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Morago, Brittany. "Multi-Modality Fusion| Registering Photographs, Videos, and Lidar Range Scans." Thesis, University of Missouri - Columbia, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10629015.
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2D images and 3D LIDAR range scans provide very different but complementing information about a single subject and, when registered, can be used for a variety of exciting applications. Video sets can be fused with a 3D model and played in a single multi-dimensional environment. Imagery with temporal changes can be visualized simultaneously, unveiling changes in architecture, foliage, and human activity. Depth information for 2D photos and videos can be computed. Real-world measurements can be provided to users through simple interactions with traditional photographs. However, fusing multi-modality data is a very challenging task given the repetition and ambiguity that often occur in man-made scenes as well as the variety of properties different renderings of the same subject can possess. Image sets collected over a period of time during which the lighting conditions and scene content may have changed, different artistic renderings, varying sensor types, focal lengths, and exposure values can all contribute to visual variations in data sets. This dissertation addresses these obstacles using the common theme of incorporating contextual information to visualize regional properties that intuitively exist in each imagery source. We combine hard features that quantify the strong, stable edges that are often present in imagery along object boundaries and depth changes with soft features that capture distinctive texture information that can be unique to specific areas. We show that our detector and descriptor techniques can provide more accurate keypoint match sets between highly varying imagery than many traditional and state-of-the-art techniques, allowing us to fuse and align photographs, videos, and range scans containing both man-made and natural content.
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Dupont, de Dinechin Grégoire. "Towards comfortable virtual reality viewing of virtual environments created from photographs of the real world." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLM049.
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La reconstitution en réalité virtuelle de lieux, personnes, et objets réels ouvre la voie à de nombreux usages, tels que préserver et promouvoir des sites culturels, générer des avatars photoréalistes pour se retrouver virtuellement avec famille et amis à distance, ou encore recréer des lieux ou situations spécifiques à des fins thérapeutiques ou de formation. Tout cela s'appuie sur notre capacité à transformer des images du monde réel (photos et vidéos) en environnements 360° immersifs et objets 3D interactifs. Cependant, ces environnements virtuels à base d'images demeurent souvent imparfaits, et peuvent ainsi rendre le visionnage en réalité virtuelle inconfortable pour les utilisateurs. En particulier, il est difficile de reconstituer avec précision la géométrie d'une scène réelle, et souvent de nombreuses approximations sont ainsi faites qui peuvent être source d'inconfort lors de l'observation ou du déplacement. De même, il est difficile de restituer fidèlement l'aspect visuel de la scène : les méthodes classiques ne peuvent ainsi restituer certains effets visuels complexes tels que transparence et réflexions spéculaires, tandis que les algorithmes de rendu plus spécialisés ont tendance à générer des artefacts visuels et peuvent être source de latence. Par ailleurs, ces problèmes deviennent d'autant plus complexes lorsqu'il s'agit de reconstituer des personnes, l'oeil humain étant très sensible aux défauts dans l'apparence ou le comportement de personnages virtuels. Par conséquent, l'objectif de cette thèse est d'étudier les méthodes permettant de rendre les utilisateurs plus confortables lors du visionnage immersif de reconstitutions digitales du monde réel, par l'amélioration et le développement de nouvelles méthodes de création d'environnements virtuels à partir de photos. Nous démontrons et évaluons ainsi des solutions permettant (1) de fournir une meilleure parallaxe de mouvement lors du visionnage d'images 360°, par le biais d'une interface immersive pour l'estimation de cartes de profondeur, (2) de générer automatiquement des agents virtuels 3D capables d'interaction à partir de vidéos 360°, en combinant des modèles pré-entrainés d'apprentissage profond, et (3) de restituer des effets visuels de façon photoréaliste en réalité virtuelle, par le développement d'outils que nous appliquons ensuite pour recréer virtuellement la collection d'un musée de minéralogie. Nous évaluons chaque approche par le biais d'études utilisateur, et rendons notre code accessible sous forme d'outils open sourceThere are many applications to capturing and digitally recreating real-world people and places for virtual reality (VR), such as preserving and promoting cultural heritage sites, placing users face-to-face with faraway family and friends, and creating photorealistic replicas of specific locations for therapy and training. This is typically done by transforming sets of input images, i.e. photographs and videos, into immersive 360° scenes and interactive 3D objects. However, such image-based virtual environments are often flawed such that they fail to provide users with a comfortable viewing experience. In particular, accurately recovering the scene's 3D geometry is a difficult task, causing many existing approaches to make approximations that are likely to cause discomfort, e.g. as the scene appears distorted or seems to move with the viewer during head motion. In the same way, existing solutions most often fail to accurately render the scene's visual appearance in a comfortable fashion. Standard 3D reconstruction pipelines thus commonly average out captured view-dependent effects such as specular reflections, whereas complex image-based rendering algorithms often fail to achieve VR-compatible framerates, and are likely to cause distracting visual artifacts outside of a small range of head motion. Finally, further complications arise when the goal is to virtually recreate people, as inaccuracies in the appearance of the displayed 3D characters or unconvincing responsive behavior may be additional sources of unease. Therefore, in this thesis, we investigate the extent to which users can be made more comfortable when viewing digital replicas of the real world in VR, by enhancing, combining, and designing new solutions for creating virtual environments from input sets of photographs. We thus demonstrate and evaluate solutions for (1) providing motion parallax during the viewing of 360° images, using a VR interface for estimating depth information, (2) automatically generating responsive 3D virtual agents from 360° videos, by combining pre-trained deep learning networks, and (3) rendering captured view-dependent effects at high framerates in a game engine widely used for VR development, which we apply to digitally recreate a museum's mineralogy collection. We evaluate and discuss each approach by way of user studies, and make our codebase available as an open-source toolkit
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Alhazmi, Nouran Husain. "Maintenance as Spectacle: Imagery of the Ka’ba’s Cleaning and Kiswa." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1618917807830704.
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Gregory, Ronald Joseph. "Test target display : an M.F.A. photography portfolio as applied to optical laser disc /." Online version of thesis, 1987. http://hdl.handle.net/1850/10314.
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Park, Ja Yong. "Aux frontières du virtuel : depuis ma fenêtre." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010558.
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Nous nous situons toujours «aux frontières de» pour contempler : devant une porte, une fenêtre, un cadre, un espace ou un miroir. Ma réflexion commence à partir de ma fenêtre, mon espace intime. « Aux frontières du virtuel : depuis ma fenêtre » nous incite à tenter de découvrir où se cache la gravité des choses, où se situe l'essence même des choses où leur «existence pure», à travers la notion de virtuel si difficilement perceptible. Cette thèse s'articule en trois grandes parties : Virtualité espace interne et externe ; Virtualité : l'apparition par-delà : photographies et reflets dans l’art ; Virtualité : au-delà de la disparition. Dans la philosophie orientale (Taoïsme et Bouddhisme) et la philosophie occidentale, la notion de virtuel concerne tous les phénomènes universels qui nous entourent, y compris ce qui a trait à notre propre regard ou à notre esprit. Elle évoque quelques concepts contradictoires : «le visible et l’invisible», «la présence et l’absence», «l’apparition et la disparition», «l’émergence et l’évanescence», etc. Elles les lie l’un et l’autre comme les deux faces d’une même monnaie. En Orient, le virtuel peut se retrouver dans la notion de vide qui est intimement liée à celle d'existence, comme cette recherche qui concerne ce qui n’est pas toujours visible, peu souvent perceptible par un regard. Dans la peinture Shansuie, le vide peut signifier un nuage, le vent ou l’eau. Nous nous situons toujours dans une transition temporelle ou un passage physique où il est difficile de percevoir ce qui va apparaitre et ce qui est présent, face à nousWe always situate "the borders" to contemplate: a front door, a window, a frame, a space or a mirror. My reflection starts from my window, my intimate space. "In the virtual borders: from my window'' drives us to try to find out where things gravity hiding or is the essence of things or their "pure existence" through the concept of virtual which is hardly noticeable. This thesis has three main parts: Virtuality: internal and external space; Virtuality: the appearance beyond: photographs and reflections in the art; virtuality beyond the disappearance. In Eastern philosophy (Buddhism and Taoism) and Western philosophy, the concept of virtual respect all universal phenomena around us, including respect to our own eyes or mind. It evokes some conflicting concepts: "the visible and the invisible", "the presence and absence", "The appearance and disappearance", "the emergence and evanescence" etc. It binds both of them as two sides of the same coin. In the Eastern countries, the virtual can be found in the vacuum concept which is intimately linked to that of existence, as this research regarding what is not always visible, rarely discernible by eye. In painting Shan shui, the vacuum may mean a cloud, wind or water. We always situate in a time of transition or a physical place where it is difficult to see what will appear and what is present, facing us
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Glen, Gregory D. "High-Speed Photography Using Television Techniques." International Foundation for Telemetering, 1995. http://hdl.handle.net/10150/611602.
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International Telemetering Conference Proceedings / October 30-November 02, 1995 / Riviera Hotel, Las Vegas, NevadaThere are many applications for High-speed photography, and most rely on film as the primary medium of data acquisition. One such application of interest to the military services is the study of stores separation from aircraft. This type of testing has traditionally used high-speed film to gather data, however, there are many disadvantages to using film, such as the high cost of raw film, as well as the high processing expense after it has been exposed. In addition, there is no way to review data from film until it has been processed, nor is there any way to preview in real-time other conditions such as lighting which may affect the outcome of a test event. This paper discusses the characteristics of television systems with respect to motion picture systems, the challenges of recording and transmitting pictures, as well as the nature of what the first and eventual desired systems might be.
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Thömmes, Katja [Verfasser]. "The Aesthetic Appeal of Photographs : Leveraging Instagram Data in Empirical Aesthetics / Katja Thömmes." Konstanz : KOPS Universität Konstanz, 2020. http://d-nb.info/1226093035/34.
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Thoma, Andrea. "Thought dwellings : time and space in painting, photography and video." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658561.
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The practical and theoretical research of this PhD examines the complexities of time-space relations in painting, photography and video. The aim of this study has been to develop a body of work that generates an increased awareness of how the juxtaposition of diverse fine art media can contribute to a differentiated appreciation of the time-space relation. Further objectives were to explore how the dichotomy of absence (of figuration) and presence (of figurative elements) can inform reflections on place relating to Martin Heidegger's 'Dasein' as being-in-the-world and Gilles Deleuze and Felix Guattari's 'nomadic' perception within 'smooth' and 'striated' space. Drawing from Henri Bergson's concept of 'duration as multiplicity' as an oscillation between presence (actual) and absence (virtual), this study, whilst acknowledging Bergson's critique of spatializing time, considers opportunities within contemporary fine-art practice to develop a spatial configuration involving multiple coexisting durations. Thought Dwellings, initially the title for a body of paintings and photographs (1998) concerned with place, later (since 2003) also began to incorporate video, thus enabling a triangulation of painting, photography and video to consider movement and stillness across all these categories. I propose a new terrain where the either/or/and of photography/painting, photography/video or painting/video becomes this as well as that of painting/photography/video allowing - whilst upholding medium-specificity - the physicality of painting to inform the technologies of lens-based media to arrive at a differentiated time-space relation. These practical concerns are supported by theoretical explorations involving place and dwelling, medium-specificity in a 'post-medium' age, minimalism, phenomenology and time-space relations. Within Deleuzian 'becoming', as coexistence of difference rather than dialectics of either/or; Jacques Derrida's differance and Bracha L. Ettinger's 'Matrix' as coming together of 'I and non-I' to reflect the feminine - Thought Dwellings involves movement between images, an oscillation between presence and absence proposing an audio/visual spatialization of 'duration as multiplicity'.
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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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Smith, Ian Richard. "Optimising international links between departments of photography, film and video production." Thesis, University of Southampton, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259958.
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Agarwala, Aseem. "Authoring effective depictions of reality by combining multiple samples of the plenoptic function /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/6957.
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Hirsch, Michael [Verfasser], and Claus [Akademischer Betreuer] Zimmermann. "Blind Deconvolution in Scientific Imaging & Computational Photography / Michael Hirsch ; Betreuer: Claus Zimmermann." Tübingen : Universitätsbibliothek Tübingen, 2012. http://d-nb.info/1162842962/34.
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Valcke, Jennifer [Verfasser]. "Static Films and Moving Pictures : Montage in Avant-Garde Photography and Film / Jennifer Valcke." München : GRIN Verlag, 2011. http://d-nb.info/1182328474/34.
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Schrader, Julie Ann. "The Morgan collection of Southwest pottery website : research and photography : a project /." Click here to view virtual exhibition, 2005. http://www.holmes.anthropology.museum/southwestpottery/index.html.
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Mukherjee, Ratnajit. "Accurate light and colour reproduction in high dynamic range video compression." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/90712/.
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High Dynamic Range (HDR) imaging has the potential to replace traditional Low Dynamic Range (LDR) imaging due to HDR’s capability to accurately capture and reproduce the entire spectrum of visible lighting conditions with full colourimetric precision in any scene. However, this ability comes at the cost of significantly increased storage and transmission requirements compared to traditional LDR imaging. These costs together with additional challenges in capturing and delivering HDR video, for example ghosting artefacts, peak luminance of current HDR displays etc., are currently limiting the faster adoption of HDR imagery and the eventual replacement of traditional LDR imaging and video techniques. This thesis focuses on how to deliver high-fidelity HDR video with minimal storage/transmission requirements. To answer such a multi-faceted question, the thesis first provides an overview of HDR imaging and video pipeline followed by a detailed discussion on existing HDR video compression algorithms and quality assessment (QA) techniques for HDR image and video. This background information provides an in-depth review of the overall progress made to date and also highlights the current outstanding issues. The thesis subsequently assesses end-user preference of HDR video content over LDR video content using a rating- and a ranking-based psychophysical experiment. Results from this assessment suggest that there exists a statistically significant difference between the HDR representation of a scene and its LDR counterparts where given the option, the former is preferred by end-users as HDR provides a more realistic viewing experience. Having established the preference for HDR video, a comprehensive objective and subjective study is undertaken of a number of published/patented HDR video compression algorithms by means of several objective QA metrics and psychophysical studies. This resulted in an in-depth understanding of the advantages and shortcomings of existing solutions. Results obtained demonstrate that non-backward compatible compression algorithms are able to deliver high-fidelity HDR video at significantly lower storage/transmission costs compared to backward compatible algorithms. Also, perceptual QA metrics exhibit a high to very high correlation with subjective video quality assessment. Based on this in-depth understanding of the design requirements and philosophy of HDR video compression algorithms, this thesis proposes and evaluates a novel HDR video compression algorithm. This new algorithm is shown to outperform existing state-of-the-art algorithms both in terms of image reconstruction quality and transmission requirements.
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Trotin, Ghislain. "L'étrange vacuité photographique." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30058.
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L’esthétique du vide en photographie est aussi ancienne que le médium lui-même. Son origine remonte aux premiers balbutiements de la technique qui, visant à obtenir une représentation exacte de la nature, s’est retrouvé confrontée aux forces résistives du réel. À l’insu de tous, cette esthétique émergea d’une tension entre le geste de l’inventeur, du créateur, qui souhaite accomplir son projet – forcer la “nature” à son dessein – et le réel qui résiste et entrave les tentatives. Toute la photographie “primitive” est marquée plastiquement par ce tiraillement entre des forces antagonistes. L’illusion, tant souhaitée, d’une représentation fidèle se déroba, laissant à la postérité la beauté de ces images sans pareille, ouvrant l’espace aux possibles. Les zones obscures, troubles et vides ont participé activement à doter ces photographies d’une aura, plongeant les spectateurs dans des contemplations et des rêveries sans fin. La phénoménalité du monde a marqué de son sceau l’esthétique photographique, transformant paradoxalement les projets technicistes, épris de précision, en aventures plastiques singulières et étranges. Ce grand écart entre désir d’appréhension et résistance du réel a produit des effets, des traces tangibles de l’étrangeté même du monde. La maturité du médium et de ses acteurs aidant, il n’y a eu, ensuite, qu’un pas à franchir pour que coïncident ces traces et les questionnements philosophiques qui en résultent. Le vide, élément majeur de cette esthétique, fut repris à bon escient comme stratégie au service du sentiment du sublime. Pour mettre en scène ces problématiques, nous convoquons l’histoire du médium photographique et, avec elle, ses plus illustres acteurs. Cela nous servira de fil d’Ariane pour parcourir les deux siècles qui nous séparent de l’invention de la photographie et voir comment, au cours de l’histoire de ce médium, des photographes ont réactivé cette esthétique. Cette thèse se propose, à travers de riches analyses historiques, techniques et théoriques, d’évaluer les résonances de l’esthétique du vide en photographie, qui consiste à vider l’espace représentatif plutôt qu’à le remplir. Par des études de cas, pratique raisonnée de prises de vue à l’appui, nous tenterons aussi de démontrer comment la photographie est devenue, au fil du temps, un médium privilégié de contemplation, d’observation, d’examen critique des espaces laissés vacants au sein du tissu urbain et comment la dialectique entre lieux réels et représentations photographiques permet, en retour, une réflexion sur les enjeux paysagers de nos espaces urbainsThe aesthetic of emptiness in photography is as old as the medium itself. Its origin goes back to the early days of the technique, which, aimed at obtaining an exact representation of nature, was confronted with the resistive forces of reality. Unbeknownst to all, this aesthetic emerged from a tension between the act of the inventor, the creator, who wishes to accomplish his project - to force "nature" to his design - and the real that resists and hinders attempts. All "primitive" photography is plastically marked by this tension between antagonistic forces. The illusion, so much desired, of a faithful representation fainted, leaving to posterity the beauty of these unique images, opening space to possibilities. The dark, troubled and empty areas actively participated in endowing these photographs with an aura, plunging viewers into contemplations and endless reveries. The phenomenality of the world has marked with his seal the photographic aesthetics, paradoxically transforming technicist projects, loving precision, in singular and strange plastic adventures. This great gap between the desire for apprehension and the resistance of reality has produced effects, tangible traces of strangeness of the world. The maturity of the medium and its actors helping, there was, then, only a step to cross to coincide these traces and philosophical questions that result. The emptiness, a major element of this aesthetic, was appropriately used as a strategy in the service of the feeling of the sublime.To stage these issues, we convene together the history of the photographic medium and most famous actors. This will serve as a clue to glance to the two centuries that separate us from the invention of photography and see how, in the history of the medium, photographers have reactivated this aesthetic. This thesis proposes, through rich historical, technical and theoretical analyzes, to evaluate the resonances of the vacuum aesthetic in photography, which consists in emptying the representative space rather than filling it. Through case studies, reasoned practice of shooting in support, we will also try to demonstrate how photography has become, over time, a privileged medium of contemplation, observation, critical examination of spaces left vacant within the urban fabric and how the dialectic between real places and photographic representations allows, in return, a reflection on the landscape issues of our urban spaces
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Boateng, Kofi. "Anglophone Sub-Sahara Africa video industry : a new paradigmatic practice of moviemaking." Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/6055.
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The subject of this study is Sub-Sahara Africa Anglophone Video-moviemaking and the research process is an empirical enquiry into how this contemporary cultural industry has emerged in the region, bringing with it a paradigmatic shift in the concept of cinema on the African continent. Within this context I look at the interventions that necessitate and define this industry pioneered by Ghana and Nigeria. These interventions are historical, economic, social and political. To put this research into perspective I commence with the critical question: why is it important to do a study on Sub-Sahara Anglophone video-moviemaking? It is an important subject because this is the history that is barely constructed. It is a history that follows traditional lines of filmmaking and yet distinctly differs from the traditional concept of high culture celluloid filmmaking. It is an industry that is a significant part of the economies of producing countries. The products of this industry also constitute a major source of entertainment in Africa and among African immigrants in the West. Yet, studies on African moviemaking practices have, until most recently, bypassed this important industry. By undertaking this research I explore Sub-Sahara Africa videomoviemaking in order to open discussion and critical review of this creative industry that forms an important part of the economic and cultural systems in the region. This thesis is a hybrid with two components – a text document and an audio-visual documentary on a digital versatile disk (DVD). The presentation of these two components reflects the expansion of dissemination platforms for study results. In presenting these two different formats I have to reduce certain things from each side but I do so in such a way that they work together. In that working together is an emerging corporative that intervenes beyond academia.
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Suvorov, Ruslan S. "Context visuals in L2 listening tests the effectiveness of photographs and video vs. audio-only format /." [Ames, Iowa : Iowa State University], 2008.
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Aboussioud, Rachid. "Dynamique de la persistance identitaire : complémentarité graphique et numérique dans l'autoportrait du XXIe siècle." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010561.
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La Dynamique de la Persistance Identitaire se veut, à travers l'autoportrait plastique, une analyse des notions du moi et du surmoi. L'autoportrait soulève pour la majorité des artistes, des plus anciens aux plus novateurs, la question de l'identité à travers l'apparence, le caractère, mais aussi des origines sociales et culturelles et son exacerbation amène à un narcissisme qui fut le moteur de l'activité de nombreux maîtres parmi les plus illustres. Se remémorer certaines périodes de la vie, des souvenirs heureux ou malheureux de situations vécues, conduit à l'introspection, où le temps est une notion majeure artistique et nécessaire à la structuration psychologique d'un individu. De nombreux artistes se sont penchés sur leur image en employant de nombreuses techniques plastiques traditionnelles et, depuis peu, expérimentales (expériences tridimensionnelles). Ces représentations, à l'aide des nouveaux outils informatiques accessibles à tous, sont désormais modifiables à volonté, apportant un choix illimité d'altérations réversibles en mode uniquement virtuel. Dans un travail initial (Evolution Identitaire) ce dessein interroge l'autoportrait de l'auteur à l'aide de dessins unicolores éclairés de rehauts de blancs ou chaque visage apparaît trait par trait pour constituer l'individu. La Dynamique de la Persistance Identitaire remet en question ces trente et un visages représentés le plus objectivement possible pour dévier de l'image réelle à l'image rêvée, par la technique du Makeover, très utilisé sur internet et donnant ainsi une possibilité de reconquête de l'identité, à la recherche d'une esthétique optimisée, adaptée au choix de l'artiste: deux cent dix-sept dessins, toutes réalisations confondues, sont ainsi conçus. Cet ensemble est diffusé à travers une exposition et une vidéo et il est adaptable à plusieurs espaces sous trois formes complémentaires :une double frise chronologique en parallèle d'autoportraits format A4 sur un papier légèrement teinté où sont confrontées représentations objectives et subjectives des formes suivant les critères des lois de la Gestalt. une vidéo projection ou les visages se dévoilent progressivement, donnant ainsi naissance à une technique dite "dessin évolutif', proche de l'animation, et donnant vie à l'individu avec le morphing en étape ultime qui dévoile avec fluidité un nouveau visage rectifié selon les désirs de l'auteur, une longue frise chronologique format A2 blanc où l'image vécue est couplée et confronté à l'image idéalisée, sur une même représentation, par deux couleurs différentes pour signifier les corrections accomplies. Cette recherche devrait être complétée, dans l'avenir, toujours avec pour moteur la recherche de réalisations d'autoportraits tridimensionnels, à l'aide de technologies pointues, telles anamorphoses et imprimante 3DDynamics of identity Persistence wants, through the plastic self-portrait, an analysis of the concepts of ego and superego. Self Portrait raises for the majority of artists, from the oldest to the most innovative, the question of identity through the appearance, character, but also social and cultural origins and exacerbation leads to a narcissism that was the engine the activity of man y of Art masters. Remember certain periods of life, happy or unhappy memories of life situations, leads to introspection, where time is a necessary artistic and psychological structuring an individual major concept. Many artists have focused on their image using many traditional engineering plastics and, more recently, experimental (three-dimensional experiments). These representations using new tools accessible to all are now modified at will, bringing unlimited choice reversible alterations only virtual mode. In initial work (Identity Evolution) this design questions the portrait of the author with one colored drawings illuminated highlights of each face appears white or line by line to form the individual. Dynamics of identity Persistence puts into these thirty questions and faces presented as objectively as possible to deviate from the actual image to the perfect picture, the technique Makeover, widely used on the Internet and giving an opportunity to reconquer identity, the search for an aesthetic optimized, adapted to the choice of the artist: two hundred and seventeen drawings, ail outputs combined, are well designed. This package is distributed through an exhibition and a video that is adaptable to many spaces in three complementary ways:-A double timeline of self-portraits in parallel on A4 paper with a lightly tinted face objective and subjective representations of forms depending on the requirements of Gestalt's laws. -A video projection where faces are gradually revealed, giving rise to " evolutionary drawing " , close to the animation technique, and giving life to the individual with the morphing ultimate step reveals a new face smoothly corrected according to the wishes of the author. -A long white frieze chronological format A2 where the image is coupled lived and confronted with the idealized image, on the same representation by two different colors to signify the completed corrections. This research should be completed in the future, always with engine research achievements of three-dimensional self-portraits, with pointed and such anamorphic 30 printer technologies
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Marsh, Dale H. "Art as action and idea: a personal statement discussing performance art, photography, and video." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303234139.
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Wills, Ciaran. "A video summarisation system for post-production." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/5606/.
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Post-production facilities deal with large amounts of digital video, which presents difficulties when tracking, managing and searching this material. Recent research work in image and video analysis promises to offer help in these tasks, but there is a gap between what these systems can provide and what users actually need. In particular the popular research models for indexing and retrieving visual data do not fit well with how users actually work. In this thesis we explore how image and video analysis can be applied to an online video collection to assist users in reviewing and searching for material faster, rather than purporting to do it for them. We introduce a framework for automatically generating static 2-dimen- sional storyboards from video sequences. The storyboard consists of a series of frames, one for each shot in the sequence, showing the principal objects and motions of the shot. The storyboards are rendered as vector images in a familiar comic book style, allowing them to be quickly viewed and understood. The process consists of three distinct steps: shot-change detection, object segmentation, and presentation. The nature of the video material encountered in a post-production fa- cility is quite different from other material such as television programmes. Video sequences such as commercials and music videos are highly dy- namic with very short shots, rapid transitions and ambiguous edits. Video is often heavily manipulated, causing difficulties for many video processing techniques. We study the performance of a variety of published shot-change de- tection algorithms on the type of highly dynamic video typically encoun- tered in post-production work. Finding their performance disappointing, we develop a novel algorithm for detecting cuts and fades that operates directly on Motion-JPEG compressed video, exploiting the DCT coeffi- cients to save computation. The algorithm shows superior performance on highly dynamic material while performing comparably to previous algorithms on other material.
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Hany, Hanafy Mahmoud Said. "Low bitrate multi-view video coding based on H.264/AVC." Thesis, Staffordshire University, 2015. http://eprints.staffs.ac.uk/2206/.
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Multi-view Video Coding (MVC) is vital for low bitrate applications that have constraints in bandwidth, battery capacity and memory size. Symmetric and mixed spatial-resolution coding approaches are addressed in this thesis, where Prediction Architecture (PA) is investigated using block matching statistics. Impact of camera separation is studied for symmetric coding to define a criterion for the best usage of MVC. Visual enhancement is studied for mixed spatial-resolution coding to improve visual quality for the interpolated frames by utilising the information derived from disparity compensation. In the context of symmetric coding investigations, camera separation cannot be used as a sufficient criterion to select suitable coding solution for a given video. Prediction architectures are proposed, where MVC that uses these architectures have higher coding performance than the corresponding codec that deploys a set of other prediction architectures, where the coding gain is up to 2.3 dB. An Adaptive Reference Frame Ordering (ARFO) algorithm is proposed that saves up to 6.2% in bits compared to static reference frame ordering when coding sequence that contains hard scene changes. In the case of mixed spatial-resolution coding investigations, a new PA is proposed that is able to save bitrate by 13.1 Kbps compared to the corresponding codec that uses the extended architecture based on 3D-digital multimedia. The codec that uses hierarchical B-picture PA has higher coding efficiency than the corresponding codec that employs the proposed PA, where the bitrate saving is 24.9 Kbps. The ARFO algorithm has been integrated with the proposed PA where it saves bitrates by up to 35.4 Kbps compared to corresponding codec that uses other prediction architectures. Visual enhancement algorithm is proposed and integrated within the presented PA. It provides highest quality improvement for the interpolated frames where coding gain is up to 0.9 dB compared to the corresponding frames that are coded by other prediction architectures.
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Chepngetich-Omanga, Pamela [Verfasser], and Ulf [Akademischer Betreuer] Vierke. "Spectacles of Displacement : Institutional and Vernacular Photography on Refugees in Dadaab, North-Eastern Kenya / Pamela Chepngetich-Omanga. Betreuer: Ulf Vierke." Bayreuth : Universität Bayreuth, 2016. http://d-nb.info/1108404189/34.
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Kilzer, Anna Marie. "For our daughters." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6779.
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Lanzl, Christina Anna [Verfasser], and Burcu [Akademischer Betreuer] Dogramaci. "Doug and Mike Starn. Evolution from photography to public art / Christina Anna Lanzl ; Betreuer: Burcu Dogramaci." Heidelberg : arthistoricum.net, 2013. http://d-nb.info/121510636X/34.
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Lanzl, Christina Verfasser], and Burcu [Akademischer Betreuer] [Dogramaci. "Doug and Mike Starn : Evolution from photography to public art / Christina A. Lanzl. Betreuer: Burcu Dogramaci." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2013. http://d-nb.info/1045152986/34.
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Lanzl, Christina Anna Verfasser], and Burcu [Akademischer Betreuer] [Dogramaci. "Doug and Mike Starn. Evolution from photography to public art / Christina Anna Lanzl ; Betreuer: Burcu Dogramaci." Heidelberg : arthistoricum.net, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:16-artdok-23216.
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Harmsen, Corlia. "Shape me into your idea of home : representations of longing in contemporary photography and video practice." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6578.
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Thesis (MA (Visual Arts))--University of Stellenbosch, 2011.Includes bibliography.
ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that can be understood, in my view, as symptomatic of a primary interest in representing experiences of affect, loss, alienation and objectification of an “other”, which in turn, necessitates a critical interrogation of the notion of self. These phenomena include notions of the body (animal and human), private and public spaces, voyeurism, transgression, desire, fetishization, sentimentality and most critically, nostalgia as understood through experiences of homesickness and heimwee. My focus is on the affective potential of contemporary lens-based (photographic and video) art. I approach this study by way of three central ideas: the longing for home (the relationship between self/space); the longing for the body (the relationship between body/self); and the longing for the other (the relationship between self/other). I make use of psychoanalytic and feminist theory, as well as theoretical interpretations of photography and screen-based media, in the broader context of visual art and culture, to frame my discussion. As such, this study draws on the theoretical work of Roland Barthes and Susan Sontag to introduce basic concepts such as the relationship between photography and memory, and develops these to include ideas of the gaze, self and alientation from the self read through Judith Butler and Jacques Lacan’s image of the mirror phase; home and homesickness read through Martin Heidegger, Sigmund Freud’s notion of das unheimlich (uncanny) and Julia Kristeva’s notion of abjection; and Gilles Deleuze and Felix Guattari’s objectification of the animal-other. This study is intimately linked with, and critically informed by my personal artistic practice, which focuses specifically on the photographic or filmic representation (projection) of separation, displacement and longing for an absent other (home, partner & domestic animal). I discuss my own work relation to selected examples by artists including Shizuka Yokomizo, Sophie Calle, Penny Siopis and Jo Ractliffe, among others, framing the art object and related processes as cathartic, mnemonic and talismanic; acknowledging the paradoxical aspect of photography as simultaneously distancing and acting as a trace of the real; and analysing the evocative (metaphorical or conceptual) allusions made possible by lens-based processes and their presentation as print and projection, image and screen.
AFRIKAANSE OPSOMMING: My navorsing is gemotiveer deur ʼn belangstelling in ʼn menigte idiosinkratiese onderling verbonde verskynsels wat myns insiens beskou kan word as simptomaties van ʼn primêre belangstelling daarin om ervarings van affek, verlies, aliënasie en objektivering van ʼn “ander” weer te gee. My fokus sal op die verband tussen kontemporêre kuns en affek wees. Hierdie onderling verbonde verskynsels sluit in: die self en nosies van “die ander”/aliënasie, identiteit, die liggaam, die verbeelding; veiligheid, die huis, huishoudelike ruimte/plek/ontheemdheid; beheer, grense, oortreding, voyeurisme en geweld; verlange, nostalgie (heimwee), misnoegdheid; verlies, gemis, rou, woede, depressie met inbegrip van melancholie; liefde, romanse, sentimentaliteit, kitsch, besit; begeerte, obsessie, objektivering, tot fetisj maak (met inbegrip van objektivering van die huisdier). Ek benader ʼn bespreking van bogenoemde verskynsel deur diskoerse van psigoanalise en feminisme binne die raamwerk van my navorsing. Ek beoog om, met behulp van psigoanalitiese teoretiese verwysings, in hierdie verhandeling die verlange na die huis (die verband tussen self/ruimte, hoofstuk een), die verlange na die liggaam (die verband tussen liggaam/self, hoofstuk twee) en die verlange na die ander (die verband tussen self/ander, hoofstuk drie) te verken. Ek sal voorbeelde van kontemporêre fotografie en videokuns, asook voorbeelde bespreek om kontekstuele verwysing na ʼn bespreking van die uitoefening van my eie kreatiewe kuns te verskaf. Ek sal die uitbeelding (projeksie) van skeiding, ontheemding en verlange na ʼn afwesige ander (huis, maat en huisdier) bespreek. Die veld van my teoretiese ondersoek sal put uit sleutelteorieë van Roland Barthes, Susan Sontag, Sigmund Freud, JaquesLacan, Julia Kristeva, Gilles Deleuze en Felix Guattari, Martin Heidegger en Judith Butler ten einde basiese begrippe in gebruik te kan neem soos die verband tussen fotografie en geheue (die kunsvoorwerp/proses as suiweringsmiddel, mnemoniek en besitter van bonatuurlike, veral beskermende magte), paradokse in fotografie, uitbeelding en verlange/aliënasie, huis en heimwee (die bonatuurlike, ellende), kontemporêre kuns en affek, die starende blik en die objektivering van die dier-ander en die stemmingsvolle (metafories of konseptueel) sinspelings wat deur fotografiese prosesse en aanbieding (druk en projeksie, afbeelding en skerm) moontlik gemaak word.
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Grunbaum, Barbara. "Glamour /." Online version of thesis, 1987. http://hdl.handle.net/1850/10149.
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Raj, Alex Noel Joseph. "Accurate depth from defocus estimation with video-rate implementation." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/2791/.
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The science of measuring depth from images at video rate using „defocus‟ has been investigated. The method required two differently focussed images acquired from a single view point using a single camera. The relative blur between the images was used to determine the in-focus axial points of each pixel and hence depth. The depth estimation algorithm researched by Watanabe and Nayar was employed to recover the depth estimates, but the broadband filters, referred as the Rational filters were designed using a new procedure: the Two Step Polynomial Approach. The filters designed by the new model were largely insensitive to object texture and were shown to model the blur more precisely than the previous method. Experiments with real planar images demonstrated a maximum RMS depth error of 1.18% for the proposed filters, compared to 1.54% for the previous design. The researched software program required five 2D convolutions to be processed in parallel and these convolutions were effectively implemented on a FPGA using a two channel, five stage pipelined architecture, however the precision of the filter coefficients and the variables had to be limited within the processor. The number of multipliers required for each convolution was reduced from 49 to 10 (79.5% reduction) using a Triangular design procedure. Experimental results suggested that the pipelined processor provided depth estimates comparable in accuracy to the full precision Matlab‟s output, and generated depth maps of size 400 x 400 pixels in 13.06msec, that is faster than the video rate. The defocused images (near and far-focused) were optically registered for magnification using Telecentric optics. A frequency domain approach based on phase correlation was employed to measure the radial shifts due to magnification and also to optimally position the external aperture. The telecentric optics ensured pixel to pixel registration between the defocused images was correct and provided more accurate depth estimates.
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Oliveira, Alexandra Marinho de [Verfasser], Nikolaus [Akademischer Betreuer] Müller-Schöll, Nikolaus [Gutachter] Müller-Schöll, and Jörn [Gutachter] Etzold. "Bertolt Brecht and theatre photography: aesthetic and political involvement / Alexandra Marinho de Oliveira ; Gutachter: Nikolaus Müller-Schöll, Jörn Etzold ; Betreuer: Nikolaus Müller-Schöll." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2019. http://d-nb.info/120113126X/34.
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Abeln, Jonas [Verfasser], Christoph [Gutachter] Redies, Laszlo Gutachter] Kovacs, and Achim [Gutachter] [Landwehr. "Untersuchung der Augenbewegung und visuellen Salienz in Bildausschnitten von Photographie / Jonas Abeln ; Gutachter: Christoph Redies, Laszlo Kovacs, Achim Landwehr." Jena : Friedrich-Schiller-Universität Jena, 2020. http://d-nb.info/1215210051/34.
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Stire, James B. "Armchair Tourist." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2002.
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The contemporary experience is profoundly rooted in the processes of remembering and recalling, recording and playing back. My work employs image and installation to speak of memory, nostalgia, and the integration of media and representation into experience. The rapid advancement of media technologies provides new immersive opportunities for the armchair traveler. Viewers may now be effortlessly transported across distances of time and space.
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Huttunen, Hinni. "CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO : Master essay 2018 / Hinni Huttunen." Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-368.
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CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO is my master essay. It consists of 6 chapters in which I write about my artistic practise and my work around a series of works titled 52 WEEKS AND WORKS and my examination exhibition SELF-PORTRAITS / FOR FAT GIRLS / PORTRAITS.
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Meyer, Anja [Verfasser]. "Images of Traumatic Memories : Intersections of Literature and Photography in the Novels of Riggs, Safran Foer and Seiffert / Anja Meyer." Göttingen : V&R Unipress, 2020. http://www.v-r.de/.
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Krueger, Claire. "Locus." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3109.
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This thesis explores my practice as it has progressed into video and video installation. I detail my use of cinematic tropes and mechanisms as they function within a spatial installation. I discuss the relationship of my work to other artists such as Pierre Huyghe, Janet Cardiff and George Bures Miller, and Kevin Cooley who also deal with themes of landscape, spatial displacement, and video viewing. My work has evolved to video installation from a need to experience the traditionally flat viewing plane of photography in a more experiential way. The Locus installation is multi sensory, in that it addresses smell, sound, and vision. In my work, I employ methods such as obfuscated video and localized yet unconnected sound landscapes to consider notions such as the viewer’s self-awareness, fear of solitude, and the ‘other.’ I explore the other as a concept stemming from paranoia and anxiety of the unknown. This includes feeling an unfamiliar presence nearby or a known location that suddenly feels strange and unusual.
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Andersen, Evan D. "A surveillance system to create and distribute geo-referenced mosaics from SUAV video /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2416.pdf.
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Pommeray, Michel. "Etude d'un vidéoprojecteur laser stéréoscopique." Valenciennes, 1995. https://ged.uphf.fr/nuxeo/site/esupversions/9fd20f01-dce5-49a3-b087-e8faf2cfc241.
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After a review of the main three-dimensional display techniques, this report proposes a study of a laser videoprojector, which allows the two images of a stereo-pair to be seen simultaneously. The left and right images correspond to two orthogonal polarization directions of the laser beam. So, for each pixel, an intensity and a polarization angle are computed from the pixel intensities of the left and right images. At restitution, special polarizing glasses worn by the viewer decode the polarized images to provide the left and right eye views. As images are projected in waves of four lines to reduce the rotation speed of the polygonal mirror doing horizontal scanning, the laser beam is diffracted by a multifrequency acousto-optic modulator. The linearization of the diffraction efficiencies is realized by the introduction of an additional acoustic carrier. A suitable anisotropic interaction greatly reduces the multiple rediffraction effects. The polarization angle of the light beams stemming from the acousto-optic component can not be modulated independently by the electro-optic modulator. A study of the image degradation, in both spatial and frequency domains, is presented, in case the intensities are averaged over two successive lines of a screen for each image. Next a second method, indemnifing the absence of ghost images and minimizing the mean square error, is analysed, then compared to the previous one with the help of a set of numerical results and simulationsPrès une analyse des principales techniques de restitution du relief, ce mémoire propose l'étude d'un vidéoprojecteur laser, autorisant la visualisation simultanée des deux images d'un couple stéréoscopique. Les images gauche et droite du couple correspondent à deux directions de polarisation orthogonales du faisceau laser. Ainsi, pour chaque pixel, une intensité et un angle de polarisation sont calcules a partir des intensités des pixels des images gauche et droite. A la restitution, les lunettes a verres polarises orthogonalement, portées par le spectateur, adressent a chaque il l'image qui lui est destinée. La projection des images s'effectuant par paquet de quatre lignes, de manière a réduire la vitesse de rotation du miroir polygonal assurant le balayage horizontal, le faisceau laser est diffracte et module en intensité par un composant acousto-optique multifréquence. La linéarisation des rendements de diffraction de ce dernier est réalisée par l'adjonction d'une voie supplémentaire, dite de compensation. Les phénomènes d'intermodulation sont réduits par le choix d'une coupe acoustique particulière dans la paratellurite. Le modulateur électro-optique ne permet pas la modulation indépendante de l'angle de polarisation des faisceaux lumineux issus du composant acousto-optique. Une étude, dans le domaine spatial et fréquentiel, de la dégradation des images, qui s'en suit, est présentée dans le cas ou les intensités sont moyennées sur deux lignes consécutives d'une trame, pour chaque image. Une seconde méthode, minimisant l'erreur quadratique moyenne, est ensuite analysée, puis comparée à la précédente à l'aide d'un ensemble de résultats numériques et de simulations
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Delage, Chollet Colette. "Pratique de photographie et de videoscopie familiales dans la France contemporaine." Toulouse 2, 2001. http://www.theses.fr/2001TOU20026.
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L'essor de la photographie, lié à l'expansion économique, a favorisé son approximation par les particuliers (démocratisation du portrait, pratique amateur). L'ethnologie a aussi utilisé la photographie puis le film (illustration, observation participante) avant de s'y intéresser en tant qu'objet d'étude. Cette recherche propose l'analyse de pratiques photo/vidéo familiales en France (1990-2000). L'état des travaux sur l'évolution récente de la famille et ceux relatifs aux pratiques de photographie familiale en situent les contextes. Outre les sujets des prises de vues, que représentent en elles-mêmes ces pratiques, quelles sont leurs relations avec les fonctionnements familiaux contemporains ? En quoi les pratiques photo/vidéo révèlent, traduisent, participent et/ou organisent des manières " d'être " en famille ? L'observation des corpus et l'analyse des pratiques photo/vidéo de 37 personnes, complétées par leurs commentaires, confirment la place centrale de " l'album " et son caractère sélectif mais saisissent aussi son rôle quant à la construction et la fragmentation du temps. Ces deux points expriment l'intention autobiographique de l'organisateur. L'analyse souligne également l'importance d'autres photographies non classées. L'intrication des rites familiaux et des rituels photo/vidéo lors de la constitution des alliances formelles et des unions libres et pour l'arrivée d'un enfant (naissance ou adoption) prouve que la photo/vidéo reflète/participe aux mutations familiales. Divorces, séparations, recompositions familiales ont des effets sur les pratiques. Celles-ci révèlent des attitudes actuelles au moment de la mort (" tabou " du corps mort) ainsi que les modalités de la gestion et de la transmission du patrimoine photographique familial. Déclenchant paroles et expression des affects, la photo/vidéo laisse ainsi paraître ses relations avec la mémoire individuelle et familialeThe development of photography, a result of economic growth, has led to its appropriatio by individuals (trought the democratization of the portrait and amateur photography). Anthropologists also used photographs then films (for illustration as participant observers) before becoming interested in them as an object of study in their own right. This research proposes the analysis of family usesof photographs and video in France (1990-2000). Work carried out on recent developments in the family and that related to family uses of photography define its context. Besides the actual subject of the views taken, what do these uses represent in themselves, how are they related to the functioning of contemporary families ? To what extent do the use of photographs or video reveal, translate, participate in and/or organise ways of "being" part of a family ? Observation of the corpus, together with an analysis of the way 37 people use photographs/video, complemented by their commentaries, confirms the central position and selective nature of the "album", but also its role in the contruction and fragmentation of time. These two points are expression of autobiographical intention of the organiser. The analysis also underlines the importance of the other photographs which are not included in the album. The intermingling of family rites and photographic/video rituals on the occasion of formal marriage celebrations or unofficial ones, or on the arrival of a child (by birth or adoption) proves that photography and video reflect and are a part of changes in family arrangements. Divorce, separation, re-formed families, all these have had an effect on their use. The way they are used is revealing of current attitudes in the face of death (the corpse as "taboo" and also of how the family's photographic inheritance is managed and transmitted. It is thus, that photographs and video, by provoking speech and expressing affects, provide an insight into their link with individual and family memories
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Soares, Miro. "Itinéraires imprécis et leurs images possibles : éléments pour une esthétique de la mobilité." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010564.
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Cette thèse de doctorat examine comment la mobilité peut devenir la base d’un processus de création dans le champ de l’image en mouvement. Je propose un cadre de travail dans lequel l’ouverture d’esprit caractéristique de la mobilité volontaire est associée à une ouverture du langage artistique. En tant qu’ensemble de déplacements physiques et mentaux entre différentes géographies et entre différentes cultures, langues et traditions, la mobilité peut déterminer à la fois une expérience personnelle et une production artistique directement liées à l’improvisation et au hasard. Cette forme de pensée nomade, ouverte à l’improvisation, à l’imprévisibilité et au risque affecte aussi les formes des œuvres, également ouvertes à divers modes d’exposition et différentes interprétations. L’étude nous révèle comment les frontières géopolitiques et artistiques se stimulent et s’affectent mutuellement et dialectiquement. Elle nous incite à réfléchir sur la question de la mobilité en même temps qu’elle participe à l’élargissement des frontières de l’image en mouvement. Autour des notions de mobilité et de création en contexte, j’examine dans cette recherche basée sur ma pratique et celle d’autres artistes quels sont les enjeux des différentes étapes du travail, depuis la conception jusqu’à la présentation finale des œuvres, qu’il s’agisse de films, de vidéos et d’installations. En articulant les dispositifs de création et de diffusion dans le but de combiner simultanément le processus de réalisation de l’œuvre et l’expérience du déplacement, une esthétique particulière émerge, basée sur la mobilité et l’expérience directe du mondeThis doctoral dissertation examines how mobility can become the basis for creative process in the field of moving image. I propose a framework where the open-mindedness characteristic of voluntary mobility is associated with an openness of artistic language. As a set of physical and psychic displacements among different geographies as well as among different cultures, languages and traditions, mobility can shape both personal experience and artistic production directly related to improvisation and chance. This nomadic form of thinking, open to improvisation, unpredictability and risk, also affects the forms of artworks that are in turn open to several ways of display as well as different interpretations. This study reveals how geopolitical and artistic borders stimulate and affect each other reciprocally and dialectically. It encourages us to reflect on the issue of mobility while simultaneously participating in the expansion of the moving image’s boundaries. Through a practice-based research around notions of mobility and creation in context, I examine embedded elements of different stages of film, video and installation production, using personal artworks and a body of references. By articulating certain devices for creation and display in order to simultaneously combine the process of the artwork’s production with the experience of the displacement, a particular aesthetic emerges, based on mobility and a direct experience of the world
Esta tese de doutorado examina como a mobilidade pode se tornar a base para um processo criativo no campo da imagem em movimento. Eu proponho um contexto de trabalho em que a abertura de espírito característica da mobilidade voluntária é associada a uma abertura da linguagem artística. Como um conjunto de deslocamentos físicos e mentais entre diferentes geografias, bem como entre diferentes culturas, línguas e tradições, a mobilidade pode determinar tanto uma experiência pessoal quanto uma produção artística diretamente relacionadas à improvisação e ao acaso. Esta forma de pensar nômade, aberta à improvisação, à imprevisibilidade e ao risco também afeta as formas das obras, igualmente abertas a vários modos de exposição e diferentes interpretações. O estudo revela como as fronteiras geopolíticas e artísticas se estimulam e se afetam reciprocamente e dialeticamente. Ele nos encoraja a refletir sobre a questão da mobilidade, ao mesmo tempo em que colabora para expandir os limites da imagem em movimento. Em torno das noções de mobilidade et de criação em contexto, nessa pesquisa prático-teórica, eu examino quais são os elementos incorporados nas diferentes fases de produção de filmes, vídeos e instalações a partir de obras pessoais e de um conjunto de referências. Ao articular os dispositivos criação e de difusão com o objetivo de combinar simultaneamente o processo de realização da obra e a experiência do deslocamento, uma estética particular emerge, baseada na mobilidade e na experiência direta do mundo
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Walker, Jessica E. "Unexpected Reflection Collection." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253634229.
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Hertz, Verena Verfasser], and Burcu [Akademischer Betreuer] [Dogramaci. "Die Peripherie des „Everyday America“ im Fokus zeitgenössischer, amerikanischer Photographen : Gregory Crewdson, Cindy Sherman, Stephen Shore, Taryn Simon, Alec Soth / Verena Hertz. Betreuer: Burcu Dogramaci." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2013. http://d-nb.info/1105373835/34.
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Korver, Ruth M. "In memory of cats : the camera and the ordinary moment : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/956.
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In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.
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Maugin, Armelle. "Ce que révèle la photographie d'un dispositif de vidéo de surveillance tourné vers le paysage... /." Paris : Université de Paris VIII, 1995. http://catalogue.bnf.fr/ark:/12148/cb35814517q.
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O'Connor, Kathleen. "Climbing Mt. Rainier." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4269.
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My work addresses notions of the American landscape through image, memory, and experience. Using found images, video, and a variety of materials to make objects I investigate the intersection of external representations of landscape in American culture and internalized desires of landscapes.
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Colin, Delphine Rose. "L'autoportrait et la déchirure du réel : à travers la photographie et la vidéo." Paris 1, 2010. http://www.theses.fr/2010PA010522.
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À partir de ma pratique photographique et vidéo, où les codes traditionnels de l'autoportrait sont défaits, nous proposons d'interroger la façon dont se construisent les rapports entre autoportrait et réel. Nous postulons que tout passage du réel à l'image repose sur une déchirure provoquée par l'artiste et son geste créateur. Nous avons alors centré notre problématique sur la déchirure du réel : est-ce celle de I 'espace et du temps qui constituent le réel? Celle plus intime ou identitaire qui renvoie à I 'être réel figuré? Peut-on penser la déchirure comme la possibilité de I 'auto portrait ? Qu, inversement, comme la possibilité de I 'invention du réel? Nous avons mené notre réflexion à travers trois catégories de la déchirure : la ressemblance, I'identité et Ie temps, en les interrogeant dans le procès créateur et I'image créée, et en nous appuyant sur différents champs de pensées (philosophie, psychanalyse, littérature) et sur les oeuvres d' autres artistes.
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Shao, Wenbin. "Automatic annotation of digital photos." Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080403.120857/index.html.
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Wilson, Kathryn. "Cinematrope." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1678.
Full textAbstract:
My body of work involves photographic and video explorations around the concept that cinema has a great influence over who we are as a culture and as individuals. I use the tableaux technique to illustrate the archetypal language of film through fictional film stills. Congruously, I use video to interject myself into scenes from movies, referencing the way viewers mentally project themselves into movies as they watch them. I am interested in decoding visual stereotypes promoted by cinema through the lens of my own experience with movies.
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Escobar, Mayte. "The Body As Border: El Cuerpo Como Frontera." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/247.
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Being First generation born Mexican American I am looking into the blend of the two cultures and the disparity between them. The border is the core of my investigation; by traveling across the border I have become conscious of the differences among both sides and duality within myself. My identity has developed from a synthesis of these two cultures, and my wok explores these two factions that cannot be one without the other. fusion is apparent in my self-portraits where I dress up with the colors from both sides of the border. But I also take a personal look into understanding the history and identity of each nation. I create a juxtaposition with these two identities that become one and explore the social, cultural, and political issues we face in the everyday. I recreate my “investigation,” by trying to dig deeper, exposing the layers, and facing my own identity crisis in the process.
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Takacs, Stephen R. "Sing the Body Electric." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343344994.
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