photographers use the photographic image as a medium to confront stereotypes in picturing poverty, drought, famine, malnutrition and HIV/AIDS, there by contesting narratives about Ethiopia and Ethiopians in the process.
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Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.
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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
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Kaunert, Chelsea Ann. "#underestimated: an intersectional approach to the exploration of girl athlete identities through photographic self-representations." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1498952710103778.
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Wong, Ka-fai. "The problems of visual discourse : a study of the politics of representation with special reference to the photographic image /." [Hong Kong : University of Hong Kong], 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12380519.
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Whitehall, G. "The import(ance) of history and modernity : home, parish, and imperial order in the photographic representation of Simla 1860-1920." Thesis, University of the West of England, Bristol, 2014. http://eprints.uwe.ac.uk/23438/.
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The research sits in a gap between historical geography, colonial history, local micro-history and art history but also draws on wider fields such as museology, anthropology and cultural theory. It offers new perspectives onto the historiography of the photographic representation of British India whilst probing the benefits and limitations of using photography as a historical source. In particular it highlights how technological restrictions impacted on what was represented. Specifically it provides the first examination of the photographic representation of Simla, the summer capital of the British Raj, as a site. Moreover, it offers the first real interrogation of another overlooked subject; namely, the photographic representation of the physical, social and psychological structures that the colonial society created in order for it to function effectively. What has been termed the ‘Furniture of the British Raj’. It reveals the importance of the notion of home for the colonial society at Simla, the significance of establishing a British history and aura for the town and the nature of photography’s role in propagating such conceptions. In doing so it promotes an understanding of the reasons behind the application of a picturesque aesthetic to the representation of Simla. It provides new conceptions of period realities by probing the representation of inter-communal interpersonal relationships, the depiction of technology and the social order created within the Simla municipality. The in-context methodology employed has been central to the enquiry: instead of viewing the colonial presence as a homogenous whole it showcases individual differentiated viewpoints. Viewpoints made manifest by the focus on four photographic archives that are examined not as isolated quoted images but as curated culminate bodies of work within the context of their production. Uniquely, the thesis allows the images, including small details within the frame, to prompt disparate avenues of historical research unearthing subjects that might otherwise not be interrogated. The juxtaposition of these different strands creates a unique understanding of place and society. It is an approach that has culminated in new perspectives on, and understanding of, site-specific issues and mentalities: including those concerning colonisation, the environment, forestry, psychological well-being, recreation, sport, social institutions, commerce, the railway, infrastructural development, municipal governance, spatial design, labour and introduction of modernity.
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Falk, Rickard. "Jordnära : Erfarenheter från ett röse." Thesis, Södertörns högskola, Institutionen för historia och samtidsstudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29678.
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The purpose of the essay is to see (1) how being a bricoleur works within the framework of academic discourse, specifically an archaeological one, (2) if, by usinga bricoleur approach, incorporating object-oriented philosophy, phenomenology, aesthetic theory and photography, one can get at different interpretations of an archaeological place and material; specifically the cairn at Skårby and how it ”should” be approached, and (3), if the incorporation of a photography that’s not aimed at textual illustration or representation, along with a looser language, can make an academic text like this one more approachable.
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Barromi, Perlman Edna. "Researching photographic representation of biological families in kibbutzim in Israel between 1948 and 1967 : family snaps on kibbutz : do they exist?" Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442443.
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Bonfiglioli, Cristina Pontes. "Discurso ecológico: a palavra e a fotografia no Protocolo de Kyoto." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-19052009-162931/.
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Esta pesquisa teve como objetivo relacionar operações discursivas distintas a palavra e a imagem a partir de um recorte também duplo, o discurso ecológico constituído pelo Protocolo de Kyoto e as fotografias que se auto-designam como representações imagéticas do mesmo. O trabalho elabora relações, aproximando e diferenciando conceitos como formação discursiva e enunciação de Foucault; escritura, de Derrida; representação, de Heidegger; gesto fotográfico, de Flusser, e ato fotográfico, de Dubois, Sensação, de Deleuze, além de incluir as abordagens teóricas sobre a fotografia de paisagem, de Krauss e considerações sobre a natureza e a história da fotografia, de Fabris. A partir da convenção que define que toda fotografia é permeada por texto ou por formações discursivas, propôs-se a análise de grupos de imagens fotográficas desvinculadas de seus textos de origem, mas às quais se atribui o papel de ilustração do Protocolo de Kyoto. O resultado mostra que há fotografias produzidas como cópias estereotipadas da significação que seus textos de origem lhes impõem e há outras que conseguem desvincular-se deles, apresentando-se ao observador como fruição e Sensação. O Protocolo de Kyoto é representado pelos textos e formações discursivas que o organizam e o instituem, mas não por todas as imagens fotográficas que lhe são associadas. Tais fotografias expressam maior autonomia em relação aos seus contextos de origem porque seus elementos estéticos são vetores de força mais intensa que a escritura científica que legitima o valor de verdade do Protocolo.This research intended to relate distinct discursive operations considered as the opposition between writing and image, based in another opposition, the ecological speech, constituted by the Kyoto Protocol and the photographs that are assigned as representations to illustrate it. The analysis elaborates relations, by approaching and differentiating concepts such as discursive formation and enunciation in Foucault; scripture and writing, in Derrida; representation, in Heidegger;, in Flusser, and photographic act, in Dubois, Sensation, in Deleuze, beyond including the theoretical approaches on the photograph of landscape, by Krauss and considerations about the nature and the history of the photograph, by Fabris. From the convention that defines that all photography is permeated by text or surrounded by discursive formations, the approach proposed the analysis of groups of photographic images freed from their texts of origin, but to which the role of \"illustration\" of the Protocol of Kyoto is attributed. The result shows that there are photographs produced as stereotyped copies of the significance that their texts of origin impose to them and there are other photographs which seem to be detached from texts, presenting themselves to the observer as fruition and Sensation. The Protocol of Kyoto is represented by the texts and discursive formations that organize and institutionalize it, but not by all the photographic images that are associated to it. Such photographs express bigger autonomy regarding their contexts of origin because their aesthetic elements are vectors of more intensive force than the scientific writing, which legitimizes the value of truth of the Protocol.
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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
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Hurpia, Pedro Augusto Machado. "Cumplicidade : questões da pintura e da representação." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284112.
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Orientador: Luise WeissDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa é uma reflexão sobre o processo criativo das pinturas realizadas entre 2006 e 2009. A utilização de imagens fotográficas como modelo para as pinturas é uma constante e evidencia uma postura diferente com o objeto representado. Com ênfase em questões ligadas a representação e a pintura, organizo os elementos que permeiam as obras e que servem como uma estrutura na construção de uma poética.
Abstract: This research is a reflection about the creative process in the paintings made between 2006 and 2009. The use of photographic images as a model for the paintings is often used and shows a different attitude to the object depicted. With emphasis on issues related to representation and painting, I organize those elements that permeate the works and serving as a structure in the construction of a poetical.
Mestrado
Mestre em Artes
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Jacobson, Shelley. "Temporal landscapes : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/907.
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Temporal Landscapes is a research project concerned with culture-nature relations in the context of contemporary industrial land use in New Zealand; explored visually through the photographic representation and presentation of gold mining sites – former, current and prospective – in the Hauraki region. In the current period of industrial capitalism, featuring the mass exploitation of natural resources, nature is commonly thought of as subservient to humankind. This stance, with its origin in scientific ideology of the 17th Century, is interesting to consider in relation to contemporary notions of landscape, and the ‘ideal’ in nature. In New Zealand, a balance is being sought between interests of sustainability and conservation, and of industry and economy. This is not to say that industry opposes environmental safeguards; in contrast, sustainable management including the rehabilitation of land post-industrialisation is integral to modern mining practice in New Zealand. With this emphasis on controlled industrial progress, two key factors emerge. Firstly, this level of control implicates itself as a utopian vision, and secondly, industrialisation is advocated as a temporary situation, with industrial land as transitory, on the path to rehabilitation. The research question of Temporal Landscapes asks; in considering contemporary industrial land use in New Zealand within a utopian framework – focussing specifically on gold mining in the Hauraki Region – has our ideal in nature become that of a controlled, even post-industrial, landscape? The photographic representation of these sites offers a means to explore and express their visual temporality. With the expectation of industrial sites as fleeting and rehabilitated sites as static utopias, it would seem that this industrial process is a kind of contemporary ideal. Presented as a flickering projection piece, 23 Views. (Prospective gold mining site, Golden Valley, Hauraki, 2008 / Martha gold mine and Favona gold mine, Waihi, Hauraki, 2008), and a set of selectively lit prints, Untitled I. (Garden, pit rim walkway, Martha gold mine, Waihi, Hauraki, 2008), Untitled II. (View of pit, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), and Untitled III. (View of water treatment pond, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), they act as landscapes of partial comprehension.
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Cardim, Monica. "Identidade branca e diferença negra: Alberto Henschel e a representação do negro no Brasil do século XIX." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-01072014-123956/.
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Esta dissertação objetiva analisar a representação do negro no Brasil no século XIX a partir de retratos produzidos pelos estúdios fotográficos de Alberto Henschel (1827-1882), entre 1866 e 1882. Alemão radicado no Brasil, em 1866, este empresário bem sucedido do campo da fotografia chegou a ser agraciado com o título de fotógrafo da Casa Imperial, tendo produzido um grande número de retratos de negros no formato carte-de-visite. A investigação parte da hipótese de que essas imagens materializam certos estereótipos, característicos da representação da alteridade, além de fazerem uso das convenções pictóricas contemporâneas e, até mesmo, anteriores à própria invenção da fotografia. Para essa análise foram utilizados os conceitos de identidade e diferença, bem como de representação e autorrepresentação. Por intermédio do cotejamento das fotos de brancos com as fotos de negros, produzidas por Henschel, foi possível comprovar que a produção das últimas visava a atender a uma demanda por imagens tipificadoras, adequadas ao colecionismo de caráter etno-antropológico. Tratava-se de uma prática de viés imperialista que teve lugar na Europa. Além da análise das fotografias, propriamente ditas, esta dissertação problematiza a natureza dos arquivos que guardam a produção fotográfica de Alberto Henschel, os critérios que nortearam sua formação e aquilo que, de fato, eles nos permitem conhecer a respeito do fotógrafo, sua obra e sua época.This dissertation aims to analyse the representation of black people in Brazil during the XXth century based on portraits produced by Alberto Henschel (1827-1882)s photographic studios between 1866 and 1882. This successful German photography businessman settled in Brazil since 1866 was awarded the title of Photographer of the Royal House having produced a large number of portraits of black people in carte-de-visite format. This study starts from the assumption that these images embody certain stereotypes characteristic of the representation of otherness, as well as making use of pictorial conventions both contemporary and previous to the invention of photography itself. The concepts of identity and difference were used for this analysis, as well as those of representation and selfrepresentation. Through mutual comparison of photographs of white and black people produced by Henschel, it could be verified that the production of the latter sought to meet a demand for typifying images adequate for ethno-anthropological collecting (collectionism). This was a practice with a imperial bias which took place Europe. Besides analyses of photographs, this dissertation also raises a discussion on the nature of the files storing Alberto Henschels photographic production, the criteria which guided their formation, and what they actually allow us to know about the photographer, his work and his time.
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Edge, Sarah-Jane. "Photography and identities : a case study and related photographic practice : an investigation into the role of early photographic representations of working-class women from London (1860-1865) as represented in the photographic collection of Arthur J. Mu." Thesis, University of Ulster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428807.
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Fossard, Aurore. "Paparazzi à l’écran : Présence et disparition d’un personnage photographe dans la fiction cinématographique et télévisée occidentale (1940 – 2008)." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20028/document.
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Si le paparazzi est le parent pauvre de l’histoire de la photographie, il est une source précieuse d’inspiration pour la fiction cinématographique et télévisuelle. Personnage avant même d’apparaître à l’écran, le paparazzi instaure une tension à la fois narrative et visuelle qui autorise un questionnement sur ses modalités de représentations. À l’aide d’un corpus defilms et de séries télévisées occidental allant de 1940 à 2008, notre étude entend repérer et analyser les récurrences des représentations du paparazzi dans une approche socio-historique et culturelle. Séducteur, sauveur... chasseur, voleur ? Revenir sur l’imaginaire de l’appareil photographique et sur le caractère hybride de sa pratique permet de comprendre comment se construit l’image d’un « mauvais » photographe. Masse impersonnelle ou personnage principal du récit, mi-animal, mi-machine, les différentes formes que prend le paparazzi à l’écran révèlent et menacent l’humanité de la star. À l’heure où les chances d’accéder au statut de célébrité sont aussi fortes que les probabilités de « faire le paparazzi », la fiction révèle une lutte à mort dans laquelle chaque partie se bat pour une valeur devenue absolue : la visibilitéAlthough the paparazzi is the poor relation in the history of photography, it is a precious source of inspiration for cinematographic and televisual fictions. Already a character before appearing on screen, the paparazzi establishes a tension, both narrative and visual, that encourages an exploration of its forms of representation. Supported by a collection of films and western television series, from 1940 to 2008, this work will identify and analyze the reoccuring ways in which the paparazzi is represented, from a socio-historical and cultural perspective. Seducer, savior… hunter, thief ? Returning to the imaginary world which surrounds the camera and the hybrid quality of its use allows one to understand how theimage of a « bad » photographer is built. Anonymous croud or main character in the story, half-animal, half-machine, the different faces of the paparazzi on screen both enlighten and threaten the star’s humanity. At a time when the chance of reaching celebrity status are as high as the odds of « acting like a paparazzi », works of fiction reveal a struggle to the deathin which each party fights for a new absolute value : visibility
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Perez, Nissan N. "Picturing faith : Christian representations in photography." Thesis, University of Brighton, 2012. https://research.brighton.ac.uk/en/studentTheses/6f064e7d-f2a8-4427-8492-b8a5ca7f9d49.
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This dissertation addresses the largely unexplained phenomenon of the multitude of representations of Christian themes and symbolism in photography. It also considers the absence of photography in the extensive debates, conducted throughout art history, concerning relationships between art and religion.
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Wright, Terence Viner. "The self-reflexive attitude to photography : photography considered as a system of representation." Thesis, University College London (University of London), 1986. http://discovery.ucl.ac.uk/10019599/.
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Pallas, Basile. "De la vue au regard : littérature et photographies au XIXe siècle." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30055.
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Au XIXe siècle, la photographie est vue comme une image vraie. Produite mécaniquement, elle serait la copie fidèle de la réalité, ce qui justifie la croyance en la vérité de ses images. Dès les premiers discours tenus à son égard, la photographie apparaît comme une image transparente, ne donnant rien d’autre à voir que la réalité, ce qui explique notamment les postures de rejet généralement adoptées par les écrivains et les artistes face à cette image, antithèse de l’art. Notre travail s’efforce de montrer comment, à l’inverse, la photographie a été, dans les textes littéraires en particulier, rendue à sa visibilité, c’est-à-dire à sa nature de vraie image. Pour cela, nous déterminons comment le phénomène optique de l’aberration, qui suppose une déformation de l’image plus ou moins visible, rend compte d’une pensée s’attachant à concevoir la photographie comme vectrice de troubles dans sa représentation. Nous examinons alors différentes manifestations de ces phénomènes dans la littérature, qui sont liées à une conscience de la matérialité des images, de leur mode de fabrication particulier, mais aussi de leurs défauts, opacifiant ce qu’elles représentent. L’attention de certains écrivains portée à ce que nous appelons la dimension photographique des photographies ouvre des pistes multiples sur la poétique des textes et situe le modèle photographique dans un ailleurs du réalisme. La réflexion sur la photographie dans les textes permet également de mesurer les conséquences d’une croyance en la vérité des images, croyance qui se révèle, à différents niveaux, comme aberrante. En effet, le fantasme d’une visibilité parfaite n’a pas seulement été appréhendé comme un moyen de mesure rationnelle du monde. La visibilité accrue et excessive de la photographie révèle au contraire ce que la réalité a de plus étrange et de plus inquiétant. Dans les textes, le modèle photographique éclaire alors une représentation fantastique du monde, lorsque celui-ci s’ouvre aux fantasmes et aux hallucinations. Nous tentons de cerner, à travers des œuvres littéraires et photographiques variées (Nerval, Champfleury, Nadar, Maupassant, Geffroy, Rachilde, Bonnetain, etc…) les différents phénomènes qui apparaissent comme les principaux agents de déréalisation de l’image photographiqueIn the nineteenth century, photographs are first seen as true images. Produced mechanically, they would be the faithful copy of reality. This justified the belief in the truth of photographic images. From the earliest speeches made about it, photographs appeared as transparent images, giving nothing more to see than reality. This explains the postures of rejection generally adopted by writers and artists in the face of the photographic image, seen as the antithesis of art. Our work tries to show how, on the contrary, photography has been rendered in literary texts, to its visibility, that is, to its nature as a true image. To do this, we determine how the optical phenomenon of aberration, which is a deformation of the image, accounts for a line of thought which tries to conceive of photography as a vector of disturbances in its representation of reality. We then examine different manifestations of this phenomenon in literature. They are linked to a growing awareness of the materiality of the images and their particular mode of manufacture, but also of the defects opacifying what they represent. The attention given by certain writers to what we call the “photographic dimension” of photographs opens up multiple avenues to the poetics of texts and situates the photographic model beyond realism. The inquiry on photography in texts also makes it possible to measure the consequences of a belief in the truth of images, a belief that reveals itself, at different levels, as aberrant. Indeed, the fantasy of perfect visibility has not been apprehended only as a means of rational measurement of the world. The increased and excessive visibility of photography reveals, on the contrary, what is strangest and most disturbing in reality. The photographic model illuminates a fantastical representation of the world’s fantasies and hallucinations. The different phenomena studied then appear as the principal agents of derealization of the photographic image
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Silva, Sonia Maria Ferreira da. "Arquivo e memória fotográfica: manifestações populares da Bahia no olhar de Sílvio Robatto." Instituto de Ciência da Informação, 2013. http://repositorio.ufba.br/ri/handle/ri/18175.
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Pesquisa acerca da fotografia como fonte de informação para subsidiar pesquisas nas várias áreas do conhecimento. Universo pesquisado arquivo pessoal de Sílvio Robatto, arquiteto, fotógrafo e professor da Universidade Federal da Bahia. Esta figura insigne da inteligência da Bahia dedicou grande parte de sua vida a fotografar algumas temáticas referente à cultura baiana tais como : manifestações religiosas, populares e culturais (2 de julho, lavagem do Bonfim, carnaval, festa Iemanjá); arquitetura barroca; embarcações; arquitetura urbana da cidade de Salvador; espetáculo de dança e de teatro, que ocorreram em Salvador desde a década de 50. A arte de fotografar legou à família e à sociedade um rico acervo fotográfico que retrata a cultura baiana. Trata-se de documentação de imensa relevância que se encontra no anonimato e sem visibilidade. A partir desse arquivo fotográfico, apresentaremos pesquisa aplicada, descritiva, com abordagem qualitativa e elementos quantitativos, fundamentada na observação e análise do arquivo em foco. Como resultado, apresentamos estudos realizados na área da ciência da informação (CI) e da descrição arquivística, com proposta de modelo de metodologia a ser aplicada para representar a informação do documento fotográfico, de modo que possibilite a sua recuperação e disseminação.
Abstract-This research is about photography as a source of information to support research in many areas of knowledge. Universe researched of personnel file Silvio Robatto, architect, photographer and professor at the Federal University of Bahia. This outstanding figure of intelligence of Bahia devoted much of his life to photographing some issues concerning the Bahian culture such as religious events, and popular culture (July 2, Washing of Bonfim, Carnival, Party of Yemanja); baroque architecture, craft, urban architecture of the city of Salvador, dance performance and theater, which occurred in Salvador since the 50s. His art of shooting left the family and society, a rich photographic collection portraying the Bahian culture. The documentation of his art is of immense importance and is anonymous and no visibility yet. From this photographic archive, we present descriptive applied research, with qualitative approach and quantitative elements based on observation and analysis of the file in focus. As a result, we present studies in the area of information science (CI) and the archival description as proposal of methodology model to be applied to represent the information of the photographic document in a way that facilitates their retrieval and of its dissemination.
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Geller, Peter G. (Peter Geoffrey) Carleton University Dissertation History. "Northern exposures; photographic and filmic representations of the Canadian North, 1920-1945." Ottawa, 1995.
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Tsiminaki, Vagia. "Appearance Modelling for 4D Representations." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAM083/document.
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Ces dernières années ont vu l'émergence de la capture des modèles spatio-temporels (modélisation 4D) à partir d'images réelles, avec de nombreuses applications dans les domaines de post-production pour le cinéma, la science des sports, les études sociales, le divertissement, l'industrie de la publicité. A partir de plusieurs séquences vidéos, enregistrées à partir de points de vue variés, la modélisation 4D à partir de vidéos utilise des modèles spatio-temporels pour extraire des informations sur la géométrie et l'apparence de scènes réelles, permettant de les enregistrer et de les reproduire. Cette thèse traite du problème de la modélisation d'apparence.La disponibilité des donnée d'images offre de grands potentiels pour les reconstructions haute fidélité, mais nécessite des méthodes plus élaborées. En outre, les applications du monde réel nécessitent des rendus rapides et des flux réduits de données. Mais l'obtention de représentations d'apparence compactes, indépendantes du point de vue, et à grande résolution est toujours un problème ouvert.Pour obtenir ces caractéristiques, nous exprimons l'information visuelle de l'objet capturé dans un espace de texture commun. Les observations multi-caméra sont considérées comme des réalisations de l'apparence commune et un modèle linéaire est introduit pour matérialiser cette relation. Le modèle linéaire d'apparence proposé permet une première étude du problème de l'estimation d'apparence dans le cas multi-vue et expose les sources variées de bruit et les limitations intrinsèques du modèle.Basé sur ces observations, et afin d'exploiter l'information visuelle de la manière la plus efficace, nous améliorons la méthode en y intégrant un modèle de super-résolution 2D. Le modèle simule le procédé de capture d'image avec une concaténation d'opérations linéaires, générant les observation d'image des différents points de vue et permettant d'exploiter la redondance. Le problème de super-résolution multi-vue résultant est résolu par inférence bayésienne et une représentation haute-résolution d'apparence est fournie permettant de reproduire la texture de l'objet capturé avec grand détail.La composante temporelle est intégrée par la suite au modèle pour permettre d'y recouper l'information visuelle commune sous-jacente. En considérant des petits intervalles de temps ou l'apparence de l'objet ne change pas drastiquement, une représentation super-résolue cohérente temporellement est introduite. Elle explique l'ensemble des images de l'objet capturé dans cet intervalle. Grâce à l'inférence statistique Bayésienne, l'apparence construite permet des rendus avec une grande précision à partir de point de vue nouveau et à des instants différent dans l'intervalle de temps prédéfini.Pour améliorer l'estimation d'apparence d'avantage, l'inter-dépendance de la géométrie et de la photométrie est étudiée et exploitée. Les modélisations de la géométrie et de l'apparence sont unifiées dans le framework de super-résolution permettant une amélioration géométrique globale, ce qui donne à son tour une amélioration importante de l'apparence.Finalement pour encoder la variabilité de l'apparence dynamique des objets subissant plusieurs mouvements, une représentation indépendante du point de vue s'appuyant sur l'analyse en composantes principales est introduite. Cette représentation décompose la variabilité sous-jacente d'apparence en texture propres et déformations propres. La méthode proposée permet de reproduire les apparences de manière précise avec des représentation compactes. Il permet également l'interpolation et la complétion des apparences.Cette étude montre que la représentation compacte, indépendante du point de vue, et super-résolue proposée permet de confronter les nouvelles réalités du problème de modélisation d'apparence. Elle représente un contribution vers des représentations d'apparence 4D haute-qualité et ouvre de nouvelles directions de recherche dans ce domaineCapturing spatio-temporal models (4D modelling) from real world imagery has received a growing interest during the last years urged by the increasing demands of real-world applications and the tremendous amount of easily accessible image data. The general objective is to produce realistic representations of the world from captured video sequences. Although geometric modelling has already reached a high level of maturity, the appearance aspect has not been fully explored. The current thesis addresses the problem of appearance modelling for realistic spatio-temporal representations. We propose a view-independent, high resolution appearance representation that successfully encodes the high visual variability of objects under various movements.First, we introduce a common appearance space to express all the available visual information from the captured images. In this space we define the representation of the global appearance of the subject. We then introduce a linear image formation model to simulate the capturing process and to express the multi-camera observations as different realizations of the common appearance. Identifying that the principle of Super-Resolution technique governs also our multi-view scenario, we extend the image generative model to accommodate it. In our work, we use Bayesian inference to solve for the super-resolved common appearance.Second, we propose a temporally coherent appearance representation. We extend the image formation model to generateimages of the subject captured in a small time interval. Our starting point is the observation thatthe appearance of the subject does not change dramatically in a predefined small time interval and the visual information from each view and each frame corresponds to the same appearance representation.We use Bayesian inference to exploit the visual redundant as well as the hidden non-redundant information across time, in order to obtain an appearance representation with fine details.Third, we leverage the interdependency of geometry and photometry and use it toestimate appearance and geometry in a joint manner. We show that by jointly estimating both, we are able to enhance the geometry globally that in turn leads to a significant appearance improvement.Finally, to further encode the dynamic appearance variability of objects that undergo several movements, we cast the appearance modelling as a dimensionality reduction problem. We propose a view-independent representation which builds on PCA and decomposesthe underlying appearance variability into Eigen textures and Eigen warps. The proposed framework is shown to accurately reproduce appearances with compact representations and to resolve appearance interpolation and completion tasks
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Wienand, Annabelle. "Strategies of representation: South African photography of the HIV epidemic." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/9536.
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Includes bibliographical references.This thesis is concerned with how South African photographers have responded to the HIV epidemic. The focus is on the different visual, political and intellectual strategies that photographers have used to document the disease and the complex issues that surround it. The study considers the work of all South African photographers who have produced a comprehensive body of work on HIV and AIDS. This includes both published and unpublished work. The analysis of the photographic work is situated in relation to other histories including the history of photography in Africa, the documentation of the HIV epidemic since the 1980s, and the political and social experience of the epidemic in South Africa. The reading of the photographs is also informed by the contexts where they are published or exhibited, including the media, non-governmental organisations (NGOs) and aid organisations, and the fine art gallery and attendant publications. In addition to the theoretically informed analysis of the photographic projects, I interviewed the photographers in order to learn more about their intentions and the contributing factors that shape the production of their work. Interviews were transcribed and used to develop my analysis of their projects and working process. While a number of photographers are included in the thesis, the major focus is on David Goldblatt, Gideon Mendel, Santu Mofokeng and Gisèle Wulfsohn. This thesis is not a comparative study but rather seeks to differentiate between four very different approaches to representing HIV and AIDS in South Africa. I specifically chose to focus on projects that demonstrated alternative visual and intellectual forms of engagement with the experience of the HIV epidemic. The selection aimed to reveal the relationships between the working processes, the contexts of display and publication, and the visual languages the photographers employed. My interest lies in how and why the photographers documented this challenging subject. A close examination of South African photography reveals diverse and complex visual responses to the HIV epidemic. Importantly, some photographic projects challenge existing approaches and encourage alternative ways of looking at, and thinking about, the experience of the epidemic in the South African context.
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Durrant, Abigail Christine. "Family portrayals design to support photographic representations of intergenerational relationships in family homes." Thesis, University of Surrey, 2011. http://epubs.surrey.ac.uk/846429/.
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Focusing on intergenerational relationships, this project combined theoretical and empirical studies to explore the use of photographs in self and family representation at home. This exploration was considered timely given the recent adoption of digital capture devices by both parents and children and the unprecedented amount of photographic content that they generate. This has raised interesting questions concerning the digitisation and democratisation of family photography, in terms of form and content. Inquiry was positioned in the field of Human Computer Interaction (HCI). The proposed contribution of the project to the HCI field was threefold. First, findings on the psychological function of photographic displays were intended to inform the design and innovation of display technologies for family homes. A focus upon home display was informed by the recent emergence of new display technology paradigms; and a critical perspective was adopted on the potential application of these technologies in home settings. Second, findings were intended to illuminate the social psychological function of photos as cultural artefacts. In order to inter-relate psychological understandings and the practice of design, the project engaged multiple discourses, inviting a third contribution: to develop the foundations of an interdisciplinary methodological approach. Epistemological compatibility for this inquiry was found in Phenomenology and the use of Interpretative Phenomenological Analysis (IPA). Qualitative research constituted three empirical studies, plus conceptual design exercises and the fabrication of a novel design for inclusion in empirical work. The research population comprised parents and their older teenagers, of British nationality, residing together in the United Kingdom. For Study One, participants were interviewed at home about their use of stored and displayed photos for portraying self and family. Analysis highlighted the significance of portrayals for shaping the social, moral order of homes, and the design implications of this. Study Two explored the potential integration of teenagers’ and parents’ photo displays in communal domestic spaces and how digital display design may support intergenerational expression. Findings supported integration and further design implications were generated. Study Three engaged the same teenagers exclusively and explored their use of Internet-enabled platforms at home for self and family representation. Findings revealed how their display practices mediated self-processes and related to the functioning of the family household. Psychological insights and design considerations were produced from this research. New questions and opportunities were established for future researchers.
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Baker, Carole. "Imaging the animal : visual media representation within creative practice." Thesis, University of Sunderland, 2000. http://sure.sunderland.ac.uk/5251/.
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Otte, Gary. "Photographing the void, the camera and the representation of Islamic architecture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ43295.pdf.
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Otte, Gary (Gary James) Carleton University Dissertation Architecture. "Photographing the void: the camera and the representation of Islamic architecture." Ottawa, 1999.
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Bessou, Anne-Line. ""Faire face(s)" au travail : entre stress et pression sociale dans le monde du travail, le corps à l'épreuve du regard photographique." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20065.
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La thèse en Arts plastiques que nous proposons associe une pratique artistique personnelle de photographie et une recherche à la croisée des sciences de l’art, de la sociologie et de la psychologie. Elle développe une analyse de la représentation du travail dans l’art à travers l’utilisation du médium photographique, du début du 20ème siècle à aujourd’hui, avec un intérêt particulier pour l’extrême contemporain. L’enjeu principal de cette recherche est de démontrer comment une pratique artistique peut traduire un fait d’actualité pourtant peu visible, ici lié à la représentation sociale du travail. Elle se focalise sur un exemple précis, celui du mal-être au travail, qui fait l’objet à la fois de la pratique artistique personnelle et de la recherche proposée. Que ce soit par une expérimentation du portrait ou par l’élaboration de mises en scène, les choix plastiques de cette représentation amènent à s’interroger sur les caractéristiques et la production de sens d’un dispositif de création qui allie théâtre vivant et images fixes assemblées en polyptyques – tout en suscitant la réflexion sur un problème humain devenu un phénomène sociétalThe thesis in Arts that we present associates a personal artistic practice of photography and a research at the crossing of arts sciences, sociology and psychology. It develops an analysis of the representation of work in arts through the use of the photographic medium, from the beginning of the 20th century until today, with a particular interest in the extreme contemporary period. The main stake of this research is to demonstrate how an artistic practice can translate a current event with little visibility, linked to the social representation of work. It focuses on a specific example, the malaise at work, which is the object of both the personal artistic practice and the research work. Whether by the use of portrait or by a staging work, the choices of this artistic representation interrogate the characteristics and the production of meaning of a creative device which combines theatre and still images assembled in polyptyches – while inciting reflexion on a human problem that has become a social phenomenon
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Magagnoli, P. "Reclaiming the past : historical representation in contemporary photography and video art." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355956/.
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Since the late 1990s a new tendency has emerged in contemporary art whereby artists deploy archival research to explore the mechanics of historical representation and evoke the past. This thesis examines the works of some of the most relevant practitioners of the new tendency who are working with video, photography and film and explores the reasons for the return of historical representation in art. In the introduction the study sets the tendency against the background of modernist, postmodernist theories and the historiographic debates of the last thirty years. The first chapter attempts a critical re-evaluation of the concept of nostalgia; by examining the works of Tacita Dean, Joachim Koester, and Matthew Buckingham, a more nuanced concept of nostalgia emerges, for which this approach to the past does not appear as a sentimental and escapist fantasy but, on the contrary, as a strategy to reflect critically on the present and re-imagine the future. In my second chapter I focus on the experimental documentaries of Anri Sala, Walid Raad and Hito Steyerl. These works are based on a sophisticated notion of truth that overcomes the Platonic dualism between truth and appearance. The third chapter considers the photographic archives of Zoe Leonard, Rachel Harrison, and Jean-Luc Moulène. These archives represent recent historical events through the figure of the commodity. I ask whether these works should be considered as amnesiac archives and whether they confirm the Marxist notion of the commodity as memory disturbance. The fourth chapter examines the use of digital images and technologies by Sean Snyder, Hito Steyerl and Paul Chan. These artists challenge the narrative of crisis and catastrophe predominant in 1990s theories of new media, which considered the digital image in term of a profound loss of memory and historicity. The dissertation concludes with a critical assessment of the political importance of the artistic tendency.
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Friday, Jonathan Charles. "Transparancy, representation and expression : an essay in the aesthetics of photography." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338326.
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Oyarce, Sara. "In Pursuit of Image: How We Think About Photographs We Seek." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115133/.
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The user perspective of image search remains poorly understood. the purpose of this study is to identify and investigate the key issues relevant to a user’s interaction with images and the user’s approach to image search. a deeper understanding of these issues will serve to inform the design of image retrieval systems and in turn better serve the user. Previous research explores areas of information seeking behavior, representation in information science, query formulation, and image retrieval. the theoretical framework for this study includes an articulation of image search scenarios as adapted from Yoon and O’Connor’s taxonomy of image query types, Copeland’s Engineering Design Approach for rigorous qualitative research, and Anderson’s Functional Ontology Construction Model for building robust models of human behavior. a series of semi-structured interviews were conducted with expert-level image users. Interviewees discussed their motivations for image search, types of image searches they pursue, and varied approaches to image search, as well as how they decide that an information need has been met and which factors influence their experience of search. a content analysis revealed themes repeated across responses, including a collection of 23 emergent concepts and 6 emergent categories. a functional analysis revealed further insight into these themes. Results from both analyses may be used as a framework for future exploration of this topic. Implications are discussed and future research directions are indicated. Among possibilities for future research are investigations into collaborative search and ubiquitous image search.
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Xie, Jiahua. "Moment beyond moment." Click here to access this resource online, 2008. http://hdl.handle.net/10292/452.
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This practice-based project explores the photographic phenomenon of ‘moment beyond moment’, which refers to the combined representations of an existing image in an environment, together with the real-life situation at the moment the photograph is taken. I call this photograph an ‘extended photograph’. Employing practical works of extended photographs and focusing on interactions between the moment in real-life and the moment in an existing image, the research explores the transformation of meanings caused by the interactions of these moments in an extended photograph. The research owes its approach to grounded theory, contrary thinking and Chinese Buddhist ‘Sudden Enlightenment’ to further its aim of exploring the unpredictable interaction of these moments, and to disclose the potentials of meaning transformation. My research outcome intends to initiate a discourse with photographic practitioners and theorists on the phenomenon of moment beyond moment in a working environment that is encaged by the excessive existence of displayed images. The thesis is composed as a creative work that consists of a series of photographic images accompanied by an exegesis component. The images represent a nominal 80%, and the exegesis 20% of the final submission.
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McGonagle, Joseph M. "Representations of ethnicity in French film and photography since the 1980s." Thesis, University of Manchester, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557128.
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Via an interdisciplinary framework that draws upon post-structural, post-colonial and feminist theories, this thesis considers representations of ethnicity in French film and photography since the 1980s. Very few studies of the representation of ethnicity in French photography have been undertaken and French film and photography are seldom analysed together. The corpus of images discussed is diverse. Each chapter contrasts examples of photographic practice with film within France. Chapter One considers how national identity has been pictured within France. Chapter Two analyses the representation of an important regional centre: France's second city, Marseilles. Chapter Three examines the parameters of Jewishness within French film and photography. Chapter Four explores how women of Algerian origin have been portrayed since 2000. Recurrent themes are found regardless of the genre, medium or ethnicity in question. Important differences are highlighted between representations of France's white majority and ethnic minorities, and within these groups according to gender, sexuality, age and social class. I conclude that ethnicity has remained a crucial and contentious subject within French film and photography throughout the last twenty-five years and that further such studies are now needed.
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.
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Pack, Alicia. "New Media Photographic Representations of Women`s Collegiate Volleyball: Game Faces, Action Shots, and Equipment." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3278.
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Researchers consistently find that mainstream media often represent women athletes in stereotypical ways including trivialization, sexualization, infantilization, passivity, and utilization of camera down-angles. However, research on new media's visual representation of women athletes is still in its infancy. This study adds to the growing literature on new media's representation of women athletes and concurs with previous findings suggesting that new media might be an outlet that can counter old media gender stereotypes. This thesis used mixed methods of qualitative content analysis and photovoice in order to better understand how Big East volleyball players are represented in photographs on websites: Instances of stereotypes were few, action shots were numerous, and "extreme game faces" emerged as a new category for the visual representation of women athletes. These results might suggest that new media, specifically collegiate athletics' websites and volleyball fans, might defy traditional media's stereotypical gender representations. This thesis found that Big East women volleyball players were, overall, visually represented positively by NCAA.com, BigEast.org, Big East member schools' collegiate athletics websites, and fans of the University of South Florida's volleyball team during, and shortly after, the 2010 season.
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Hall, Mark. "Modelling and reasoning with quantitative representations of vague spatial language used in photographic image captions." Thesis, Cardiff University, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617675.
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