Relevant bibliographies by topics / Photographie de classes

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Photographie de classes'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Photographie de classes"

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L'Estoile, Benoît de. "Images des paradis perdus: mythe des « peuples premiers », photographie et anthropologie." Vibrant: Virtual Brazilian Anthropology 9, no. 2 (2012): 361–405. http://dx.doi.org/10.1590/s1809-43412012000200014.

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Cet article, s'appuyant notamment sur un vaste ensemble d'expositions en France et au Brésil, analyse les façons dont le mythe des « peuples premiers », fournissant aux classes moyennes urbaines l'image romantique de peuples indigènes hors de l'histoire, trouve une incarnation privilégiée dans les photographies des groupes indigènes d'Amazonie, souvent représentés de façon stéréotypée. Ces représentations romantiques présentes dans les médias, les univers artistiques, structurent aussi les catégories de perception et d'interprétation des visiteurs d'expositions, des spectateurs ou des lecteurs
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Schlenker, Alex. "Descolonizar con la minga visual: una placa de vidrio y un retrato de familia." CALLE14: revista de investigación en el campo del arte 11, no. 18 (2016): 30. http://dx.doi.org/10.14483/10.14483/udistrital.jour.c14.2016.1.a03.

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DESCOLONIZAR CON LA MINGA VISUAL: UNA PLACA DE VIDRIO Y UN RETRATO DE FAMILIARESUMENEste artículo recoge una serie de reflexiones en torno a las estrategias decoloniales que, desde las llamadas mingas visuales –prácticas artísticas centradas en (re)leer e intervenir imágenes de archivo– desarrollaron dos artistas ecuatorianas entre el 2012 y 2015 para (re)leer la representación fotográfica de género, clase y etnia inscrita en un retrato grupal titulado Retrato de familia, producido por el fotógrafo ecuatoriano Miguel Ángel Rosales en su estudio en la ciudad de Ibarra en la década de 1930.PALAB
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Muller, Catherine. "L’immersion fictionnelle, ou comment concilier art et émotion en cours de langue." Voix Plurielles 11, no. 1 (2014): 89–100. http://dx.doi.org/10.26522/vp.v11i1.920.

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Cet article porte sur l’expérience artistique en classe de langue sous l’angle des réactions verbales. Nous proposons d’analyser les interactions orales recueillies lors d’une activité de commentaire de photographies mise en œuvre en classe de français enseigné comme langue étrangère auprès d’apprenants adultes en contexte pluriculturel. Notre perspective est focalisée sur l’une des formes de réception des œuvres, l’immersion fictionnelle. Grâce à une analogie perçue entre l’univers fictionnel et le monde réel, les apprenants construisent de l’empathie envers l’un des personnages de la photogr
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Ryzova, Lucie. "Boys, Girls, and Kodaks." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 215–55. http://dx.doi.org/10.1163/18739865-00802005.

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This essay looks at a little studied genre of photographic albums—‘peer albums’—created by young Egyptian men and women through the middle decades of the twentieth century. These strongly gendered albums are characterized by the visual exclusion of social seniors, and were typically kept hidden from them. As photographic objects embedded in particular social relationships and contexts, these albums speak of how a classed and gendered self emerged in early- to mid-twentieth-century Egypt through a range of practices, of which photography-making (and album-making) was part. But photography also
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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918." Text and Image: Essential Problems in Art History, no. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.

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The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial
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Erceg, Nataša, Ivica Aviani, and Vanes Mešić. "Using photographs to elicit student ideas about physics: The case of an unusual liquid-level phenomenon." Canadian Journal of Physics 92, no. 1 (2014): 9–17. http://dx.doi.org/10.1139/cjp-2013-0302.

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This work is aimed at exploring some pedagogical opportunities of using photographs in physics instruction. In our study, the photography has been used for eliciting and probing students’ ideas regarding the physics of fluids in noninertial frames of reference and under conditions of equilibrium. The study involved a heterogeneous sample of 235 secondary school students, 41 physics students, and 48 physics teachers. They were presented with a photograph of a wine glass filled with liquid whose surface appeared inclined. The students were asked to comment on the reality of the phenomenon captur
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Parkmann, Fedora. "« Photographie, arme de classe »." Marges, no. 28 (April 19, 2019): 142–43. http://dx.doi.org/10.4000/marges.1891.

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Blinn, Charles R., Al Lyons, and Edward R. Buckner. "Color Aerial Photography for Assessing the Need for Fertilizers in Loblolly Pine Plantations." Southern Journal of Applied Forestry 12, no. 4 (1988): 270–73. http://dx.doi.org/10.1093/sjaf/12.4.270.

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Abstract Color aerial photography was used to assess crown color classes in loblolly pine (Pinus taeda L.) plantations. Three distinct Munsell color classes were delineated on the resulting photographs. Foliar N levels and, to a lesser degree, foliar K levels were directly related to color. Significant relationships between color and site index and color and basal area were shown. Application of color aerial photography, combined with Munsell color coding, could expedite land classification and also make possible more efficient use of fertilizers. South J. Appl. For. 12(4):270-273.
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Souza, Eneida Maria De. "Assis Horta: fotógrafo de um Brasil moderno / Assis Horta: the photographer of a modern Brazil." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 4 (2019): 227. http://dx.doi.org/10.17851/2358-9787.28.4.227-246.

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Resumo: O fotógrafo profissional Assis Horta, natural de Diamantina, apresenta uma coleção de imagens de dimensão histórico-documental não só por ter registrado paisagens urbanas e humanas, mas por ter contribuído para a democratização do retrato no Brasil, adquirida por meio das leis trabalhistas. Reconhecida oficialmente em 1943 pela Consolidação das Leis do Trabalho no governo Vargas – com a aquisição da carteira de trabalho e Previdência Social –, a classe operária passa a ter seu registro em foto 3x4 (três por quatro) como prova de identidade. Com o fim da condição de invisibilidade socia
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Ayyildiz, Erdem, Enes Tan, Hakan Keklik, Zulfikar Demirtag, Ahmet Arif Celebi, and Matheus Melo Pithon. "Esthetic impact of gingival plastic surgery from the dentistry students’ perspective." European Journal of Dentistry 10, no. 03 (2016): 397–402. http://dx.doi.org/10.4103/1305-7456.184164.

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ABSTRACT Objective: The aim of the this study was to evaluate the perception of smile esthetics and alterations in cases of gingival plastic surgery for correction of a gummy smile, by means of alterations in smile photograph among dentistry degree students. Materials and Methods: A frontal smile photograph of a 40-year-old woman having normal occlusion was used with diverse compositions of gingival exposure level and crown length of maxillary teeth. The eight photographs were evaluated by 216 dentistry students in five class groups (1st, 2nd, 3rd, 4th and 5th classes). Results: The results re
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Dissertations / Theses on the topic "Photographie de classes"

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Charpentier-Boude, Christine. "La photographie de groupe en classe comme palimpseste de l'institution scolaire : essai d'une approche sémiologique de ce document." Paris 10, 2006. http://www.theses.fr/2006PA100097.

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La photographie de groupe en classe constitue à force d'être répétée, et cela depuis le milieu du XIXe siècle, une partie de la mémoire de l'école et de la société qu'elle représente. Elle semble accompagner le deuil d'une multitude d'histoires scolaires et en même temps conjurer ces disparitions. Cette image particulière, mise en scène d'une réalité institutionnelle capturée par l'appareil photographique, répétée au cours d'un rituel codifié, conservée ou non par les usagers, loin d'être monolithique et univoque, paraît être porteuse d'un ensemble de significations institutionnelles et intime
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Charpentier-Boude, Christine. "La photo de classe : palimpseste contemporain de l'institution scolaire /." Paris : l'Harmattan, 2009. http://catalogue.bnf.fr/ark:/12148/cb41475727x.

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Crane, Emmanuelle. "La stratification sociale et raciale de la Nouvelle-Calédonie (1853-1914) vue à travers la photographie." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0410.

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Le but de ma thèse est d'examiner comment la photographie a fixé l'expansion coloniale et ainsi à forger une image et à permettre de développer peu à peu une identité kanak. Les hommes du XIXème siècle arrivant en Nouvelle-calédonie, interprètent l'expansionnisme européen et la civilisation européenne comme une victoire sur la société kanak considérée comme primitive et arriérée. L'époque coloniale a été contestée par les discours postcoloniaux dénonçant ces croyances "Eurocentrique". Tout au long de ma thèse, je fais l'historique de l'évolution des techniques de la photographie, du 19ème sièc
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Chambefort, Karine. "Ecritures photographiques des identités collectives : classe, ethnicité, nation dans la photographie en Grande-Bretagne entre 1990 et 2010." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0010/document.

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Cette thèse étudie un corpus de livres et d’expositions de photographies qui abordent les questions d’identité sociale, ethnique et nationale [en Grande-Bretagne]. Elle procède à une historicisation du champ photographique en s’intéressant au contexte social et politique de production et de diffusion des images, et en particulier aux politiques culturelles. Elle considère photographies et expositions comme des discours et pratiques qui contribuent à la formation des identités collectives. Le genre des photographies, et notamment le documentaire, est discuté au fil de l’étude, en lien avec la p
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Muller, Catherine. "Paroles sur images : Les interactions orales déclenchées par des photographies d'auteur en classe de français, langue étrangère." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030107.

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Cette étude relève de la didactique des langues, mais elle s’appuie également sur l’analyse des interactions verbales et des interactions en classe de langue, ainsi que sur l’anthropologie et la sociologie. Elle repose sur la capacité de l’image à susciter des productions verbales. La photographie d’auteur est ici considérée comme un déclencheur d’interactions orales permettant de communiquer en classe de langue. Nous avons mis en oeuvre une technique didactique dans descours de français enseigné comme langue étrangère en contexte pluriculturel à Paris avec des apprenants de niveaux A1 à B2. L
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Schmollinger, Carlyle Delia. "Vestiges of Vulnerability: Helen Post's Photographs of 20th Century Navajo." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6077.

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Helen Post (1907-1978) was a twentieth century American photographer, whose images of the Navajo offer sensitive insight into the lives of individuals residing on the reservation from 1938-1942. An employee at the time for the Bureau of Indian Affairs, Post traveled to the West on numerous excursions, each time gaining perspective and understanding into the intricacies of Native life. Her ability to portray the Navajo in unguarded and intimate moments stands as a significant contribution to discourse on visual records of American Indians. Examining Post's work provides an opportunity to not on
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Brinsford, Julian. "Citizens of the secret machine : elements towards a Bakhtinian history of photographic representations of the British working classes in the twentieth century." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360577.

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Ackerman, Catherine. ""Because social issues should be addressed" /." Online version of thesis, 1991. http://hdl.handle.net/1850/10916.

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Whitten, Jordan. "The Boone Dam Project." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3585.

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The photographer discusses his work in “The Boone Dam Project”, a Masters of Fine Art exhibit held at the Tipton Gallery, Johnson City, Tennessee from March 18 through March 29, 2019. The exhibition consists of a collection of 14 large color archival inkjet prints from a large body of work that surveys a lakeside community’s landscape and residents affected by lowered lake levels during a dam repair. A catalog of the exhibit is included at the end of this thesis. Whitten examines formal and conceptual influences through historical and contemporary photographers. Images included are works made
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Laurence-Allen, Antonia. "Class, consumption and currency : commercial photography in mid-Victorian Scotland." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3469.

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This thesis examines a thirty year span in the history of Scottish photography, focusing on the rise of the commercial studio from 1851 to assess how images were produced and consumed by the middle class in the mid-Victorian period. Using extensive archival material and a range of theoretical approaches, the research explores how photography was displayed, circulated, exploited and discussed in Scotland during its nascent years as a commodity. In doing so, it is unlike previous studies on Scottish photography that have not attended to the history of the medium as it is seen through exhibitions
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Books on the topic "Photographie de classes"

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Classic golf. Harry N. Abrams, 2004.

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Adams, Ansel. Ansel Adams: Classic images. New York Graphic Society Book/Little, Brown, 1987.

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Rosenbluth, Vera. Classic scrapbooking. Hartley & Marks Publishers, 1998.

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McIntosh, William S. Classic Portrait Photography. Amherst Media, Inc., 2010.

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The Drake Relays: America's athletic classic, a photographic essay. University of Iowa Press, 2014.

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Banks, Iain M. Classic glamour photography. Amphoto, 1987.

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Muybridge, Eadweard. Horses and other animals in motion: 45 classic photographic sequences. Dover Publications, 1985.

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Loengard, John. Life classic photographs: A personal interpretation. New York Graphic Society Books, 1988.

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Bob, Cato, ed. Life classic photographs: A personal interpretation. Little, Brown, 1996.

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Loengard, John. Life classic photographs: A personal interpretation. Thames and Hudson, 1988.

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Book chapters on the topic "Photographie de classes"

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Moon, Pauline, and Roseena Hussain. "6. Using Participatory Photography in English Classes: Resisting Silence, Resisting Dis-citizenship." In Brokering Britain, Educating Citizens, edited by Melanie Cooke and Rob Peutrell. Multilingual Matters, 2019. http://dx.doi.org/10.21832/9781788924634-010.

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Hanna, Erika. "Community and Representation." In Snapshot Stories. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823032.003.0005.

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Chapter 4 explores community photography and the new radicalism it brought to amateur photographic practice during the 1970s. This movement, begun in London and disseminated through the pages of Camerawork magazine, propounded the potential of photography as a form of collective action which could bring communities together and empower individuals. Through groups such as the Shankill Photographic Workshop, Derry Camerawork, and the NorthCentre City Community Action Project, activists taught photography to community organizations, as well as prisoners, the unemployed, and women’s groups. This new form of photographic activism served a variety of functions. It was a form of practice that brought people together and taught unemployed and demoralized residents of the inner-city skills and self-respect. It enabled communities that had become the object of a media gaze which turned their lives into stereotypes to create representations of themselves, which they felt more accurately reflected the reality of their lives. In these evening classes and dark rooms, photography became a mechanism of raising consciousness and building communal cohesion. Moreover, it provided a way of making sense of the agglomeration of power, class, and gaze which rendered the lives of the unemployed, or inner-city residents only as ‘types’, and so provided these new photographers with a way of critiquing—if not resisting—these processes.
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"Photographs." In Cities, Classes, and the Social Order. Cornell University Press, 2017. http://dx.doi.org/10.7591/9781501713729-001.

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Hanna, Erika. "Clasped Hands and Clear Complexions." In Snapshot Stories. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823032.003.0003.

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Chapter 2 explores the portrait studio, which defined many Irish people’s experience of family photography for much of the twentieth century. Familial milestones were commemorated by photographs of people in their Sunday best posing stiltedly in front of painted backdrops depicting domestic anywhere-spaces. In particular, it examines two studio portraitists in Waterford in the mid-twentieth century, run by the Poole family and Annie Brophy. Poole catered to the wealthier rural elite, while Brophy’s clientele were predominantly the shop owners of Waterford and small farmers of the district. These photographers were united in how they recorded the rhythms of town and country in a way which remained markedly consistent, through these portraits creating an image of a respectability—that profoundly visual quality—in rural Ireland. The repeated patterned similarities between images, in particular, the recurrence of objects and clothes, shows how portraitists kept props, and how those within the frame participated in the restaging of their lives in front of the lens for display both within the home and to circulate amongst extended family. Moreover, close examination of the marks on the negative reveals how blemishes were removed, hair was thickened, and skin was smoothed, and shows how the photography was manipulated in order to create appropriate families for display and viewing. An exploration of the construction of the studio portrait provides a way to explore how social norms were understood, and how the families sitting for these photographs aspired to reach these standards.
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Hirsch, Robert. "Classic Historic Processes." In Photographic Possibilities. Routledge, 2017. http://dx.doi.org/10.4324/9781315657936-10.

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Hirsch, Robert. "Special Classic Cameras and Equipment." In Photographic Possibilities. Routledge, 2017. http://dx.doi.org/10.4324/9781315657936-3.

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Burwood, Dan. "Intervention: Some cities." In Cultural Intermediaries Connecting Communities. Policy Press, 2019. http://dx.doi.org/10.1332/policypress/9781447344995.003.0007.

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This chapter contains reflections from photographer Dan Burwood about his Some Cities project. This combined classes for budding photographers, community-based commissions for new photographic work and a social media aggregator which allowed locals to upload their own images. The varied communities of the city were thus given a shared platform to present their different understandings of the city through their own visual practice. Although the project was a success, the chapter also reflects on how projects designed to bring communities together themselves ebb and flow. The author and his collaborators moved on to new schemes at the end of the project, not all of which share the community focus of Some Cities.
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Lin, Jenny. "Epilogue: Forgotten corners." In Above Sea. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0007.

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A few years ago, my students and I organized an exhibition of contemporary photography from mainland China, presented in our small university-run gallery in Portland. The project began with a call for photographs, which we forwarded to Chinese art schools, museums, and cultural institutions; to individual artists, photographers, and photojournalists; and through Chinese social media channels such as Weibo and WeChat. We asked people to email photographs of contemporary life in the PRC and to consider, but not limit themselves to, themes such as urbanization versus developments in the rural countryside, the impact of foreign cultures on local identities, the environmental impacts of globalization, and gender issues amid societal shifts. We grew giddy at the abundant response. Hundreds of photographs streamed into our class’s inbox. For the most part, the senders were previously unknown to me and my students. These strangers’ submissions allowed us to see, through their eyes, a fuller representation of the PRC, a place whose modern and contemporary art we had been studying mainly through past exhibitions, scholarly articles, and survey texts....
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Česnulevičius, Algimantas, Artūras Bautrėnas, Linas Bevainis, and Donatas Ovodas. "Classical and Modern Remote Mapping Methods for Vegetation Cover." In Vegetation Index and Dynamics [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.97427.

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Plant classification is quite complex and multilevel. All living organisms are divided into domains, kingdoms, types, classes, ranks, families, tribes, and species. This classification complexity is also reflected in the classification of biogeographic maps, which is much simpler. Based on floristic dependence, vegetation is grouped by connecting it into spatial (territorial) complexes. This paper presents the interfaces of mapping methods with taxonomic vegetation types at different hierarchical levels. At the same time, examples of vegetation mapping techniques from national and thematic atlases of different countries are presented in this article. UAV aerial photographs are widely used for local mapping of vegetation areas. The authors of this article propose a new methodology that can be used to assess the ecological condition of young trees and the volume of mature forest wood. The methodology is based on the separation of tree crown areas in UAV aerial photographs and photo color analysis. For automated area calculation of young trees, a PixRGB software has been developed to determine the area of pixels of the same color in aerial photographs. The software is based on the comparison of young tree crown area calculations in AutoCAD software and area measurements of individual color spectrum pixels. In the initial stage, aerial photographs are transformed to the exact size of the photographed area. Transformations were performed with an error of less than 2–3 cm. The transformation of the spectrum of aerial photographs allowed to concentrate the color of the image of young trees in a relatively narrow color range. Studies performed in 2019–2020 to assess the ecological condition of trees and the amount of wood using UAV INSPIRE 1 and PixRGB color analysis software showed the effectiveness of the applied methodology.
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"Middle- class photography." In The Middle Class in Neoliberal China. Routledge, 2013. http://dx.doi.org/10.4324/9780203080764-11.

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Conference papers on the topic "Photographie de classes"

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Debevec, Paul, Ramesh Raskar, and Jack Tumblin. "Computational photography." In ACM SIGGRAPH 2008 classes. ACM Press, 2008. http://dx.doi.org/10.1145/1401132.1401162.

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Debevec, Paul E., and Jitendra Malik. "Recovering high dynamic range radiance maps from photographs." In ACM SIGGRAPH 2008 classes. ACM Press, 2008. http://dx.doi.org/10.1145/1401132.1401174.

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Zhao, Yahong. "Development Status of Classic Photographic Technology under the Background of Contemporary Photography." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.7.

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Muller, C. "La photographie, déclencheur de parole en classe de FLE : la fiction dans les interactions." In Congrès Mondial de Linguistique Française 2008. EDP Sciences, 2008. http://dx.doi.org/10.1051/cmlf08049.

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Xu, Huan, and De-Shuang Huang. "One Class Support Vector Machines for Distinguishing Photographs and Graphics." In 2008 IEEE International Conference on Networking, Sensing and Control (ICNSC). IEEE, 2008. http://dx.doi.org/10.1109/icnsc.2008.4525289.

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Nebolsine, Peter, D. Snyder, and J. Grace. "MHz class repetitively Q-switched, high-power ruby lasers for high-speed photographic applications." In 39th Aerospace Sciences Meeting and Exhibit. American Institute of Aeronautics and Astronautics, 2001. http://dx.doi.org/10.2514/6.2001-845.

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Siemietkowski, John S., and Walter S. Williams. "10,000 Hours of LM2500 Gas Turbine Experience as Seen Through the Borescope." In ASME 1986 International Gas Turbine Conference and Exhibit. American Society of Mechanical Engineers, 1986. http://dx.doi.org/10.1115/86-gt-269.

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The General Electric LM2500 Marine Gas Turbine, currently used by the United States Navy as main propulsion on various classes of ships, lends itself very easily to a procedure known as photoborescopy. Photoborescopy is that process where discrete, color photographs are taken of various internal parts of the engine. Borescoping in itself is not new, but maximizing the borescopes capabilities is a program that the U.S. Navy continuously is developing at the Naval Ship Systems Engineering Station (NAVSSES) in Philadelphia, Pennsylvania. This paper will describe the photoborescopy technique used
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Mabogunje, Ade, and Larry J. Leifer. "Noun Phrases As Surrogates for Measuring Early Phases of the Mechanical Design Process." In ASME 1997 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/detc97/dtm-3880.

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Abstract This paper reports on the use of design histories for the purpose of process evaluation. The technique involved exploring different representations of project documentation analogous to “X-ray photographs” of the human body. The study was conducted in the context of a graduate level design class that uses industry sponsored projects. It was found that the project grades in the class were strongly associated (gamma > 0.7) with the number of distinct noun phrases in the project documents while they were weakly associated with other variables like readability and number of words.
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Giraldo, Diego Garcia, and Ronald W. Yeung. "The 2010 Oil Spill in the Gulf of Mexico: Flow-Rate Estimation Based on Satellite-Images Analysis." In ASME 2018 37th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/omae2018-78717.

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The Deepwater Horizon Mobile Offshore Drilling Unit (MODU) was one of several classes of floatable drilling machines. The explosion on April 20, 2010 led to the worst ecological disaster with regard to oil spills in the USA. The objective of this paper is to develop a logical and independent estimate of the oil flow rate into the Gulf of Mexico produced by the rupture in this rig. We employed the NASA Moderate Resolution Imaging Spectroradiometer (MODIS) satellite photographs [1] starting from the days immediately following the disaster to determine the size and intensity of the oil spill. Fro
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10

Holloway, Paul, Raymond O'Connor, Denis Linehan, and Therese Kenna. "Digital (Urban) Geography: Student-led research methodology training using smartphone apps." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.30.

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In the last decade, opportunities have emerged to deploy new digital technologies to research agendas and research-led teaching at third level. For instance, research methods such as surveys and questionnaires are shifting into the digital environment, while at the same time there is increasing evidence to support the view that people who have grown up with technology have acquired distinctive new ways of learning, and that traditional methodologies fail to maximise student engagement (Lafuente 2018). Thompson (2013) suggests that these ‘new learners’ are constantly using technology, multi-tas
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