Academic literature on the topic 'Photography Literature'
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Journal articles on the topic "Photography Literature"
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Huen, Antony. "Photographs, Photography and the Photographer." Wasafiri 34, no. 3 (July 3, 2019): 59–63. http://dx.doi.org/10.1080/02690055.2019.1613016.
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Battin, Justin Michael. "Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context." Review of International American Studies 15, no. 2 (December 31, 2022): 49–70. http://dx.doi.org/10.31261/rias.14868.
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In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explores these photographs through the lens of the “event of photography,” a term emphasizing the temporal moment when a photographer, photographed subject, and camera encounter one another. With this interpretation, photographs are positioned as historical documents and the practice of photography as a civil and political matter, thus inviting new possibilities to read political life through its visual dimension, as well as to trace different forms of power relations made evident during the ‘event.’ This paper uses phenomenological reflection to explore the meshwork manifestation of these power relations, and articulate how they provide insights about one’s place and responsibility within that ‘event’ in a range of relational contexts.
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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.
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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”
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Chervonik, Olena, and Geoffrey Batchen. "Negative Thinking - A History of the Photographic Negative as a Repressed Other: Conversation with Geoffrey Batchen." Master, Vol. 5, no. 2 (2020): 106–10. http://dx.doi.org/10.47659/m9.106.int.
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Olena Chervonik talks with Geoffrey Batchen about his two most recent publications: Apparitions: Photography and Dissemination, that reached bookshelves in 2018, and Negative/Positive: A History of Photography, slated for release later in 2020. The conversation revolves around the photographic condition of reproducibility, repetition and difference, embedded in the medium from the time of its inception. While Apparitions explores photography’s relation to various newsprint outlets of the nineteenth century, Negative/Positive traces a comprehensive history of the medium’s propensity for multiplication, predicated on the dependence of photographs on the function of a negative, which, according to Batchen, seems to be a repressed Other in photographic history. A vehicle that enables reproducibility, a photographic negative is rarely discussed in critical literature and even more rarely reproduced or featured in the exhibition space. Batchen ponders this occlusion of a medium’s critical component, suggesting that a negative is linked to photography’s operation as capitalist mode of production. By omitting to profile a negative, we naturalize capitalism’s operational logic – a condition that clearly needs to be upset by directing a critical, revelatory, and thus politically engaged spotlight on photography’s predilection for image massification. Keywords: photography, negative, reproducibility, commodification, massification, capitalism, politics of resistance
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Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN." Victorian Literature and Culture 33, no. 1 (March 2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.
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AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was developed by Tate curator Richard Humphreys and Butler scholar Elinor Shaffer, with the support of librarian Mark Nicholls from St. John's College at Cambridge, which houses most of Butler's extensive photographic work in its special collections. Titled “Samuel Butler and the Ignorant Eye,” after Shaffer's notion in her Erewhons of the Eye: Samuel Butler as Painter, Photographer, and Art Critic (1988) that Butler's photography renders “the eye of the viewer … ignorant and open” (229), the black-and-white secularism of Butler's work offered a startling change in imagery from the intense colorism of “Rossetti and Medievalism,” the exhibit that preceded it in Gallery sixteen.
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Hoffman, Jesse. "ARTHUR HALLAM’S SPIRIT PHOTOGRAPH AND TENNYSON’S ELEGIAC TRACE." Victorian Literature and Culture 42, no. 4 (September 19, 2014): 611–36. http://dx.doi.org/10.1017/s1060150314000229.
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Blanche Warre Cornish's 1921–22tripartite memoir, “Memories of Tennyson,” begins in 1869 when she meets the poet by way of her parents’ friendship with Tennyson's neighbor, the photographer Julia Margaret Cameron (145) (Figure 1). The photograph that Cornish recalls as “psychophotography” is one instance of a trend in Victorian England of spirit photography that was first practiced around 1872 after it was imported from America, where William Mumler had developed it (Tucker 68; Doyle 2: 128). Reactions to these spirit photographs took various forms: while some viewers regarded them as a credible medium for communication with the dead, their detractors saw them as deliberate acts of deception. Others employed photography's spectral qualities for entertainment, such as the London Stereoscopic Company that had marketed photographs of angels, fairies, and ghosts for their customers’ amusement in the 1860s (Chéroux 45–53). By the time the “shadowy figure of a man” appears beside Arthur Hallam's erstwhile fiancé, Mrs. Jesse, Tennyson's sister, the practice had been subject to public intrigue and scandal as a part of broader and contentious Victorian debates about the status of photography as art or document. The already surreal qualities of Cornish's anecdote are amplified by Tennyson's question, “Is that Arthur?,” which entertains the possibility of Hallam being present in a visible, spectral form while unrecognized by his beloved friend.
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Górska, Irena. "Dramaturgia fotografii. Między teorią a osobistym doświadczeniem (przypadek Rolanda Barthes’a)." Przestrzenie Teorii, no. 36 (December 15, 2021): 91–105. http://dx.doi.org/10.14746/pt.2021.36.5.
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The article discusses Roland Barthes’ experience of photography and presents its distinctive dramaturgy, which emerges from the reflections of the author of The Light of Image. It is played out between attempts at a theoretical grasp of the essence of photography and a personal, intimate experience of being photographed, but also of being a spectator looking at various photographs. Barthes places this experience in two basic perspectives. The first is connected with the process of taking photographs and the second with the experience of the spectator. This also includes the experience of photography with one’s own image, which according to the author, is always an experience of oneself as someone else, and the experience of searching for “the truth of photography”, especially important in the context of the photographs of his deceased mother. It is significant in Barthes’s concept that he is talking about traditional photography which had a completely different character and performed different functions to digital images do today. Moreover, as the author notes, Barthes’s theoretical findings would be untenable in relation to digital photography.
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Bennett, Katelyn G., Steven C. Bonawitz, and Christian J. Vercler. "Guidelines for the Ethical Publication of Facial Photographs and Review of the Literature." Cleft Palate-Craniofacial Journal 56, no. 1 (May 1, 2018): 7–14. http://dx.doi.org/10.1177/1055665618774026.
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Facial photography presents a unique ethical dilemma, as faces are difficult to deidentify for publication. We performed a review of the literature to examine current guidelines for the publication of facial photographs. We also reviewed societies’ websites, journal requirements, and ethical and legal aspects of confidentiality. Most articles emphasized the importance of consent for photography and publication. Masking is not appropriate, but some journals continue to allow masking. Most legislation allows patients to restrict the uses of photographs. In the end, it is imperative to protect patient privacy by obtaining consent for photograph publication after full disclosure of risks, and specific recommendations are provided regarding a comprehensive consent process.
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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (December 16, 2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.
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AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.
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Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.
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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic seeing instantiates. Ultimately, Lockhart's relational practice of photography-connecting each photograph she makes to prior images, while never fully duplicating or replicating them-provides a model for understanding the relational dynamics of photographic spectatorship. The essay also discusses Paul Strand, Roland Barthes's Camera Lucida, Kaja Silverman's World Spectators, “straight photography,” and Michael Fried.
Dissertations / Theses on the topic "Photography Literature"
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Young, Ann Blackler. "Photography and the Photographer in Carl Sternheim's Die Kassette, Thomas Mann's Der Zauberberg, and Marieluise Fleiber's Pioniere in Ingolstadt /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487864986611992.
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Polk, Randi Lynn. "(Un-)Framing vision: text and image from the new novel to contemporary expressions of identity." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1121274446.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains vii, 217 p. Includes bibliographical references (p. 203-217). Available online via OhioLINK's ETD Center
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Beeston, Alix Mallory. "Composite Visions: Writing and Photography in American Modernism." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13431.
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This dissertation builds on scholarship that apprehends the ways in which modernist writing instantiates the episteme of doubt and contingency that emerges, paradoxically, from the development of photographic technologies. It accounts for an unexplored aspect of the photography effect in modernist writing that is variously composite in form and narrative. Early twentieth century texts by Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald function analogously to photography—and are culturally imbricated with it—inasmuch as they privilege representational ambiguity through their sequenced, fragmentary poetics. I argue that formal interstices of these composite texts, like that of serialized photographic practice, are raised as signposts to the limits of the eye and of visual and discursive objectification itself. Most provocatively, I interpret their gaps and openings as textual sites in which the dominant socio-political order is negotiated and even circumvented. I map the sequenced tissue of modernist narration onto the repeated disappearances and appearances of female bodies that are, like the narratives they populate, constructed as aggregates or assemblages. In so doing, I enrol what I call the woman-in-series within a host of new theoretical figurations of female subjectivity emerging within feminist scholarship that seeks to exceed the hostile relationships between the camera and the female subject that have dominated discussions of photography and cinema. As such, this dissertation works to destabilize gendered and racialized oppositions of power and vulnerability as they relate to encounters between subjects and objects in the visual realm. The gap or interval in the composite visions of American modernism signifies both as a mark of trauma, the wounding of objectifying representation, and as a means for evading or defending against such trauma. The woman-in-series thereby stages the insurrectionary potential of the in/visible subject.
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Birkhofer, Melissa Dee DeGuzmán María. "Voicing a lost history through photography in Hispaniola's diasporic literature." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1038.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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Sakoda, Maho. "George Eliot and Pre-Raphaelitism : literature, painting, sculpture and photography." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/64074/.
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This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.
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Switzer, Sharon. "Waltzing in Now-time the unlikely event of a correspondence between Barthes, Benjamin, Proust and my mother /." Link to electronic resource, 1997. http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp01/MQ28670.pdf.
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Wegner, Frank. "Photography in Proust's À la recherche du temps perdu." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619756.
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Durden, Mark. "Photography and the book : from Fox Talbot to Christian Boltanski." Thesis, University of Kent, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282318.
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MOTA, SERGIO LUIZ RIBEIRO. "WHAT LEADS SIGHT TO BLINDNESS: LITERATURE, FILM, PHOTOGRAPHY AND OTHER VISUAL MEDIA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4832@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEm O que destina o olhar à cegueira, discutem-se algumas representações do olhar cego como condição contemporânea, em textos ficcionais e teóricos, filmes e outras mediações imagéticas. Um dos objetivos do estudo é procurar respostas para as perguntas: de que maneira falar de cegueira diante da predominância de uma civilização da imagem? Ou estar diante de um olhar que se deforma ao perceber um mundo onde as imagens são cada vez mais numerosas, porém mais diversificadas e mais intercambiáveis? Na investigação de diversos textos, percebem-se as implicações do olhar deformado na experiência acelerada das imagens contemporâneas. É esta reflexão crucial que ecoa ao longo do texto, na revisão de algumas perspectivas possíveis para pensar o problema da cegueira como ganho, como outro ponto de vista, como nova possibilidade de visão, como antídoto para o acúmulo sem limite do excesso. E ainda: tendo o cuidado de não repetir os clichês do gênero que descobrem a espantosa capacidade de os cegos exercitarem sua percepção diante do mundo que se lhes apresenta como retrato de uma negação: a negação do visual.
In What leads the look to blindness we find discussions about some representations of the blind look as a contemporary condition in fictional and theoretical texts, films and other images mediations. One of the essays goals is to look for answers to the following questions: how to talk about blindness in a civilization where the image is predominant? Or how to confront ourselves with a world vision that is ever transforming while facing images that are always increasing, though more diversified and interchangeable? .In the process of reviewing several texts on the subject we find the implications of the transformed vision in the accelerated experience of contemporary images. This is the crucial reflection that echoes in the text, in the review of some possible perspectives to think the blindness issue as a gain, as another point of view, as a new possibility of seeing, as an antidote to the unlimited excess. Yet more: taking care of not repeating the gender clichés when unfold the amazing ability the blind have when exercising their perception before the world that presents itself as a denial portrait: the visual denial.
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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.
Full textBooks on the topic "Photography Literature"
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Galleries, inc Swann. Photographic literature & photographs: Important 19th & 20th century photographs. New York: Swann Galleries, 2003.
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Ferdinando, Scianna, Ansón Antonio 1960-, PHotoEspaña (Festival) (12th : 2009 : Madrid, Spain), and Spain Ministerio de Cultura, eds. Las palabras y las fotos: Literatura y fotografía = Words and photographs : literature and photography. Madrid, Spain]: Ministerio de Cultura, Secretaría General Técnica, Subdirección General de Publicaciones, Información y Documentación, 2009.
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Luigi, Ballerini, ed. Italy observed in photography and literature. New York: Rizzoli, 1988.
Find full textBook chapters on the topic "Photography Literature"
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Druker, Elina. "Chapter 8. In and out of focus." In Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.
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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.
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Campagnaro, Marnie. "Chapter 6. “A successful photograph is worth as much as a story”." In Children’s Literature, Culture, and Cognition, 144–67. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.06cam.
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Bruno Munari was an Italian artist, graphic designer, and illustrator who combined art and design to great effect in his visual art and books. During his long, interdisciplinary career, Munari experimented with many artistic possibilities: painting, illustration, sculpture, design, graphics, teaching, poetry, and writing. He also cultivated a peculiar relationship with photography. This chapter investigates photography’s influence on Munari’s poetics, from Futurism and other Avant-garde movements to the Bauhaus and László Moholy-Nagy’s work, graphic design experimentation, and collaborations with photographers. His multifaceted approach can be investigated through two editorial project typologies: photocollage and photographic picturebooks. What is discussed is how historic, artistic, and cultural photography influenced his children’s works and to what extent photographic experimentation affected Munari’s creativity and aesthetics in his original books.
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Reynolds, Kimberley. "Chapter 9. Politics, art, and pedagogy in Edith Tudor-Hart’s photographs of children." In Children’s Literature, Culture, and Cognition, 210–29. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.09rey.
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Edith Tudor-Hart, a photographer working in Britain from the 1930s to the 1950s, became exceptionally good at photographing children. Her final series of images, published in a classroom text called Moving and Growing (1952), were created through a collaborative method she developed by combining her teaching experience and her training as an artist with her political conviction that photography is a democratic medium. The results are dynamic photographs that capture children moving, risking and creating. Shortly after Moving and Growing was published, Tudor-Hart abandoned photography and destroyed her catalogue of negatives fearing she was about to be prosecuted as a spy. As a consequence, her work was largely forgotten, but her images and working methods deserve to be recalled and studied. In our highly visual age, Edith Tudor-Hart’s powerful images have much to say about the relationship between photography and images of childhood.
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Humm, Maggie. "Photography." In A Companion to Modernist Literature and Culture, 278–83. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996331.ch31.
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Hyde, Emily. "Photography, Literature, and Time." In The Routledge Companion to Politics and Literature in English, 269–79. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003038009-30.
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Zeng, Hong. "Semiotics of Exile in Photography." In The Semiotics of Exile in Literature, 7–32. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113114_2.
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Medhurst, Jessica. "Chapter 2. Photographing Chinese childhood." In Children’s Literature, Culture, and Cognition, 43–66. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.02med.
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Photography was brought to China from Europe in the 1840s, whereby the narratives these pictures told about the country were largely framed in pseudo-colonial terms. Although Western photographers – including Isabella Bird, Jules Itier, James Ricalton and John Thomson – consistently characterized the camera as showing China in the most faithful way possible, these apparently authentic representations were steeped in established Western tropes of what China was already assumed to look like. This chapter uses this backdrop to interrogate what these photographs say about Chinese childhood, which, in the literature of the period, is characterized as both a natural and universal condition, and as something that is incompatible with being Chinese. The chapter discusses the switching between what the photographs’ commentaries claim the children are like and what they should be like, as well as offering alternative readings of childhood in the pictures, focusing on ideas of innocence, formality, and playfulness. It concludes by demonstrating the ways in which these narratives still continue in Anglophone texts today through publication, exhibition, and academic discourse.
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Gualtieri, Elena. "The Grammar of Time: Photography, Modernism and History." In Literature and Visual Technologies, 155–74. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230389991_10.
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Kümmerling-Meibauer, Bettina, and Jörg Meibauer. "Chapter 10. Portrait of the child as a socialist." In Children’s Literature, Culture, and Cognition, 232–53. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.10kum.
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This chapter focuses on portraits of children in three photographic picturebooks from the German Democratic Republic (GDR). While these picturebooks draw largely on modernist photography in the postwar period, they also react sensitively to ideological demands from the official state authorities. To demonstrate this influence, this chapter exemplifies that these photobooks represent different aesthetic and ideological strategies. While Bullermax (1964) by Edith Rimkus and Horst Beseler is an exemplar of a poetic strategy and Matti im Wald (Matti in the Forest, 1966) by the same couple represents a realistic strategy, Kleiner Bruder Staunemann (Little Brother Marveling Man, 1966) by Hans Hüttner and Lotti Ortner stands for a propagandistic strategy. The chapter analyzes the inherent socialist values of the three books by stressing the idea of the curious socialist child and the effects of montage.
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Hill, Sarah Patricia. "7. Photographic Excess: “Scandalous” Photography in Film and Literature after the Boom." In Stillness in Motion, 217–43. Toronto: University of Toronto Press, 2015. http://dx.doi.org/10.3138/9781442619975-010.
Full textConference papers on the topic "Photography Literature"
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"Photography in Indonesian Archaeology of the 19th to the Early 20th Century | Fotografi dalam Arkeologi Indonesia pada Abad ke-19 sampai Awal Abad ke-20 Masehi." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-28.
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In Dutch East India, photographic documentation for antiquities was as up-to-date as in Europe that was developed in the last half of the 19th century. Photography became a tool for archaeological surveys which resulted in thousands of enormous resources. In this paper, the historical background regarding how these old photographs were collected and how the material circulated within archaeological activities will be elaborated. The timeline studied is limited to pre-independence Indonesia with the subject mostly focused on Hindu-Buddhist remains. The method used is literature review of both relevant new publications as well as significant old publications. Its turns out that photographic surveys of archaeology in Indonesia during the colonial period developed from early archaeological activities into systematic institutional programs. The qualities of photography were appreciated in miscellaneous application and offered substantial benefits. Photography became a documentation medium, publication complementary, archive, and object representation and substitution. This historical background of photography in the context of Indonesian archaeology marks the significant value of these photographs so that it can be the foundation of preservation for the future. Di Hindia Belanda, dokumentasi fotografis pada tinggalan purbakala sangat mutakhir sebagaimana di Eropa yang dikembangkan sejak paruh terakhir abad ke-19 M. Fotografi menjadi perangkat untuk survei arkeologi yang menghasilkan ribuan sumber daya. Dalam tulisan ini, latar belakang sejarah terkait pengumpulan foto lama tersebut serta penggunaannya dalam berbagai aktifitas arkeologi akan dijabarkan. Lini masa yang dikaji dibatasi pada Indonesia pra-kemerdekaan dengan subjek yang berfokus pada tinggalan Hindu-Buddhis. Metode yang digunakan adalah kajian pustaka, baik terbitan terbaru yang relevan maupun terbitan lama yang penting. Ternyata survei fotografi pada arkeologi Indonesia selama periode kolonial berkembang sejak aktifitas arkeologis yang masih dini hingga menjadi program institusi yang sistematis. Kualitas fotografi juga diapresiasi dalam beragam penerapan serta menawarkan manfaat yang substansial, Fotografi menjadi media dokumentasi, pelengkap publikasi, arsip, serta representasi dan substitusi objek. Latar belakang sejarah fotografi dalam konteks arkeologi Indonesia semacam ini menjadikan nilai penting dari foto-foto tersebut sehingga dapat dijadikan fondasi dalam pelestarian untuk masa depan.
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"Photography Expression of Architecture of Qiang Nationality from the Perspective of Mobile Phone." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.18.
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Qian, Peizhi. "A Systematic Literature Review of Art Photography on Social Media in the Age of Digital Culture." In 2021 International Conference on Social Development and Media Communication (SDMC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220105.052.
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Reinke, Peter, Adrian Rienaecker, Marcus Schmidt, and Tom Beckmann. "Digital High-Speed Photography of Cavitation in Journal Bearings." In 2023 JSAE/SAE Powertrains, Energy and Lubricants International Meeting. 10-2 Gobancho, Chiyoda-ku, Tokyo, Japan: Society of Automotive Engineers of Japan, 2023. http://dx.doi.org/10.4271/2023-32-0163.
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<div class="section abstract"><div class="htmlview paragraph">This paper presents current research comparing gaseous and vaporous cavitation in lubricant flows obtained by means of digital high-speed photography in un-precedented detail. Hydrodynamic journal bearings are compact and guarantee a nearly wear- resistant operation. These features make journal bearings the first choice for many applications. However, under particular operational conditions, e.g. a highly dynamic load, cavitation can occur which can lead to bearing failures. For the selected case of suction cavitation these conditions are characterized by high eccentricity combined with a rapid variation of the lubricating film thickness. The work at hand presents a new experimental approach to study suction cavitation in a scaled bearing model. Moreover, mechanical and fluid dynamic similarity laws are described which enable the transfer of bearing operation conditions into the model experiment and vice versa. An extensive literature research yields the parameters of operating conditions that are critical towards suction cavitation and puts the definition of cavitation into the particular perspective of the lubricating flow in journal bearings. The new experimental approach includes a specially designed fluid, which fulfills Reynolds and cavitation similarity and a scaled bearing model including a mechanism that re-produces the specific phases of shaft displacement which are necessary for the inception of cavitation. The experimental results include high-speed photography that captures the formation of bubbles at a rate of 10.000 frames per second (fps) which enables a detailed analysis of bubble growth yielding precise input data for an evaluation and comparison with simulation results. Numerical simulations are carried out by means of an unsteady and three-dimensional model utilizing a 2- phase code and an elasto-hydrodynamic journal bearing model that is state-of-the-art for the bearing design process. In summary, the work at hand provides a deeper understanding of the process of suction cavitation in dynamically loaded journal bearings.</div></div>
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Tahalea, Silviana, Erlina Novianti, and FX Damarjati. "Urban Aesthetics Analysis with Townscape Theory Approach in Architecture Photography (Case Study: Jakarta Old Town Core Zone)." In Proceedings of the First Lekantara Annual Conference on Public Administration, Literature, Social Sciences, Humanities, and Education, LePALISSHE 2021, August 3, 2021, Malang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.3-8-2021.2315079.
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Lee, Ho Sung, and Danny M. Higgs. "Sound of Single Vapor Bubbles." In ASME 2006 International Mechanical Engineering Congress and Exposition. ASMEDC, 2006. http://dx.doi.org/10.1115/imece2006-16288.
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The recent preliminary acoustic measurements of single vapor bubbles on a heated platinum wire, combined with high-speed digital photography, provided significant information for the vapor bubble dynamics such as growth, departure, collapse or coalescence with a previous bubble. Furthermore, under a given condition, the numerous consecutive single bubbles consistently showed almost identical waveforms, even at different times. This surprising result indicates that the phenomenon is not a chaotic process, but an orderly mathematical process. The deceleration of a growing bubble following the rapid initial growth was apparently detected by the acoustic emissions as a negative acoustic pressure. This is believed to be a new observation and not seen in gas bubbles. Some successive bubbles clearly underwent the spherical harmonics and compared well with a series of photographs. These results are in contrast with the previous indeterminate measurements on the sound intensity and frequency in boiling in the literature. The information for vapor bubble dynamics will be supplementary to the gas bubble dynamics such as cavitation, sonoluminescence, etc. Visual observations will be valuable for the mathematicians who study the spherical harmonics analytically. Also, the technique and information may be applicable to the fields of science and engineering associated with vapor bubbles motion including boiling.
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DiVall, Megan R., and Theodore J. Heindel. "X-Ray Flow Visualization of a Circular Hydraulic Jump." In ASME 2009 Fluids Engineering Division Summer Meeting. ASMEDC, 2009. http://dx.doi.org/10.1115/fedsm2009-78035.
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The circular hydraulic jump is a product of the impingement of a vertical, circular jet upon a smooth horizontal surface. Previous studies of this phenomenon have used methods such as electrical contact probes, photography, and lasers to measure various features. This study utilizes X-ray computed tomography (CT) to visualize the circular hydraulic jump; analysis is then completed on the reconstructed 3D image. Time-averaged data of the film thickness before and after the jump and the jump radius, as measured from the X-ray CT images, compare well with available literature. Potential imaging improvements with the current equipment have been identified, particularly with respect to measuring film thickness.
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.
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In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.
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Hörmann-Shahidipour, Seyedmehran. "The Influence of New Annex's Development on Historic Urban Spaces; an Example of Louver Museum Square." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021297n14.
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With the emergence of modernism, the main objective of promotion and protection of the historical urban areas according to the existing historic context, new context had presented a disaster through the modern years. The notion of development and protection has prepared the necessity to make a connection between the historical usages of space and provide a new annex usage. This study will focus on the new usages of historical spaces for the purpose of designing the new annex constructions. The main objective of the present study is to explore what occurs in historic space when annex extension is outdistancing historical boundaries? For this aim, the study will measure the Louver Museum square as the case study. The methodology of the present research is situated on a qualitative method regarding the literature review and available maps and photography analysis.
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Koul, S., M. Serati, and M. Bahaaddini. "How Fast Can Tensile Cracks Propagate in Rock?" In 57th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2023. http://dx.doi.org/10.56952/arma-2023-0602.
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ABSTRACT An important issue in rapid brittle fracture is the limiting speed of crack propagation. Continuum mechanics theories suggest that Mode I and Mode II brittle cracks cannot propagate faster than the speed of Rayleigh and Longitudinal waves, respectively. That is, the branching of a propagating crack occurs once the crack speed reaches these upper limits in a material. To verify this hypothesis, this paper presents the results of an experimental program aimed at studying the limit of tensile crack velocity in the Brazilian test using high-speed photography techniques, and combines these with the results found in the literature. Over 100 Brazilian tests with more than 10 different rock types were carried out according to the ASTM standard using either a servo-hydraulic machine or an electromagnetic load frame at wide ranges of load/displacement rates. The fracture process was captured at 130k+ frames per second (fps), and crack initiation, crack propagation and coalescence, as well as the failure mode were studied in each test. Results show that the tensile crack speed in rocks ranges between 50 to 3,000 m/s. INTRODUCTION AND MOTIVATIONS Rock dynamics is an interdisciplinary field that deals with rock behaviour under high-strain rates such as earthquakes, impact loads, blasting, and similar seismic events. Dynamic properties of rock and their measurements are, therefore, of critical importance to understanding the propagation of stress waves over time in a loaded rock sample. In particular, accurate measurement of fracture propagation speed can assist with estimating the time to rock disintegration before failure at a given loading/strain rate (Dai et al., 2011; Serati et al., 2014; Serati et al., 2015; Xing et al., 2017). In brittle rock fracturing disasters such as rock bursts and coal-gas outbursts, for instance, knowing the crack velocity can also help with choosing suitable equipment and safeguarding humans and machinery working on the site (Yang et al., 2016). While crack/fracture propagation varies at various phases of the failure process, studies suggest that the terminal fracture velocity is a characteristic property of rock; the value for which has been suggested numerically and tested experimentally for many rock types (Bieniawski, 1968; Mott, 1948). The present study aims to verify the tensile crack speed in rock-like solids by conducting an extensive literature review supplemented by experiments on selected rock types using high-speed photography methods. Typical measurement techniques adopted in the literature to measure crack speed are first reviewed and their limitations are discussed. Next, over 100 Brazilian tests with more than 10 different rock-like materials – including various rock types, ceramic, brittle polymers, concrete, asphalt, and bricks – were prepared and the speed of crack in tested samples was measured using high recording frame rates of 130,000 Hz and above. Crack initiation, propagation, and coalescence were captured to study the crack speed and failure mode on the Brazilian test results. These results help to explore how fast tensile cracks can propagate in rock.
Reports on the topic "Photography Literature"
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Enscore, Susan, Dawn Morrison, Adam Smith, and Sunny Adams. Fort Huachuca ranges : a history and analysis. Engineer Research and Development Center (U.S.), December 2021. http://dx.doi.org/10.21079/11681/42720.
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Fort Huachuca Environmental and Natural Resources Division (ENRD) sent funds to ERDC-CERL to develop a historic context that assists Fort Huachuca personnel in identifying the likely history and provenance of numerous historic range features located across Fort Huachuca's training lands. The historic context will be used by cultural resources personnel to evaluate and manage the resources appropriately. Various historic training range features (e.g., structures, fragments, and items left over from previous activities) are located across the ranges of Fort Huachuca, representing its long and storied history. To help identify and catalog these features, ERDC-CERL conducted a field survey of the training ranges in 2016 in or-der to photograph the historic range features. Forty-one historic range features were identified. Researchers conducted archival research, literature reviews, and image analysis of historic and current maps and photographs to identify the 41 historic range features and place them within a chronological context of Fort Huachuca's training ranges. The report concludes with guidance on how to identify and associate sites and features within the overall historic training range chronology and evaluate them appropriately for significance and National Register of Historic Places (NRHP) eligibility.
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Karlstrom, Karl, Laura Crossey, Allyson Matthis, and Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, April 2021. http://dx.doi.org/10.36967/nrr-2285173.
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Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) length of Grand Canyon are awe-inspiring experiences for many reasons, and they often motivate us to look deeper to understand how our human timescales of hundreds and thousands of years overlap with Earth’s many timescales reaching back millions and billions of years. This report summarizes how geologists tell time at Grand Canyon, and the resultant “best” numeric ages for the canyon’s strata based on recent scientific research. By best, we mean the most accurate and precise ages available, given the dating techniques used, geologic constraints, the availability of datable material, and the fossil record of Grand Canyon rock units. This paper updates a previously-published compilation of best numeric ages (Mathis and Bowman 2005a; 2005b; 2007) to incorporate recent revisions in the canyon’s stratigraphic nomenclature and additional numeric age determinations published in the scientific literature. From bottom to top, Grand Canyon’s rocks can be ordered into three “sets” (or primary packages), each with an overarching story. The Vishnu Basement Rocks were once tens of miles deep as North America’s crust formed via collisions of volcanic island chains with the pre-existing continent between 1,840 and 1,375 million years ago. The Grand Canyon Supergroup contains evidence for early single-celled life and represents basins that record the assembly and breakup of an early supercontinent between 729 and 1,255 million years ago. The Layered Paleozoic Rocks encode stories, layer by layer, of dramatic geologic changes and the evolution of animal life during the Paleozoic Era (period of ancient life) between 270 and 530 million years ago. In addition to characterizing the ages and geology of the three sets of rocks, we provide numeric ages for all the groups and formations within each set. Nine tables list the best ages along with information on each unit’s tectonic or depositional environment, and specific information explaining why revisions were made to previously published numeric ages. Photographs, line drawings, and diagrams of the different rock formations are included, as well as an extensive glossary of geologic terms to help define important scientific concepts. The three sets of rocks are separated by rock contacts called unconformities formed during long periods of erosion. This report unravels the Great Unconformity, named by John Wesley Powell 150 years ago, and shows that it is made up of several distinct erosion surfaces. The Great Nonconformity is between the Vishnu Basement Rocks and the Grand Canyon Supergroup. The Great Angular Unconformity is between the Grand Canyon Supergroup and the Layered Paleozoic Rocks. Powell’s term, the Great Unconformity, is used for contacts where the Vishnu Basement Rocks are directly overlain by the Layered Paleozoic Rocks. The time missing at these and other unconformities within the sets is also summarized in this paper—a topic that can be as interesting as the time recorded. Our goal is to provide a single up-to-date reference that summarizes the main facets of when the rocks exposed in the canyon’s walls were formed and their geologic history. This authoritative and readable summary of the age of Grand Canyon rocks will hopefully be helpful to National Park Service staff including resource managers and park interpreters at many levels of geologic understandings...