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Kanar, Ege. "Photography as artificial memory: Construction of the Photographic Self." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78095.
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Coombes, Justin. "Photography, memory and ekphrasis." Thesis, Royal College of Art, 2012. http://researchonline.rca.ac.uk/1280/.
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Recollected Places: Photography, Memory and Ekphrasis. The practice component of my PhD, ‘Recollected Places’, consists of exhibitions combining my work as an artist in still photography, video and installation and books that combine text and the photographic image. My written thesis, ‘Photography, Memory and Ekphrasis’ looks at a number of artworks from the 1950s to the present day which employ the photography-ekphrasis relationship. ‘Ekphrasis’ is the verbal description of visual works of art, for example, Homer's imaginary evocation of Achilles' shield in The Iliad. It became the object of intense academic scrutiny during the 1980s, as part of cultural theory’s emergent ‘visual turn’ and its attendant concentration upon image-text relations. The Iliad’s extended description of the shield, and the world of peace that it describes, are noticeably different from the ‘real’ events of the Trojan wars described throughout the rest of the poem. However, the ekphrastic scenes, whilst being distinctly different in tone, are arguably as ‘lifelike’ as the rest of the action described. So, from this very earliest recorded instance of ekphrasis, we can see how the mode opens up fundamental ontological questions about art and its place in the world that would be highlighted by conceptual art almost three millennia later. What holds more presence? The physical work itself, or the idea of the work? In a similar fashion, the invention of photography raised questions that were not methodically articulated until the 1980s. Thus a body of research from the early 1990s onwards has addressed the relationship between ekphrasis and photography. However, the vast majority focuses on ekphrastic writing about photography: ‘poems for photographs’, in James Heffernan’s phrase. The small extant literature that focuses on photography’s relationship to ekphrasis tends to emphasise the technical aspects of the medium. My research is both the first book-length study that I am aware of to examine ekphrasis’s relationship to photography and the first such study that I know of to be written by a practising visual artist. I consider recent writing on ekphrasis through the prism of various psychoanalytic theories, particularly those from recent debates on photography and melancholia. I examine the absence of the ‘lost object’ that is both the very condition for ekphrasis and melancholia and a precondition of all photographs: simultaneously trace of the object and reminder of its absence.
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Shirley, Anne. "What a photograph and cannot do exegesis submitted in partial fulfilment of requirements for the degree Master of Art and Design, to Auckland University of Technology, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/455.
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Morris, Frank William. "Parallax (memory as a torn page)." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/491451.
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The purpose of this creative project was to explore the possibilities of words and photographic images in expressing mood. The particular mood that was to be expressed came from the observation of small rituals. These small rituals are an avenue that humans tend to derive meaning and continuity. Beyond this, the use of the Platinum/ Palladium photographic process as an expressive tool was examined.
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Allnutt, Susann. "Knowing my place: learning through memory and photography." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32547.
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This arts-informed inquiry uses auto-photography, rephotography, interviews, memory work and writing about the photograph as tools to draw out of the archive an understanding of the self-in-place. I focus on memory and photography in an autotopographical (following Heddon) exploration of topographical intimacy as it relates to childhood and current landscapes, known and unknown spaces. Using place as common ground, I interview my siblings to excavate our shared childhood place memories. I then photograph/rephotograph these remembered childhood places, looking to identify the influence of place on childhood identity. This research with siblings was a rich and storied resource. I also enter two public spaces with my camera, the Architectural Garden of the Canadian Centre for Architecture in Montreal and the Jim Everett Memorial Park in Vancouver, to map both the place and my relationship with/in it, and in so doing, to engage with photography itself. By creating what one might call place photo albums, I attempt to create an involvement with previously unknown spaces, hoping to link past and present places. I explore the evidential and embodied usefulness of photography in establishing topographical intimacy with/in place and confirm the importance of using place as a means of exploring identity. Photography's use as an active device of memory and its value in documenting place for inquiry is made explicit.Cette recherche faite en connaissance des arts utilise l'auto-photographie, la rephotographie, des entrevues et un travail de mémoire et d'écrit sur la photo en tant qu'outil permettant de soutirer des archives une compréhension du soi dans l'espace. Je porte attention à la mémoire et à la photographie d'une manière auto-topographique (selon Heddon), tout en explorant l'intimité topographique liée aux paysages de l'enfance et de la vie actuelle, aux espaces connus et inconnus. Utilisant le lieu comme cadre conceptuel commun, j'ai interviewé ma sœur et mes frères afin de fouiller nos mémoires partagées des lieux communs à notre enfance. J'ai par la suite photographié/rephotographié ces lieux de souvenirs d'enfance tout en essayant d'identifier l'influence que porte le lieu sur l'identité de l'enfance. Cette recherche avec ma sœur et mes frères fût une ressource riche en récits. De plus, j'ai visité deux lieux publics avec mon appareil photographique, le Jardin architectural du Centre canadien d'architecture de Montréal et le Jim Everett Memorial Park de Vancouver afin de représenter le lieu et le rapport que j'entretiens avec/dans ces lieux, ceci me permettant de m'investir directement à la photographie. En créant ce que l'on pourrait appeler des albums de photos de lieux, j'essaie de créer une participation avec les espaces auparavant inconnus tout en espérant pouvoir relier les lieux du passé à ceux du present. J'explore l'utilité évidente et incarnée de la photographie dans la création de l'intimité topographique avec/dans un lieu tout en confirmant l'importance de l'utilisation d'un lieu afin d'explorer l'identité. L'utilisation$
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Flynn, Sarah Justine. "A 21st century campus aesthetic: photography, memory, performance." Kansas State University, 2013. http://hdl.handle.net/2097/15593.
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Master of Landscape ArchitectureDepartment of Landscape Architecture/Regional and Community Planning
Laurence A. Clement, Jr.
Advancements in technology, architecture, landscape, planning and design, and education are being pursued in the 21st century. Unfortunately, the campuses of higher education institutions, which promote such advancements, do not reflect the vision of innovation and creativity. Rather, the exterior environments on college campuses portray a 19th century gardenesque landscape aesthetic, which emphasizes a “park-like” appearance and discounts ecological functions. The Kansas State University campus evidences a gardenesque aesthetic that arguably is not performing socially or ecologically to its fullest potential. This Master’s Project and Report uses an open space on K-State’s campus, Coffman Commons, to challenge its aesthetic performance. Campus landscape aesthetic performance can be improved by designing a community amenity that celebrates ecological processes, especially regarding stormwater, and involves the campus community in the design process. A conceptual framework, rooted in the Vitruvian Triad, directs the project’s methodology. Methods of photojournalism and design are conducted. Photojournalism is used to collect aesthetic responses of Coffman Commons from K-State students, faculty, and staff. Their photographic and textual responses inform the design process. The photography method allows each participant to confer importance to aspects of the landscape that moved them. Through photographic coding and content analysis, commonalities are discovered in the landscape with which each person identifies. The participants’ written descriptions further inform an understanding of expectations and hopes for Coffman Commons. Influenced by the photographic research and guided by set goals and objectives, the design method allows the innovation of a contextually specific and personable design solution for Coffman Commons. The design exhibits two community amenities which invite social activity to Coffman Commons. The amenities incorporate visible water systems (rain gardens and dry swales) - increasing the ecological performance of the Commons, and provide research opportunities for piezoelectric technology. The design also features inscriptions which honor Dr. Coffman and K-State Distinguished Faculty. This Master’s Project and Report transforms a gardensque campus landscape into a high-performance landscape that responsibly manages stormwater and enriches user experience.
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Fawns, Timothy James. "Blended memory : distributed remembering and forgetting through digital photography." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22989.
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This thesis explores practices and experiences of using photography to support remembering. While the increasing use of photography is well documented, we have limited theoretical understanding of how we approach the taking, organising, and sharing of personal images in relation to memory, and of the opportunities and risks that are created through technological change. Two studies were conducted in which a total of 21 participants were interviewed in front of a sample of their photographs. Study 1 explored photography and remembering around a single, specific event: a wedding. Study 2 explored longer-term patterns of photographic and remembering activity across a range of contexts and events. The analysis showed that the ways that participants engaged with other people and technologies were significant in determining the kinds of photographs that were produced, and the engagement with those photos. Photographic practices were also heavily influenced by the situations in which they were performed and the beliefs and preferences of individuals. The existence of photographs could lead to thinking about particular aspects of the past, but the taking of photographs also altered the experience of what was being photographed. This could be seen as disruptive, depending on the participant’s beliefs about whether photography was a legitimate part of experience. When taking photos, participants pursued a mix of aesthetics, objectivity, and personal meaning, and perceptions of these qualities could influence the way that photographs were used in cueing recall. However, while most participants had produced large collections of photographs, there had been limited engagement with these and taking or having photographs could be more important than looking at them. The thesis concludes that there is value in redefining memory as a kind of activity that emerges through the performance of remembering and that is dependent on the tools used to support it and the situations in which it is performed. From this perspective, photography and autobiographical remembering are parts of the same wider activity, an inseparable blend of internal and external processes. As such, attempts to support our memories should consider both the features of technology and the experience of using it, as well as the ways that we work with tools and people when remembering.
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Darnell, Amy Lynn. "Pencils of Light: Family, Photography, and Performance." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1791777591&sid=2&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Thesis (Ph. D.)--Southern Illinois University Carbondale, 2009."Department of Speech Communication." Keywords: Auto-performance, Cinema, Memory, Performance studies, Photographs, Photography, Family. Includes bibliographical references (p. 148-153). Also available online.
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Rawles, Erica M. "The Changing Meanings of Memory, Space, and Time in Photography." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1520.
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What happens to the memories that are left behind in photographs when the person who’s memories they are passes away? After the passing of both my mother and my grandmother, I began to notice the fleeting significance of photographs. I spent time going through boxes of pictures they had saved and every so often I would come across an old photo of someone or something that no one in my family could find a meaning behind or attach a significance to. This paper reveals how the meaning and importance of photographs shift over time from the perspective of the photographer to that of the preserver.
I discuss the history of photography and its evolution from a purely scientific method of recording to fine art. I also discuss the psychology behind taking a photograph, looking at the art historical and philosophical writings of Susan Sontag and John Berger to discover how photography relates to memory, nostalgia, mortality, and the presence of the absent. Putting my own work in a historical context, I examine the works of contemporary artists dealing with similar themes of photography, physical space, and memory, such as Carmen Argote, Manal Al Dowayan, Christian Boltanski, and Doris Salcedo.
For my senior project, I contemplate the mystery behind my mom's decision to photograph unsuspected places. I explore the passage of time and the vulnerability of memories as they relate to photography. Through an installation of hanging panels of photographs printed on sheer fabric, my piece works to explore these two main themes: the preservation of memory and the space that grief fills.
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Johnston, Amber. "In memory of trauma /." Online version of thesis, 2009. http://hdl.handle.net/1850/11248.
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Vallance, Andrew. "Memories made in seeing : memory in film and film as memory." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2848/.
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Memories Made in Seeing considers the relationship between memory and film through examining what is its cultural and experiential effect, how it can show and write memory and History. Four post-war films - Muriel, or the Time of a Return (Resnais, 1963), (nostalgia) (Frampton, 1971), Level Five (Marker, 1996) and Memento (Nolan, 2000) – that are complex manifestations of thought in practice, which trace and examine film’s ability to distinctly embody and produce memory, and are part of a dialogue in form and time. To contextualise and consider memory’s effect, it is charted from the advent of film (the nineteenth century’s ‘memory crisis’, the founding and understanding of modern memory, the related ideas of Proust, Bergson and Freud), through the twentieth century (the development of a more subjective reckoning, the seeming impossibility of memory (and understanding) that followed World War II’s trauma), till its millennial disposition (multi-various considerations, the inception of prosthetic memory, the seeming need for nostalgia). The case studies’ varied forms and alignments consider the tension between the demands of narrative resolution and the mutable and open-ended nature of memory, and how different film practices seek to utilize and appraise its perceived function, relevance and production. These films are also a record of viewing experiences, which influence one another and create a narrative of personal engagement that forms and substantiates recollection. To examine this conceptual process further I contend the tension between narrative (something fixed by duration and intention) and memory’s imperatives (formal and personal) form an axis of experimentation and exploration and this correspondence is central to comprehending the ways in which films represent and invoke forms of subjective and cultural recollection. I propose that film’s unique and associative account of memory’s evolving resonances becomes a series of palimpsests, which emphasize that the experience of film is an act of re-writing and recollection and misrecollection. This context tethers the subject, is the point of initiation, and explores how memories, which are made when seen, are mutable, historical and present, essential.
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Reyes, Tommy J. "Memorias Mediadas y el Archivo." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/189.
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AN ABSTRACT OF THE THESIS OF Tommy J Reyes, Master of Fine Arts degree in Mass Communication and Media Arts, presented on April 12, 2010, at Southern Illinois University at Carbondale. TITLE: MEMORIAS MEDIADAS Y EL ARCHIVO MAJOR PROFESSOR: Antonio Martinez Memorias Mediadas y el Archivo takes as its starting point journals that I have kept for about twenty-seven years. I started writing in therapy, at the age of seven, to help me cope with the death of my father. Even though therapy only lasted a few months, I continued to write, and even to this day I continue to keep an electronic journal. Memorias Mediadas y el Archivo in its simplest terms is a re-creation. This project explores my life through photographs that I am calling and describing as memorias mediadas (English translation, mediated memories). My goal is to move outside the deeply personal by creating a visual language system that consists of color, composition, and production. It is within this visual system that I am attempting to maneuver outside the personal, or confessional, and connect with the viewer in a way that does not center on me; instead, the connection is with the work and our shared experience of viewing the photographs, not my personal story. I believe in connecting with the viewer on a common visual ground, which allows them to interpret the work based on their own experiences and not my minority status. I believe that our identities are constructed by the way we choose our outward appearance and how the world sees us at first glance. With that in mind, I define mediated memories as a series of screens both physical and metaphorical that present my constructed identity for the purpose of creating a system of signifiers for an informed audience. It is with this system that I am able to direct the viewer's gaze through the world of the photographs. These screens are put into place to act as translating and distorting layers, like a series of screen doors, distorting the view looking out and the view looking in. By creating this visual language system I not only distort my remembered personal experience for the viewer, I create a simulation of truth based on my personal archive. This becomes the first screen of mediation. In this paper I will explore and reflect on my desire to create these mediated screens, which I have put into place for the purpose of distorting deeply personal events.
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COSTA, AMANDA DANELLI. "IMPRESSIONS ON IMAGES: HISTORY MEMORY AND AUGUSTO MALTA CARIOCA PHOTOGRAPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11419@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A presente dissertação busca aproximar memória e fotografia, bem como o ato de fotografar do ato de historiar. A partir daí, se volta para a proposta específica de analisar um grupo de fotografias que Augusto Malta fez das ruas da cidade do Rio de Janeiro no início do século XX. Já no século XIX foi atribuída aos fotógrafos a função de registradores de um mundo que se dissipava e de outro que se anunciava. Esses profissionais eram contratados como os responsáveis por guardarem as imagens que se transformavam rapidamente, especialmente nas cidades. Tratava-se de um desejo de construir um álbum que conservasse a memória do antes, do durante e do depois, e que servisse de registro confiável das mudanças promovidas. Esta é a função que Augusto César Malta de Campos assumiu na prefeitura da cidade-capital, comandada por Francisco Pereira Passos. É através desse caminho que se busca analisar a fotografia como artifício capaz de inventariar as transformações da cidade, uma representação fiel do mundo visível. Assim, as imagens dos Kiosques, dentre outras tantas, se tornaram instrumentos com valor de prova a serviço de um projeto modernizador da cidade-capital, numa íntima relação com a mobilização nacional em torno de uma identidade moderna que se forjava naquele tempo.
This work tries to approximate memory and photography, and at the same time the act of make photography and act of writing history. Then the work persecutes the propose of analyze a group of four photos that Augusto Malta made in the streets of Rio de Janeiro in the beginning of the 20th century. In the 19th century was given to the photographers the function of recorders of a world passing through many changes. Those professionals were hired as the responsibles to keep the images that were changing quickly, especially in the cities. There was a desire to build an album dedicated to the memory of times, and prove of the changes in the world. This was the work that Augusto Malta did for the mayor Pereira Passos. Through this way the photography is analyzed as a faithful representation of the visible world. The Kiosque s images became a prove to the project of modernization of the city, in a relation to the national mobilization around a modern identity.
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Simmons, Michael. "Photography, loss and memory: a visual account of grief adaptation." Thesis, De Montfort University, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.758571.
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Baraklianou, Stergia. "Photographing the landscape of memory : photography, memory and the re-making of the notion of landscape." Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490242.
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This thesis aims at articulating the paradoxical nature of the photographic image, via a practice based creative activity. The temporality of the photograph lies in a unique instant-moment when the image is transcribed onto a particular frame, the photographic frame. But in order to open up this very photographic instant or photographic frame, we must also situate the photographic act in its surrounding. The exercise takes place `out in the open.' Situated in the natural landscape, the photographic event relies on the mutual immanence of being and doing at the same time. Opening up the temporality of the photographic frame leads me to consider the meaning of pasearse and also the notion of creative memory. Thus the temporality of the photographic frame does not appear completely autonomous from the photographic body or from the natural surroundings of the photographed place. Rather, it is a relational event combining stillness and movement. The nature of this instant is that at one moment (at the same time), it belongs to a plane of immanence (Spinoza) or the temporality of duree (Henri Bergson). What the photographic frame does is give support to an illusion of a stop or arrest in the passage of the flow of time. Pasearse is a self-reflexive active verb that opens up a temporality where immanence and being coincide. Pasearse can help to open up a photographic instant, to ascribe a certain temporality to the photographic event. The aim is to describe the opening up of the frame or instant as transference, rather than a bifurcation of passive or active. Being as pasearse (Giorgio Agamben). This idea of a perpetual present tense is the experienced time or `folded time. ' (Michel Serres). This temporality constitutes the event of the frame as a time that allows oneself a `view to viewing' (Derrida).
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Murphy, Brian Michael. "The Future of American Memory: Media Preservation, Photography, and Digital Archives." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398876304.
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Jones, Susanne Lenné. "What's in a frame? photography, memory, and history in contemporary german literature /." Cincinnati, Ohio : University of Cincinnati, 2005. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1132239561.
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Thesis (Ph.D.)--University of Cincinnati, 2005.Advisor: Katharina Gerstenberger. Title from electronic thesis title page (viewed April 22, 2009). Keywords: Photography; Memory; History; Holocaust; German literature; Jewish; fact; fiction; Sebald; Maron; Liebmann. Includes abstract. Includes bibliographical references.
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Jones, Susanne Lenné. "What’s in a Frame?: Photography, Memory, and History in Contemporary German Literature." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1132239561.
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Warburton, Nigel William Reginald. "Mirror with a memory? : a philosophical analysis of photographic representation." Thesis, University of Cambridge, 1989. https://www.repository.cam.ac.uk/handle/1810/250960.
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Nightingale, Sophie Jane. "The impact of digital change on memory and cognition." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/104800/.
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In the digital age, there has been a phenomenal rise in the number of photos people capture, share, and manipulate—a trend that shows no sign of slowing. Furthermore, research shows that photos—authentic and manipulated—are powerful; they can change people’s memories for distant and recent experiences, beliefs about past actions, intentions for future actions, and judgements. Yet there is currently limited research exploring the effects of digital photography on memory, cognition, and behaviour. Part One of this thesis comprises of a program of research that examines people’s ability to discriminate between authentic and manipulated images. Advances in digital technology mean that the creation of visually compelling photographic fakes is growing at an incredible speed. Despite the prevalence of manipulated photos in our everyday lives, there is a lack of research directly investigating the applied question of people’s ability to detect photo forgeries. The research in Chapter 3 addresses this question. Across two experiments, people showed an extremely limited ability to detect and locate manipulations of real-world scenes. Chapters 4 and 5 explore ways that might help people to detect image forgeries. Specifically, the research investigates the extent to which people can identify inconsistencies in shadows and reflections. The results suggest that people are reasonably insensitive to shadow and reflection information and indicate that such image properties might not help people to distinguish between authentic images and manipulated ones. Part Two of this thesis examines how the act of taking photos can affect people’s memory. Digital technology has revolutionised the ease with which people capture photos and accordingly there has been a remarkable rise in the number of photos that people take. The results of five experiments and a mini meta-analysis suggest that taking photos has only a small, or plausibly no, effect on people’s memories.
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Gassner, Patricia. "Icons of war photography : how war photographs are reinforced in collective memory : a study of three historical reference images of war and conflict." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2461.
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Thesis (MPhil (Journalism))--University of Stellenbosch, 2009.There are certain images of war that are horrific, frightening and at the same time, due to an outstanding compositional structure, they are fascinating and do not allow its observers to keep their distance. This thesis examines three images of war that have often been described as icons of war photography. The images “children fleeing a napalm strike” by Nick Ut, “the falling soldier” by Robert Capa and Sam Nzima’s photograph of Hector Pieterson are historical reference images that came to represent the wars and conflicts in which they were taken. It has been examined that a number of different factors have an impact on a war photograph’s awareness level and its potential to commit itself to what is referred to as collective consciousness. Such factors are the aesthetical composition and outstanding formal elements in connection with the exact moment the photograph was taken, ethical implications or the forcefulness of the event itself. As it has been examined in this thesis, the three photographs have achieved iconic status due to different circumstances and criteria and they can be described as historical reference images representing the specific wars or conflicts. In this thesis an empirical study was conducted, questioning 660 students from Spain, South Africa and Vietnam about their awareness level regarding the three selected photographs. While the awareness level of the Spanish and the South African image was rather high in the countries of origin, they did not achieve such a high international awareness level as the Vietnamese photograph by Nick Ut, which turned out to be exceptionally well-known by all students questioned. Overall, findings suggest that the three selected icons of war photography have been anchored in collective memory. Ut, Robert Capa, Sam Nzima, semiotics, Spanish Civil War, the falling soldier, Vietnam War
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Richardson, Alexia. "Traces of terror : photography and memory of politial violence in Argentina and Peru." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/1898/.
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Worman, Sarah E. Ms. ""Mirror With a Memory": Photography as Metaphor and Material Object in Victorian Culture." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149151628521588.
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Woodrow, Jonathan. "The social psychology of digital photography : a process philosophy approach." Thesis, Loughborough University, 2004. https://dspace.lboro.ac.uk/2134/7724.
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This thesis addresses the nature of the image and its relationship to human perception and memory. Traditionally psychology approaches the relationship between the image and the human in a representationalist register, in which the world represents itself through images to the subjective observer. The thesis questions these assumptions about the representational relationship between the world, the mind and the image through a study of people using digital photographic technologies. It argues that digital images exist as a complex network of technology and activity that manage their incessant movement, production, consumption, convertibility, connectedness and fragility. The digital image exposes the complex nature of the image as more than a simple representation. If this is the case, then human involvement with images as networks occurs in terms of our inclusion in the network rather than as a subjective observer positioned outside of the world. Henri Bergson proposes that we see the image in terms of a distinction between time and space rather than as an intermediary between a subject and the object. The implications of this for the way in which we think about the interaction between people and technology and the nature of perception and memory are explored through some data examples from three settings. These are; amateur photographers using digital technology; families looking through their stocks of digital images and remembering past events together and finally, displays of family member's histories and identities on the internet.
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Super, Andrew. "The experience of grey /." Online version of thesis, 2009. http://hdl.handle.net/1850/10917.
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Santamas, Mihalis. "The space between : time, memory and transcendence in audio-photographic art." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/29144/.
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This portfolio and commentary documents an approach to audiovisual composition that utilises sound and photographic images in an effort to create immersive, affective art which I call audio-photographic art. When presented in an immersive context, I contend that the temporal dissonance between still image and sound opens up a space between the materials. I draw upon Gernot Böhme's writings on the aesthetic of 'atmosphere', as well as the the theoretical writings of Roland Barthes, Paul Ricoeur and Eleni Ikoniadou among others to illustrate how this experience is constituted. This space between is an affective conceptual space in which the participant enters into a relationship with the materials of the piece, transcending their usual perception of time as they are immersed in the internal times of the artwork, their own memories and atmosphere. Through the use of maximal aesthetics and atmosphere as compositional tool, these themes are explored and developed throughout the creative portfolio. In the written submission I study the practical and theoretical concerns of the space between from three perspectives: 'The Temporal Space', 'The Memorial Space' and 'The Atmospheric Space'.
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Ingham, Mark. "Afterimages : photographs as an external autobiographical memory system and a contemporary art practice." Thesis, Goldsmiths College (University of London), 2005. http://ualresearchonline.arts.ac.uk/7465/.
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My proposition developed in this thesis is that photographs have changed the way the past is conceived and therefore the way the past is remembered. Just as the inventions of the telescope and microscope radically changed our understanding of distance and space on a macro and micro level, the invention of the photograph has radically altered our concepts of the past, memory and time. My starting point is a collection of photographs taken by my grandfather, Albert Edward Ingham, which is used both in my studio work and as a basis for my theoretical writing. My concerns as an artist are with the ways in which familiar photographs and their relation to ideas of personal memory can be incorporated in an art practice. The written element begins with a reflection into my motivation for using this collection and its usefulness to both my written and studio work. I include a short biography of my grandfather, leading me to consider biography and autobiography, and their relation through photography to autobiographical memory. This is followed by an in depth discussion on autobiographical memory and how it differs from other forms and processes of memory. With this I have placed a discussion of contemporary ideas on photographs. Finally I look closely at ‘external memory systems’ and how these relate to changes in the way autobiographical memory operates in relation to photographs. The emphasis of this thesis is to explore ways to elucidate my own practice as an artist and to offer a commentary on those issues which have been central to its development over the past several years. This has been, and continues to be, a process of making explicit and of clarifying those influences that have resulted in me pursuing autobiography as the major concern of my practice as an artist.
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Arnold, Gretchen L. "re:collection /." Online version of thesis, 2010. http://hdl.handle.net/1850/11876.
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Altschuler, Jenny. "Between forever and never : the photograph as a bridge between past and present; memory and it's fiction, 1981-2009." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/7802.
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Includes bibliographical references (p. 62-64).In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that "none seem to be really 'right':" neither as photographic performances nor as existing recurrences of "the beloved face" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to depict parts of the mother he knows. He concludes that by being partially true, the total representation in each image is false. He suggests that the physical details and direct documentations of his mother's physical self, do not contain the sense of her, as he knows her.
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Hansen, Andrew L. "And Paris Saw Them: An Examination of Elie Kagan's Photographs of the Paris Massacre of October 17, 1961." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1115051302.
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Geyer, Xanthe Amanda. "Correction, addition and deletion : memory and its function in creating "visual narratives" (and identity) in photographic art." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002198.
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With this dissertation I propose to investigate critical theories dealing with memory and its role in photography. The function of memory is a well discussed and analysed topic within the ambit of historical research. Drawing from theoretical texts by critical theorists, namely, Roland Barthes, Annette Kuhn and Marianne Hirsch, I will critically address the function of memory in the understanding of photography; particularly how photographs have the ability to construct our identity in terms of history and narrative. I will study the content of memory in relation to visual images, focusing on what is remembered, what is suppressed, and finally, what is transformed when viewing an image. By doing so, I will consider whether or not still photographs have the ability to construct the past in a narrative form that is intrinsic to its medium. This consideration will be undertaken with specific reference to the works of contemporary South African artist Lien Botha. Special attention will be directed to her series of work entitled Amendment (2006), a series which permits me in turn, to deal with issues pertaining to memory and “visual narrative” which I have explored in my own professional art practice namely, Memory Boxes, Back Stories, Faces of You and Me, Memories Re-layered and Ghostly Remnants.
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PORTO, CRISTINA LACLETTE. "PHOTO ALBUMS, INTERSECTED CHILDHOOD AND CHILDREN S PLAY CULTURE: MEMORY AND PHOTOGRAPHY AT HAPI TOY LIBRARY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35593@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta tese apresenta parte da história da Brinquedoteca Hapi, um espaço dedicado às crianças, coordenado pela autora durante 16 anos e que tinha como eixo de ação, brinquedos e brincadeiras. A reconstrução dessa trajetória partiu de diferentes suportes de memória sendo que a fotografia revelou-se um material fundamental. A pesquisa exigiu o aprofundamento teórico em torno das concepções de história, memória, narrativa, brinquedo e cultura lúdica. Trata-se de um texto polifônico onde é possível destacar como interlocutores privilegiados os seguintes autores: Walter Benjamin, Maurice Halbwachs, Mikail Bakhtin, Hannah Arendt, Roland Barthes, Gilles Brougère, Beatriz Sarlo, Jeanne Marie Gagnebin, Ecléa Bosi, Gilberto Velho, Boris Kossoy, Miriam Moreira Leite, entre outros. A brinquedoteca tinha como propósito, ser uma porta aberta para os museus, mas seu projeto revelou-se mais amplo ao criar uma pedagogia da ludicidade associada a uma pedagogia da imagem, voltadas para a preservação de um patrimônio não-tangível que é o brincar. A tese mostra a importância da troca entre as gerações para o reconhecimento de que as histórias, ao serem contadas, se comprometem com o futuro, e defende a ideia de que o trabalho desenvolvido com as crianças e suas famílias, em brinquedotecas, pode-se constituir em um caminho fértil na luta contra o empobrecimento da experiência (Verfall der Erfahrung) engendrado pela sociedade contemporânea e anunciado por Walter Benjamin.
The following thesis covers the story of the Toy Library Hapi which I managed for 16 years. The toy library provided a space, aimed at children, that offered toys and games and promoted play and interaction. Of all the materials available to recollect that experience, photography emerged as the key element. This process urged an in-depth study of the theories relating to the concepts of history; memory, narrative, toy and children s play culture. In a way, the thesis is a polyphonic text where a few, prominent voices can be heard: authors like Walter Benjamin, Maurice Halbwachs, Mikail Bakhtin, Hannah Arendt, Roland Barthes, Gilles Brougère, Beatriz Sarlo, Jeanne Marie Gagnebin, Ecléa Bosi, Gilberto Velho, Boris Kossoy, Miriam Moreira Leite; amid others. The aim of the Toy Library was to be an open portal to the museums, but it revealed itself to be a wider project and created a pedagogy of play associated to a pedagogy of image, with the intention of preserving an abstract legacy that is to play. Moreover, the study shows how important a dialogue between generations is to the recognition that all these recollected stories have a commitment to the future. Lastly, it becomes evident that the work developed with the children and their families, in toy libraries such as Hapi, constitutes a rich path in the struggle against the impoverishment of experience (Verfall der Erfahrung), engendered by contemporary society as enunciated by Walter Benjamin.
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Collier, Shannon. "Constructing a Memory House: Preserving the Past through Personal Relics." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/750.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfB.F.A
Bachelors
Arts and Sciences
Art
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Brandt, Nicola. "Emerging landscapes : memory, trauma and its afterimage in post-apartheid Namibia and South Africa." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:9dfe7938-670a-40fc-a063-5617c0503fcd.
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Visual records of place remain to a large degree inadequate when attempting to make visible the ephemeral states of consciousness that underlie the damage wrought by brutal regimes, let alone make visible the extraordinary histories and power structures encoded in images and views. This practice-led dissertation examines an emerging critical landscape genre in post-apartheid South Africa and Namibia, and its relationship to specific themes such as identity, belonging, trauma and memory. The landscape genre was traditionally considered inadequate to use in expressions of resistance under apartheid, particularly in the socially conscious and reformist discourse of South African documentary photography. I argue that, as a result of historical and cultural shifts after the demise of apartheid in 1994, a shift in aesthetic and subject matter has occurred, one that has led to a more rigorous and interventionist engagement with the landscape genre. I demonstrate how, after 1994, photographers of the long-established documentary tradition, which was meant to record 'what is there' in a sharp, clear, legible and impartial manner, would continue to draw on devices of the documentary aesthetic, but in a more idiosyncratic way. I show how these post-apartheid, documentary landscapes both disrupt and complicate the conventional expectations involved in converting visual fields into knowledge. I further investigate, through my own experimental documentary work, the ideologically fraught aspects of landscape representation with their links to Calvinist and German Romantic aesthetics. I appropriate and disrupt certain tropes still prevalent in popular landscape depictions. I do this in an effort to reveal the complex and troubled relationship that these traditions share with issues of willed historical amnesia and recognition in contemporary Namibia. Through my practice and the examination of other photographers' and artists' work, this project aims to further a self-reflective and critical approach to the genre of landscape and issues of identity in post-apartheid South Africa and Namibia.
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Raiford, Leigh. "'Imprisoned in a luminous glare' : history, memory, and the photography of twentieth-century African American social movements." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Kerr_Diss_03.
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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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Allen, Kate Elizabeth. "How beautiful is thy dwelling." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1530.
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This work focuses on the cross-section between classic still-life art and complex personal issues. It uses traditional and nontraditional still life photography to tell individual vignettes about my life. I explore unresolved issues, which offer subtle suggestion of an experiential narrative. All of the backgrounds and objects included are intentional and represent specific places, people, and events. I allow the viewer to bring their own experiences to the photographs, by not giving them specifics of my stories. I used this work as a way for me to move past these experiences and my hope is that they might also help others. I have created beauty from my dwelling.
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Swanepoel, Jade Lansley. "Portrait of a city : a narrative of discovery, creation and reflection." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60207.
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This study forms part of the discourse that critiques the current state
of colonial museums in a post-colonial, post-apartheid city. The project
focuses on a proposed urban vision for the precinct of Joubert Park in
Johannesburg and responds to themes of memory, identity, reflection,
art and public space.
In the process, strategies are investigated to enhance identity in the
area using the Johannesburg Art Gallery as a starting point. The gallery
is integrated into the public realm, making it more accessible and
transparent to its context by introducing pavilions and art installations to
the park. These pavilions perform a variety of functions with the main
design taking the form of a photographic urban archive. The pavilion
archives the city and the people of the park by harnessing one of the
current skill sets of the park photographers who are present on site.
The project takes the form of a working camera using the principals of
pinhole and wet plate photography to tangibly capture and display the
happenings and changes of the site and the people who frequent it, over
time. Once the pavilion has archived the desired changes in the city it
will be dismantled and relocated to a new site to begin its life cycle once
more. The movability of the structure acts as a critique on the static
nature of buildings situated in cities that are always in flux.
By introducing an architecture that allows and facilitates public
activity while using people as the subjects for the creation of art by
documenting a changing city, the scheme hopes to enhance the public
realm by encouraging a collective identity to form.Hierdie werkstuk is gebaseer op deurlopende gesprekke wat kritiek lewer oor die huidige stand waarin koloniale museums (na die Apartheid era) hulself bevind. Die intrinsieke waarde van hierdie museums het oor tyd verlore gegaan. Die projek het ten doel om op hierdie verwaarlosing te fokus en terselfdertyd die publieke omgewing met betrekking tot identiteit, kuns en sosiale aktiwiteite, op te hef. Voorstelle word gedoen om die vervalle Joubert Park in Johannesburg op te gradeer in n buurt waarop inwonders trots kan wees en sosiaal kan verkeer, terwyl die geskiedkundige verlede terselfdertyd bewaar word. Die Johannesburg Kunsgallery is geidentifiseer as die belangrike spilpunt vir hierdie projek. Hierdie Gallery is sentraal gelee wat dit maklik toeganklik maak vir die publiek. Die oogmerk is om n verskeidenheid kunswerke te installeer asook kamera/beeld-strukture. Hierdie kamerabeelde kan dien as n stedelike fotografiese vertoning van die stad en sy mense. Veranderinge in die stad oor n tydsvlak kan vervolgens so geargiveer word. Die projek se eind doel is om met argitektoniese toepassings, die ou verlede, die hede, en die mense en sy sosiale omgewing, tot voordeel van almal, te integreer. Die sukses van die projek sal bepaal word deur die kollektiewe indentitiet en sosiale integrasie wat bereik gaan word.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
Unrestricted
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Sheridan, Bridget. "Les cheminements de la mémoire : marche, photographie, écriture." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20104/document.
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S’appuyant sur une pratique artistique prenant comme pivot central le corps et l’art en marche, cette recherche est une incitation à explorer la mémoire collective en empruntant trois pistes à la fois plastiques et théoriques : la marche dans le paysage, la photographie et l’écriture. Le cheminement, c’est le parcours dans les archives, parmi les témoignages. C’est aussi les pérégrinations sur les chemins de la mémoire, en compagnie des témoins de certains épisodes tragiques de notre histoire, lors de rencontres et d’échanges. Mais encore, en tant qu’artiste-marcheuse, le chemin, c’est les déambulations dans le paysage, lorsque je revisite la mémoire s’imprégnant dans les sillons qui courent sur le sol, et que je projette celle-ci sur le paysage, dans la montagne et sur la ligne d’horizon. Le corps en marche, c’est un corps qui fait l’expérience du paysage. L’exploration de celui-ci passe par une intersensorialité qui stimule la mémoire. Je pars donc à la rencontre de notre histoire en tissant des liens entre la marche, la photographie et l’écriture. La photographie répond à la fois au rythme de l’artiste-marcheur, à la curiosité de l’artiste dans les archives, et au langage du photographe-plasticien qui creuse les questions des lieux de mémoire. L’écriture, quant à elle, permet d’approfondir l’étude des lignes, du mouvement et du témoignage, tout en soulevant des questions liées à la manuscriture et à la cartographie. Ces trois médiums s’entrelacent dans une pratique intermédiale autour des chemins de la mémoire. Entre cette pratique plastique et la théorie qui l’accompagne, se tissent des liens, éveillant une curiosité pour des sujets historiques, anthropologiques, philosophiques et architecturaux. Cette recherche suggère donc de découvrir ce maillage, d’explorer un dispositif de création, un cheminement de la mémoire, et un subtil croisement entre la marche comme pratique esthétique, la photographie et l’écritureWith art walking and the body in motion at the heart of my artistic practice, this research incites us to explore collective memory via three visual and theoretical areas : walking in the landscape, photography and writing.The path we take demands exploring archives, using testimonies. It also means travelling alongside the witnesses of some of the most tragic episodes of our history, along the paths of their memory. As a walking artist, it is equally making my way, on foot, reactivating memory, which seeps into the furrows traces into the earth, projecting the past on the landscape, the mountains and the horizon. As we walk, our body in motion experiences the landscape, an intersensoriality that stimulates memory. I revive history whilst interweaving walking, photography and writing. Photography responds to the rhythm of the walking artist, to the artist's curiosity in the archives, and to the artistic language of the photographer questioning “lieux de mémoire”. Writing, in turn, examines the use of lines, movement and testimonies, while it also questions handwriting and mapping. These three mediums are intertwined in an intermedial artistic practice, discovering the paths of memory. We must imagine a process of weaving between creative work and theory that awakens curiosity for historical, anthropological, philosophical and architectural subjects. This research suggests considering this intermedial approach, this subtle blend between walking as an aesthetic practice, photography and writing, while walking the paths of memory
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Nascimento, Maria Jose de Oliveira. "Desenho de luz : caleidoscopio de imagens e historias." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252368.
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Orientadores: Ana Angelica Medeiros Albano, Milton Jose de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
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Fantin, Sandra Jacqueline 1980. "Confabulações entre memórias e imagens de Maringá : a fotomontagem como exploração da narrativa verbo-visual." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284513.
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Orientador: Fabiana BrunoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objetivo desta pesquisa é contribuir para uma composição metodológica acerca das memórias do município de Maringá, considerando sua condição de núcleo urbano projetado ao final da década de 1940, por iniciativa da Companhia Melhoramentos do Paraná. Os resultados deste estudo se fundamentam pela contribuição de uma rede de interlocutores, homens octogenários e sexagenários - aos quais denominamos de "confabuladores", reconhecidos pioneiros moradores da cidade paranaense - os quais por meio de suas histórias de vida, de um vivo fluxo de reminiscências em torno do viver e do lugar, da palavra e da imagem, nos revelaram, como sujeitos sociais, que reconhecem o entrelaçamento de seus destinos, com o destino da cidade em formação. Aliando às histórias de vida, uma sistematização para a leitura de antigas fotografias, o trabalho amplia o espectro de interpretações das narrativas, possibilitando experimentações para a recriação de representações de acontecimentos, lembranças do cotidiano e da fisionomia da cidade em seus primeiros anos de vida, o que identificamos como "fotomontagens". Memória, palavra e imagem se reúnem para a articulação de uma memória individual que conspira para uma possível memória coletiva, se permitindo novas visitações e projeções de sua natureza plural e infinita
Abstract: The objective of this research is to contribute to a composition methodological about of the memory of the city of Maringá, considering the condition of urban center planned at the end of the 1940s, at the initiative of the Companhia Melhoramentos do Paraná. The results of this study are based on contributions from a network of informers, men octogenarian and sexagenarian - which we call "the speculaters" recognized pioneer residents of the city of Paraná - which through their life stories, a live stream of reminiscences around the live and the place of word and image, we revealed, as social man, who recognize the intertwining of their fates, with the fate of the city in formation. Combining the stories of life, to a systematic reading of old photographs, the work broadens the spectrum of interpretations of the narratives, allowing trials for recreating representations of events, memories and everyday face of the city in their first years of life, which identified as "photomontage". Memory, word and image come together to articulate a personal memory that conspires for a possible collective memory, is enabling new visitations and projections of its pluralistic nature and infinite
Mestrado
Multimeios
Mestra em Multimeios
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Oliveira, Valter Gomes Santos de. "Revelando a cidade: imagens da modernidade no olhar fotográfico de Osmar Micucci (Jacobina 1955-1963)." Programa de Pós-Graduação em História da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/11492.
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A presente dissertação possui como tema a obra fotográfica produzida por Osmar Micucci entre os anos de 1955 a 1963 sobre a cidade de Jacobina. Nela o fotógrafo é visto como um espectador privilegiado no momento em que a cidade passou por um conjunto de transformações na sua paisagem urbana e nas práticas culturais de sua população, entendidas na época como sintomas da modernidade. Trabalhando como fotógrafo, Micucci produziu um conjunto de imagens urbanas, apontando através delas seu olhar atento para diversos aspectos que revelam, tanto panoramicamente quanto pontualmente, o acompanhamento das transformações na cidade. O estudo teve como objetivo analisar esse olhar fotográfico e sua importância dentro daquele contexto em Jacobina. Nesta pesquisa a fotografia foi tratada como documento histórico de primeira grandeza, estabelecendo diálogos com outras fontes, como a imprensa, a oralidade e escritos da época. A fotografia é analisada tanto como um artefato técnico quanto artístico e situada naquela realidade histórica específica. O olhar urbano de Micucci é visto dentro do contexto interno e externo da história da fotografia, de maneira que sua obra é pensada na relação entre a cultura fotográfica local, nacional e mundial. Por outro lado, as fotografias de Micucci também são tratadas como patrimônio cultural da cidade, dado o valor histórico que elas cumpriram na construção daquela memória social.
Salvador
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FELIPE, Carla Beatriz Marques. "Os aspectos sociocognitivos para a indexação de fotografias." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/17608.
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Esta dissertação aborda a história da fotografia apresentando a sua importância para a sociedade desde a sua invenção e a descreve como documento e suas variadas formas de disseminação da informação. Em consequência, explica a relação entre fotografia e memória, destacando a primeira enquanto um dispositivo de memória institucional. Nesse cenário, foi abordada a indexação de fotografias, bem como o seu processo de execução e os aspectos linguístico, lógico e cognitivo a ela envolvidos. Por conta disso, foi realizada uma pesquisa exploratória em duas instituições que possuíam acervo fotográfico, cujo objetivo geral foi analisar os aspectos sociocognitivos inerentes ao procedimento de indexação de fotografias e, de cada instituição, participaram dois bibliotecários indexadores. Esses profissionais indexaram quatro fotografias, sendo duas de cada instituição participante. O instrumento de coleta de dados utilizado foi o Protocolo Verbal Individual. Os principais resultados mostraram que por meio da cognição que o indexador faz a leitura das fotografias e analisam qual o tema da foto. Para isso, faz uso das memórias de curto e longo prazo e também da percepção sensorial. Os aspectos sociocognitivos influenciam diretamente o processo de indexação, pois são estes aspectos que regem o modo como os bibliotecários fazem a pesquisa para coletar informações sobre o acervo. Se utilizam ou não um vocabulário controlado para a tradução dos termos. Para a análise de assuntos os bibliotecários analisam as fotografias de maneiras muito parecidas com as metodologias sugeridas para estes procedimentos, sempre partindo do geral para o específico. Como última categoria analisada temos os descritores. Estes sofrem influência direta das categorias anteriores. Para a escolha dos descritores, entre todas as metodologias apresentadas no trabalho, como a de Rodrigues, Shatford, Manini, Panofsky e Bléry, a metodologia de Bléry (1979) é utilizada, de fato, pelo menos em uma instituição pesquisada.
This dissertation approaches the history of photography presenting their importance to society since its invention and it is described as a document and its various forms of information dissemination. As a result, it explains the relationship between photography and memory, highlighting the first one as an institutional memory device. In this scenario, the indexing of photographs was studied, as well as its implementation process and linguistic, logical and cognitive aspects involved with it. Because of this, an exploratory survey was conducted in two institutions that had photographic collection, whose main objective was to analyze the socio-cognitive aspects of the photographs indexing procedure. In each institution two indexers librarians attended it. These professionals indexed four photos, two of each participating institution. The data collection instrument used was the Single Verbal Protocol. The main results showed that through the cognition an indexer reads the photographs and analyzes what is its subject. To be successful, he uses short and long term memory and also sensory perception. Social cognitive aspects influence directly in indexing process, as these are aspects that govern how librarians do the research to gather information about the collection. If they should use or not a controlled vocabulary for translation of terms. For topics analysis, librarians analyze the photos in very similar ways to the methodologies suggested for these procedures, always from the general to the specific. As a last category we analyzed the descriptors. These ones suffer direct influence of the previous categories. For the choice of descriptors, the Bléry methodology (1979) is used, in fact, at least in one research institution.
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Probst, Brennan. "Amalgamations." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2634.
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I explore time, memory, and the artist’s ability to convey experience through autobiographical photographs and drawings. In my compositions, I provide an intimate look into my life, while making wider observations about how my mind processes the world. My work is concerned with circumventing the objective, static qualities of photography. I attempt to create images that convey how experiences feel, instead of how they look through the lens of an optical apparatus. With my work, I do not wish to take from the world around me, but rather to create from the world within me. By utilizing multiple exposures and collage techniques, as well as drawings, I investigate how I experience and remember my life, and the people most important to me.
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Pepe, Toni. "Angle of repose /." Online version of thesis, 2008. http://hdl.handle.net/1850/6183.
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White, Katie Janae. "The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4114.
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In July of 1863 the photographs A Harvest of Death, Field Where General Reynolds Fell, A Sharpshooter's Last Sleep, and The Home of a Rebel Sharpshooter were taken after the battle at Gettysburg by a team of photographers led by Alexander Gardner. In the decades that followed these images of the dead of the battlefield became some of the most iconic representations of the American Civil War. Today, Gardner's Gettysburg photographs can be found in almost every contemporary history text, documentary, or collection of images from the war, yet their journey to this iconic status has been little discussed. The goal of this thesis is to expand the general understanding of these Civil War photographs and their legacy by considering their use beyond the early 1860s. Although part of a larger scope of influence, the discussion of the photographs presented here will focus particularly on the years between 1894 and 1911. Between those years they were made available to the public through large photographic histories and other history texts as well. The aim of these texts, which framed and manipulated Gardner's images, were to disseminate a propagandistic history of the war in a way that outlined it as a nationally unifying experience, rather than one of division. These texts mark the beginning of the influence the Gettysburg photographs would have on American memory of the war. Within these books the four photographs became part of a larger effort to reconnect with the past and shape the war into a source for a unified American identity.
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Symons, Suellen, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Rememories/imagetexts." THESIS_FPFAD_SD_Symons_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/731.
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This research paper places the three Research Projects 2 DIVINE, CARNIVAL, and HER STORIES: THE WENTWORTH WOMEN against the background of memory, remaking history, play, as well as hermeneutics. It is argued that the understanding of a work of art involves participation in its meaning by the audience which is not so much a mere receiver of information as a catalyst of the work's content. This Research Paper also attempts to place the three Research Projects, which when combined are entitled REMEMORIES/IMAGETEXTS, into a feminist remaking of history (in Barbara Kruger's sense), realigning the male-oriented histories with a female presence. Questioning the 'historical document' as the authority on history, and giving alternative versions of the life of Jeanne d'Arc and the life of Sarah Cox Wentworth are some of the concerns in the Research Projects. How these three Research Projects came to be linked is that each was originally exhibited during 1995 for the Twentieth Anniversary of International Women's Year, in venues from Penrith to Paddington. Their making spans many years, and in essence comes down to a fascination with the portrayal of women throughout history.That our images of women originally derived from how women were portrayed in carnival is one of the emerging themes, and that there are a number of different memories of specific events, depending on who is remembering them, and what their (hidden) agenda entails. In moving between time zones, questioning the portrayal of 'woman as sign', and subverting the traditional sign of woman, the artist puts forward the argument that women are the producers of signs and thus not merely objects as represented by signsMaster of Arts (Hons)(Visual Arts)
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Kambs, Jill Elise. "32% of the archive." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/995.
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32% of the Archive explores memory, loss, and the power of ephemera through recording and re-presenting objects from a personal archive. Through uniform recording, framing, and treatment of the art objects, 32% of the Archive, attempts to neutrally display personal objects so the audience can objectively investigate the material. The gesture falls short of impartial, though, for the specificity of the subject and the enormity of the act carries an emotional charge. Beyond presenting data, this work reflects a sincere effort to remember and preserve, to puzzle and piece together, to pay homage to what is lost in the transience of life. These re-presentations recall the concept of the indexical image. It is not the thing itself but the trace of the thing. It is not the moment itself but the conjured memory of the moment and the place and the people who inhabited it. Struggling to find the appropriate distance from these personal objects reflects the ambivalence of love, loss, and memory. But this is the true power of the photograph--to preserve and keep present that which is ephemeral.
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Bresnahan, Krystal M. "From Portraits to Selfies: Family Photo-making Rituals." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6472.
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From family-style portraits to selfies, who is photographer and/or photographed varies as families engage, stage, and interpret the visual. How families participate in photo-making changes how individual family members feel about and relate to not only their photographs, but also each other. In this dissertation, I examine photographs as visual and material objects, and include the communication processes and ritual practices of producing, consuming, curating, viewing, and circulating these photos. By framing family photo-making as ritual, I explore how families do photo-making in everyday life, and identify the patterns of choice embedded in the genre of family photography, which symbolically and socially construct family.
My methodological approach moves from analyzing images to the lives of photos and spaces in which photos are represented and shared, observing visible practices and the traces – photographs and photo displays – they produce. I ask questions about communicative acts of performing rituals and negotiating family memory in the public space of the Easter Bunny Photo Hut, the personal and domestic space of a mother’s home, and the digital space of the social media app Snapchat. Each site provides a unique access point to study family photo-making ethnographically. Combining my ethnographic observations with photo elicitation interviews, I study the symbolic value of photographs negotiated by and between family members.
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Fries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art." Connect to full text, 2008. http://hdl.handle.net/2123/5709.
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Thesis (M.V.A.)--University of Sydney, 2009.Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.