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Dissertations / Theses on the topic 'Street photography'
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Vendramini, Sara <1989>. "La Street Photography: storia, tecniche e autori." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10430.
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Tema principale della tesi è la Street Photography. Dopo aver delineato il concetto di questo genere fotografico, ne viene tracciata la storia: si considerano vari autori che a partire dalle origini della fotografia stessa hanno contribuito al suo sviluppo e alla sua affermazione fino ad arrivare ai giorni nostri. Negli ultimi vent’anni il genere ha avuto una grande diffusione soprattutto grazie a Internet e alla nascita degli smartphone, alla creazione di collettivi di fotografi che si sono uniti con l’obbiettivo comune di promuovere il genere e a Festival internazionali e nazionali dedicati alla fotografia di strada. Viene poi analizzato il lavoro di una decina di autori affermati della Street Photography. Infine, si approfondiscono alcune tecniche e consigli legati alla pratica del movimento.
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Howe, Melissa Shih-Lin. "The Still and Moving Street: Anonymous Portraiture Derived Through a Practice of Concept-Driven Street Photography." Thesis, The University of Sydney, 2020. https://hdl.handle.net/2123/24371.
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Street photography is often considered as a genre underpinned by Henri Cartier-Bresson’s conception of the ‘decisive moment.’ Such traditional forms of practice are characterised by speed and spontaneity, involving the photographer moving through the city streets in search of moments of significance existing within the everyday. There are, however, alternative strategies employed by practitioners that entail a more sedate and systematic, process-led approach. The discussion of such practices, which deviate from the dominant discourse, has been absent from much of the existing scholarship on the genre. This thesis is centred on the investigation of unconventional forms of street photography, which I term as practices of concept-driven street photography. These approaches see the employment of parameter-based systems to determine the set of conditions used to create photographic based work within the urban context. I propose affinities in these alternative methodologies as being found in sociological led investigations into the everyday, as well as in conceptual art projects emerging in the 1960s. In recent decades the genre of street photography has expanded to incorporate the moving image, signalling a shift away from the rigidity of the still image it has been tethered to since its beginnings. This thesis investigates the circumstances that have precipitated the evolution of the genre as it progresses further into the twenty-first century. The analysis of alternative forms of street photography and its expansion to include the moving image is conducted with specific focus on the anonymous, unposed portrait image, which has featured prominently throughout the history of the genre. The creative work of this research, comprised of still and moving image outcomes, presents a new form of contemporary portraiture and representation of the street.
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Hui, Wai-hung Lawrence. "Photographic forum at Stanley Street." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953849.
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Farrell, Evann Anne. "Killer Style: An Investigation of Rodney Alcala’s Street Style Photography." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou159792067991252.
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Worden, Roderick. "In Hiding…" ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1349.
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The conceptual foundation for my work lies in the idea of "interaction." I work towards exposing this idea in its more basic and routine form, as well as the broad scope of it. Ranging beyond the common associations made with human to human interaction, my work enters a number of realms including environmental, architectural, and intra-personal interactions, working amongst the subtleties of each. I seek to create an image of relate-able experience, thus I feel the medium of photography is necessitated, as it is rooted in the idea of documentary and realism, in effect, cataloguing images of or influenced by the outside world.
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Vestberg, Nina Elisabeth Lager. "Souvenirs of the street : the representation of Paris in French humanist photography c. 1947-1962." Thesis, Birkbeck (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436375.
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Hughes, Sabrina Lynn. "Empty Streets in the Capital of Modernity: Formation of Lieux de Mémoire in Parisian Street Photography From Daguerre to Atget." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1662.
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This study proposes the existence of lieux de mémoire in the photographs of Eugene Atget (1857-1927). My framework is based on historian Pierre Nora's definition: a lieu de mémoire is an object or idea which has become a symbolic stand-in for a community's memorial heritage. I suggest that Atget's photographs of the streets of old Paris, in concert with an empty-street aesthetic function as lieux de mémoire for their primary audience, antiquarians and professional archivists who specialized in old Paris.
According to Nora's structure, identification of a lieu de mémoire requires first the establishment of a historical tradition. In the first chapter, I characterize a particular mode of photography, what I term a preservation aesthetic. I examine photographs by Louis J.M. Daguerre, Édouard Baldus, Henri Le Secq, and Charles Marville, all produced between 1839 and 1868. I propose interpretations of and reasons for photographs showing vacant Parisian streets, even after technological advancement allowed for representation by other means.
My second chapter is concerned with a disruption of the established tradition, Nora's second requirement for lieu de mémoire. The focus of this chapter is twofold: since I propose that it is the preservation aesthetic partnered with the subject matter of old Paris that forms a lieu de mémoire, considering alterations in both perception of the old city and in photographic practice are necessary. First, I discuss the nostalgic views of old Paris that manifested while Baron Haussmann was remaking Paris between 1853 and 1870. The latter half of the chapter is devoted to the events of 1870-71, the Prussian siege of Paris and the Paris Commune. I argue that barricade photographs from the Commune represent a significant change in photographic practice defined by working-class individuals who made up the Commune.
Finally, I examine Atget's practice and work in context of both a medieval historicist revival in the early Third Republic of France and of a popular belief that architecture could be a literal and metaphoric container for nationalist memories. I conclude with a reconsideration of Atget's preservationist and modernist audiences to support my thesis that his photographs are lieux de mémoire.
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Ivory, Andrew John. "Street photography in the Google age : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1309.
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The role and position of the documentary street photographer is examined in the context of other forms of contemporary visual survey, including Google Street View. The Street View methodology is critically examined and related to the methodologies of other visual artists, including street photographers Peter Black and Robert Frank. Comparisons are drawn between the methodological restrictions imposed by Street View and those imposed by the photographers in the course of their practice. The issue of authorship is discussed and the lack of specific authorship of Street View is related to its inability to augment the viewer's personal sense of space. Wainuiomata, a suburb of Hutt City in Wellington, New Zealand, is introduced as a location for the author's research into how documentary photography might operate. The author's own phenomenological history is considered, and it is proposed that Wainuiomata may act as a mirror which reflects a sense of place derived from personal history, triggered by the visual landscape. The author's installation work The 1 p.m. Project is discussed and contextualised as a response to the author's research findings.
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Twaites, Peter. "The 'professors of Fleet Street' : Modernism and the history of news photography in Britain, 1840-1910." Thesis, Cardiff University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400310.
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Granström, Therese. "Vad är äkta mode på gatorna? : En semiotisk bildanalys av maktstrukturer inom street style fashion photography." Thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37398.
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Idén om fotografigenren street style fashion photography är att den visar upp den vanliga människan, i vanliga kläder i en vardaglig kontext. Idén bakom fotografiet i sig går i samma linje om att visa upp det äkta, och i liknande stil skapades de sociala medieplattformen Instagram – för att publicera äkta bilder ”on-the-go”. Tidigare forskning visar dock på att fotografi, Instagram och street style fashion photography inte är lika vanligt och äkta som idéerna om dem. Fotografi handlar om att sätta sig själv i relation till världen och på så sätt skapas en typ av makt. Denna uppsats syftar till att blottlägga maktstrukturer i street style fashion photography bilder publicerade av influensers på plattformen Instagram. Metoden som används för att analysera materialet är Roland Barthes semiotiska denotation och konnotationsmodell, de fynd som hittas i analysen diskuteras därefter i relation till Pierre Bourdieus fältteori för att, på en relationell nivå, förstå hur maktstrukturerna placerar ut influenserna på det svenska modefältet online. Analysen visar att bilderna i materialet är högst uppstyrda och planerade, det konnoterar olika idéer om kommersiellt mode och kulturproducerat ”högmode”, lyxiga miljöer och ”vanliga” gator, allt detta i förhållande till Instagram estetik och vad som är vinnande visualiteter. De tre influenserna, vars bilder analyseras i studien, placeras i olika positioner på modefältet online men delar samtidigt på positionen som nykomlingar eftersom de kapital de visar upp skiljer sig mellan dem, samtidigt som strategierna för att ta sig an fältet är likande.
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Castoro, Manila. "The decisive moment and the moment in between : Kairos, Tyche and the play of street photography." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/60420/.
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This dissertation provides a theoretical and historical exploration of two contrasting approaches and attitudes that took hold in street photography during the 1950s, and of their impact on the street photography of the 1960s and 1970s. The two approaches and attitudes are identified as, firstly, that of the "decisive moment," and, secondly, what is referred to as the "moment in between." The former attitude was famously introduced by Henri Cartier-Bresson and exemplified within his work, while the latter is distinctly manifested in the work of William Klein and Robert Frank. Through a comparative and interpretative approach to each, this study analyses the work of photographers whose imagery exemplifies the stylistic differences, and the conceptual and theoretical underpinnings of the two attitudes to street photography. In the first part of the dissertation, two concepts taken from ancient Greek thought - kairόs and tyche - are used to elucidate the nature of, respectively, the decisive moment and the moment in between, as well as the differences between these approaches to street photography. It is argued that the concept of kairόs embodies certain spatial, temporal, aesthetic and moral features capable of enriching the understanding of the approach to street photography represented by the notion of the decisive moment. The concept of tyche, with its focus upon chance and the unforeseen, brings to light a powerful contrast with the decisive moment, emphasising the photographers' position in respect of the fortuitous episodes that shape their practice, as well as the significance of the abandonment of linearity, intelligibility and determinability that is characteristic of this approach and attitude toward reality. The second part of the dissertation is dedicated to the impact of the decisive moment and the moment in between upon the North American street photography of the 1960s and upon the work of photographers active outside of the North American and Western European cultural and intellectual contexts. In particular, it is argued that in the 1960s, Garry Winogrand, Diane Arbus and Lee Friedlander established within their work a bridge between the approaches of the decisive moment and the moment in between, bringing about their fruitful co-existence within a single image. By interpreting these elements through the categories of kairόs and tyche, I analyse how these photographers embraced both approaches with the aim of appreciating the aesthetic opportunities resulting from their union. This second part also involves an examination of the extent to which forms of street photography that developed in relative isolation from the intellectual and cultural contexts of North American or Western European street photography, or which are embedded in non-Western ideas and philosophy, may still be understood by means of the dichotomy between the decisive moment and the moment in between. The works of Miroslav Tichý, a photographer who worked in the climate of seclusion of Communist Czechoslovakia, and Raghubir Singh, an Indian photographer who was profoundly influenced by Indian philosophy, are analysed in order to assess whether or not the categories of kairόs and tyche can be usefully employed in their interpretation.
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Ryan, Holly. "Bringing the visual into focus : street art and contentious politics in Brazil, Bolivia and Argentina." Thesis, City University London, 2013. http://openaccess.city.ac.uk/2729/.
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Politically committed street art has been mobilised time and again as a crucial strategy and means of expression. Yet, social movement scholars and political analysts have displayed a persistent tendency to overlook the specificities of visual tools and aesthetic experience in contentious politics. Consequently, political action is often described and understood in ways that are reductive and distorted. This dissertation brings together a range of insights from art and aesthetics, communications and cultural studies in order to address this quandary. Fundamentally, this study makes a novel contribution to the discipline of International Relations and to the associated field of Social Movement Theory by synthesising and extending scholarly work on political process and affective encounter in ways that facilitate a thoroughgoing analysis of politically committed street art and ‘what it can do’ in protest. Drawing on research undertaken in Bolivia, Brazil and Argentina, this dissertation argues that street art can and has been utilised strategically and instrumentally in protest, in mobilising resources and galvanising public opinion. It also contends that the framing processes leading to these outcomes have been under-specified due to their recourse to an epistemology that rationalises away the sensate dimensions of protest. A key claim of this thesis is that under certain circumstances street art can very usefully be modelled as a mode of infrapolitics; deliberately veiled expressions that seek to skirt the gaze of the authorities. However, it is also suggested that periods of seemingly rational and strategic deployments of street art are sometimes punctuated by something else, a collective sense of something gone awry, wherein the categories and tools for processing what went wrong are unavailable. In these instances, activists might be moved to produce street art or be moved by producing it. By attending to political street art’s instrumental and heuristic potentials, this piece of work goes beyond current discussions about framing and political opportunity. It also contributes a series of new case studies centred on periods of contention in Latin America.
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Morgan, Emily Kathryn. ""True Types of the London Poor": Adolphe Smith and John Thomson's Street Life in London." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/255192.
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In February 1877, publisher Sampson Low, Marston, Searle and Rivington began release of a monthly serial called Street Life in London, by journalist Adolphe Smith and photographer John Thomson. The work aimed to reveal to readers, through novel use of photographic illustrations combined with essays, the conditions of a life of poverty in London. Appearing also as a book in late 1877, Street Life in London did not achieve commercial success in either format and was cancelled after just one year's run. This dissertation aims to demonstrate how Street Life in London was subject to and shaped by a variety of interests and forces, to understand why it failed, and to place it within the overarching contexts of Victorian social exploration and street typology. Historians of photography have justifiably praised Street Life in London as a foundational work of socially-conscious photography, John Thomson's images breaking--sometimes radically--with prior models for depiction of the poor. But they have tended to regard it primarily as a book rather than a serial, and primarily as a book of photographs, not a publication in which text and image work in concert. This dissertation examines the vital contributions of both Adolphe Smith and John Thomson, combining close reading of images, text and sequencing throughout the serial publication to treat the work as a photo-text. It reinscribes the work within the contexts of both authors' overall careers, relates it to prior pictorial and literary models for representation of poverty, and demonstrates the roles of other players such as the publisher and critics in shaping the publication. Ultimately this study places Street Life in London within a matrix of Victorian discourses on poverty, photography, and typology, among others, demonstrating that it was contingent, conflicted, and ultimately incomplete: a flawed but fascinating commentary on the complex and multifarious Victorian era from which it emerged.
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Silva, Daniela Maura Abdel Nour Ribeiro da. "Verdade ou mentira? Considerações sobre o flagrante, o pseudoflagrante e a composição na fotografia de German Lorca." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-13082009-153757/.
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Esta pesquisa intitulada Verdade ou mentira? Considerações sobre o flagrante, o pseudoflagrante e a composição na fotografia de German Lorca, tem como assunto a fotografia de rua que o fotógrafo paulistano German Lorca realizou entre o final da década de 1940 e início dos anos 1950, no âmbito do Foto-Cine Clube Bandeirante. O estudo demonstra a maneira como Lorca utiliza-se do flagrante e de seu falseamento (denominado livremente de pseudoflagrante na dissertação), muitas vezes enfatizando a composição da fotografia por meio do corte. A fim de atingir esse objetivo a dissertação fundamenta-se em questões que remontam à tradição da busca da representação do movimento na arte ocidental, passando pela fotografia de rua que vem sendo praticada desde meados do século XIX, no exterior e no Brasil. Assim, mostra como noções implícitas nesse amplo contexto teriam servido de parâmetros para a produção das cenas cotidianas de German Lorca, dentro da fotografia moderna brasileira.This research is called Verdade ou Mentira? Considerações sobre o flagrante, o pseudoflagrante e a composição na fotografia de German Lorca (True or False? Considerations on The Snapshot, The Pseudosnapshot and The Composition in German Lorcas Photography). The research has as it subject the street photographs taken by Lorca a Sao Paulo photographer , from the late 1940s to the early 1950s, within the scope of the Foto-Cine Clube Bandeirante (Bandeirante Photo-Cine Club). The study shows how Lorca uses the snapshot and its forgery (loosely called pseudosnaphot in this dissertation), often emphasizing the photographs composition by means of the cut. To meet this objective, the dissertation is based on issues that go back to western arts traditional search to represent movement, through street photographs that have been taken since the mid-nineteenth century, both in Brazil and abroad. In this way, it shows how implicit notions in this broad context would have served as parameters for German Lorcas production of everyday scenes, within modern Brazilian photography.
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Grayson, Louise. "Streets apart genres of editorial photographs and patterns of photographic practice." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50796/1/Louise_Grayson_Thesis.pdf.
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My doctoral research contributes to visual scholarship by investigating and defining representational strategies of three photographic genres – press photography, photojournalism, and documentary photography – using an ‘action genre’ approach (Lemke, 1995: 32). That is, rather than taking final photographic forms as being definitive of genre, I identify patterns of ‘activity types’ involved in the production of editorial photography to define genre (1995: 32). While much has been written on editorial photography, there is no organised body of scholarship that distinguishes between these three very different modes of photographic practice. I use a major documentary project to exemplify and analyse the impact of these genres on my own photographic practice, and to explore the production of meaning within the framework of these professional genres. I triangulate the theoretical framework through the use of interviews with established Australian professionals.
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Name, José João. "Fotografia da metrópole: fotogenia e aura." Pontifícia Universidade Católica de São Paulo, 2010. http://tede2.pucsp.br/handle/handle/2190.
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Previous issue date: 2010-12-06Street photography or urban photography, in terms of photographic style, historically results not only from a new instrumentalization made available by technological progress in the first half of the XIXth century, but also, and above all, from social and psychological conditions which started to reign in that period. This new way of representing the objective world brought innovative particularities like the combination of elements such as mental image, double, objective traces and aura in one perception object: photography. Such particularities are found in the concept of photogeny, one of the denominations given to the charm of photographic images, which is examined here based on Edgar Morin s studies. The analysis of the concept of photogeny leads us, in search of precursors, to the idea of aura in Walter Benjamin s writings, showing intersections which are particularly interesting and elucidative of both concepts. In Walter Benjamin s reflections are included phenomena such as crowd, shock and flâneur upon which are based our own reflections on the conditions which caused changes in the perception, receptiveness and response of the growing stimuli resulting from new ways of coexistence and mobility in the metropolis. Another approach related to the charm, the aura and the temporality of the photography, such as the temporal punctum, is integrated into these previous concepts and analyzed with the concept of photogeny. Thus, the purpose of this dissertation is the constitution of a more embracing corpus enabling the understanding of the complexity of the photographic phenomenon. The metropolis, object of the urban photographer, through its physiognomy, plays a major role in this dissertation, showing itself, like on a photograph, as a psychophysical mechanism whose charm dwells in the indistinguishable relation between the objective world and the imaginary
A fotografia de rua ou fotografia urbana, enquanto estilo fotográfico, decorre historicamente não apenas de uma nova instrumentalização proporcionada pelos avanços tecnológicos que se iniciaram na primeira metade do século XIX, mas, sobretudo, das condições sociais que vigoraram a partir desse período. Esse novo meio de representação do mundo objetivo trouxe consigo particularidades inovadoras, como a combinação de imagem mental, duplo, vestígios e aura em um objeto de percepção: a fotografia. Essas particularidades encontram uma confluência no conceito de fotogenia, uma das denominações atribuídas ao encanto das imagens fotográficas, que, aqui, é trabalhado tomando por base a trabalho de Edgar Morin. A análise do conceito de fotogenia remete-nos, na busca por precursores, à noção de aura em Walter Benjamin e apresenta interseções particularmente interessantes e elucidativas para ambos os conceitos. Nas reflexões deste último autor, que incluem os fenômenos da multidão, do choque, do flâneur, baseiam-se nossas análises sobre as condições que provocaram alterações na percepção, receptividade e resposta aos estímulos crescentes originados pelas novas formas de convivência e mobilidade na metrópole. Outra abordagem relacionada ao encanto, a aura e a temporalidade na fotografia, como o punctum temporal, é integrada às concepções anteriores e analisada em conjunto com a concepção de fotogenia. Dessa forma, o objetivo desta dissertação é constituir um corpus mais abrangente que dê conta da complexidade do fenômeno fotográfico. A metrópole, objeto do fotógrafo urbano, através da sua fisionomia e fisiognomia, ocupa um papel central nesta dissertação, revelando-se, como em uma fotografia, um mecanismo psicofísico, cujo encanto possui a sua base na relação indistinguível entre o mundo objetivo e o imaginário
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Hui, Wai-hung Lawrence, and 許偉雄. "Photographic forum at Stanley Street." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31983352.
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Figliulo, Roberto. "Between public and private spaces: photographic visions in contemporary China." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398145.
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The aim of this dissertation is to present a particular point of view on the contemporary Chinese photographic production. We will analyze the photographic works that deal directly or indirectly with the representation of concrete spaces. We will give special attention to the representation of public and private spaces and to the problems related to them.
We will analyze the period that coincides with the eighties until today, the time of particular development of photographic production in China. The methodology employed will be a multidisciplinary approach that allows to better understand the complexity of determinate phenomenon related to the spaces represented by the selected artists.
This research wants to present the Chinese photographic production through determinate criteria that enable the understanding of its relevance in the comprehensive Chinese current cultural production.El objetivo de esta disertación es presentar una visión concreta sobre la producción fotográfica china contemporánea. Se analizarán aquellos trabajos fotográficos que tratan de manera directa o indirecta la representación de espacialidades concretas, con mayor atención al tratamiento de las espacialidades pública y privada, y a las problemáticas a ellas conectadas. La época que se analizará es la que va del decenio de los Ochenta hasta hoy en día, un periodo de particular desarrollo de la producción fotográfica en China. La metodología aplicada conisistirá en un acercamiento multidisciplinar que permita comprender la complejidad de determinados fenómenos ligados a las espacialidades representadas por los artistas seleccionados. Esta investigación quiere presentar la producción fotográfica en China a través de un determinado criterio que permita comprender las numerosas facetas y la importancia que tiene en la actual producción cultural china.
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Ozanam, Pierre. "Louis Faurer : "a street photographer in the City's Lively Beat /." Paris : Université de Paris X, 1992. http://catalogue.bnf.fr/ark:/12148/cb358161998.
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Zevenbergen, Jill. "Like Alike." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1803.
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Like Alike explores notions of pleasure and beauty through an examination of mundane activity. Pleasure is simple, uncomplicated niceness. Pleasure is forgettable and related to the norm. Beauty is complicated and hardly predicted. Finding beauty in the banal provides an escape from mundane life. The banal, then becomes unforgettable. The nondescript, everyday experience becomes important and gains meaning. Like Alike's electronic format is adapted from the original format of an artist book.
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Repaka, Sunil Reddy. "Comparing spectral-object based approaches for extracting and classifying transportation features using high resolution multi-spectral satellite imagery." Master's thesis, Mississippi State : Mississippi State University, 2004. http://library.msstate.edu/etd/show.asp?etd=etd-11082004-231712.
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Padgett-Vasquez, Steve. "Tracking landscape changes in the Upper Cahaba River watershed and its tributaries (1974-2007) using Landsat and ASTER multipsectral image." Birmingham, Ala. : University of Alabama at Birmingham, 2010. https://www.mhsl.uab.edu/dt/2010m/padgett-vasquez.pdf.
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Olley, Peter, Timothy D. Gough, R. Spares, and Philip D. Coates. "An experimental and simulation comparison of a 3-D abrupt contraction flow using the Molecular Stress Function constitutive model." Maney Publishing, 2020. http://hdl.handle.net/10454/18042.
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YesThe Molecular Stress Function (MSF) constitutive model with convective constraint release mechanism has been shown to accurately fit a large range of viscometric data, and also shown to give strong vortex growth in flows of LDPE through planar and axisymmetric contractions. This work compares simulation and experimental results for 3-D flows of Lupolen 1840H LDPE through a contraction slit; 3-D effects are introduced by using a slit with a low upstream aspect ratio of 5:3. Comparisons are made with vortex opening angles obtained from streak photography, and also with stress birefringence measurements. The comparisons are made with two versions of the convective constraint release (CCR) mechanism. The simulated vortex angles for one version of the CCR mechanism are found to approach what is seen experimentally. The best-fit value for the stress optical coefficient was found to vary between CCRs and to decrease with flow rate. This is partially explained by different centreline elongational rates with the two CCRs, which in turn is related to different opening angles. A 3-D simulation is compared to the corresponding 2-D simulation. It is shown that both velocity vectors and birefringence show only small changes to around 60% of the distance to the side wall.
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Csóka, Pavel. "Rozpoznávání textu pomocí konvolučních sítí." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2016. http://www.nusl.cz/ntk/nusl-255303.
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This thesis aims at creation of new datasets for text recognition machine learning tasks and experiments with convolutional neural networks on these datasets. It describes architecture of convolutional nets, difficulties of recognizing text from photographs and contemporary works using these networks. Next, creation of annotation, using Tesseract OCR, for dataset comprised from photos of document pages, taken by mobile phones, named Mobile Page Photos. From this dataset two additional are created by cropping characters out of its photos formatted as Street View House Numbers dataset. Dataset Mobile Nice Page Photos Characters contains readable characters and Mobile Page Photos Characters adds hardly readable and unreadable ones. Three models of convolutional nets are created and used for text recognition experiments on these datasets, which are also used for estimation of annotation error.
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Denarnaud, Eugénie. "Le jardin « porte-paysage » : Rencontre des urbanités dans le détroit de Gibraltar (Tanger, Maroc)." Thesis, Paris, Institut agronomique, vétérinaire et forestier de France, 2020. http://www.theses.fr/2020IAVF0013.
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Cette thèse s’attache à questionner le rôle d’un jardin informel, fortement porteur de sens, dans la compréhension de la relation au paysage des Tangérois. Ce jardin interstitiel œuvrerait, non comme un espace simplement récréatif et décoratif, mais comme un talisman paysager. L’objet de la recherche est l’étude de jardins vernaculaires, nés dans un phénomène urbain massif, initié en l’an 2000. Une étude critique du paysage local, menée par l’observation ethnobotanique, géographique et paysagère d’actions jardinières potentiellement coercitives, est conduite dans le contexte actuel de planification urbaine. À certains égards, les Tangérois sont des marcheurs, des arpenteurs, des connaisseurs de leur environnement. Ils tirent une interaction positive avec leur milieu dans un contexte métropolitain : connaissance des fleurs ; des résines ; des abeilles ; des animaux sauvages ; des phénomènes météorologiques et géologiques. Autant d’éléments hétérogènes qui entrent dans ce qu’on peut nommer le paysage. Cette particularité tangéroise a permis d’explorer le fait urbain sous deux angles. D’abord celui de la cité séculaire sans cesse réinventée dans son territoire. Puis, celui de la ville comme reflet contemporain de la modernité. La question plus globale qui sous-tend cette recherche est : de quelle façon le jardin induit-il une relation au paysage ? De quelle manière la recherche portée sur une figure achétypale du jardin, permet-elle de comprendre une relation étendue à la nature et au grand territoire ? Les statuts informels et interstitiels des espaces observés, font qu’ils sont des lieux de marges, de frontières, qui sont précisément des espaces de transformation et d’accueil de l’altérité, et non des lieux de la séparation. Le corps de la recherche est centré sur la question suivante. Comment est-ce que l’invisible, l’ordinaire, « l’a-spectaculaire » est-il porteur d’une forme de réinvention de relation au monde ? Comment est-ce que, retisser des histoires de jardins et de jardiniers, permet-il de concevoir un mode de relation à la terre, qui ouvre sur d’autres liens possibles au vivant ? Comment le caractère hybride de ces espaces, conduit-il les jardiniers et ceux qui sont en contact avec leurs savoir-faire, à composer avec l’instabilité du monde contemporain et à s’insérer dans l’expansion métropolitaine de la ville ? Par un ensemble d’actions, une gamme de modes relationnels au paysage s’est révélée dans l’étude. La double temporalité du jardin de pied d’immeuble s’éclaire dans ce contexte. Il est à la fois, quelque chose de proprement contemporain, lié à un exode rural et à une culture paysanne proche ; et, dans une certaine mesure, un des préalables à l’édification urbaine, un « porte-chance » pour les nouveaux arrivants. En cela, le jardin est le lieu d’une continuité culturelle et le lieu d’un investissement des communautés, dans la construction de la ville. L’enquête ethnographique et l’importance octroyée à l’arpentage de terrain, permet d’entrevoir un renouvellement de l’approche méthodologique en sciences du paysage. En quoi est-ce que la méthode de lecture du paysage est-elle infléchie par le terrain ? De quelle manière transforme-t-il celui qui y évolue ? Le faisceau d’éléments hétérogènes glanés dans l’étude, constitue une sémantique du lieu, par des effets de juxtaposition et de rapprochement a posteriori. Le pistage d’indices et la capture de fragments, font partie des outils principaux du terrain. Herbier, photographie, cartographie entrent dans cette collecte documentaire qui constitue un exsiccata dont la thèse se veut être le lieu de formulation et de traductionThe thesis seeks to question the role of an informal garden, one that strongly conveys meaning, in understanding the relationship to the landscape of the people of Tangier. This interstitial garden would be not simply a recreational and decorative space, but also a landscape talisman. The object of the research is the study of vernacular gardens, sprung from a major urban phenomenon, initiated in the year 2000. A critical study of the local landscape, carried out through ethnobotanical, geographical and landscape observation of potentially coercive garden actions, is conducted in the current context of urban planning. In a way, the people of Tangier are walkers, surveyors, specialists of their environment. They derive a positive interaction with their surroundings in a metropolitan context: knowledge of flowers; resins; bees; wild animals; meteorological and geological phenomena. These are all heterogeneous elements that make up what can be called the landscape. This peculiarity of Tangier has allowed us to explore the urban fact from two angles. Firstly that of the secular city constantly reinvented in its territory. Then, that of the city as a contemporary reflection of modernity. The more global question underlying this research is: how does the garden induce a relationship with the landscape? In what way does the research carried out on an achetypal figure of the garden allow us to understand an extended relation to nature and the great territory? The informal and interstitial statuses of the spaces observed make them places of margins, of frontiers, which are precisely spaces of transformation and reception of otherness and not places of separation. The body of research is centred on the following question. How does the invisible, the ordinary, the "aspectacular" carry a form of reinvention of relation to the world? How does reweaving stories of gardens and gardeners allow us to conceive of a mode of relation to the earth that opens up other possible links to the living? How does the hybrid character of these spaces lead gardeners and those who are in contact with their skills, to deal with the instability of the contemporary world and to fit into the metropolitan expansion of the city? Through a series of actions, a range of modes of relations to the landscape is revealed in the study. The double temporality of the garden at the foot of a building is highlighted in this context. It is at the same time, something very much contemporary, linked to a rural exodus and a nearby peasant culture; and, to a certain extent, one of the prerequisites for urban construction, a "lucky charm" for newcomers. In this sense, the garden is the place of cultural continuity as well as a place for communities to participate in the construction or development of the city. The ethnographic survey and the importance given to land investigation, enables to envisage a new methodological approach to landscape sciences. In what way the method of reading the landscape is influenced by the characteristics of the site itself? In what way does it transform the person who evolves in it? The bundle of heterogeneous elements gleaned in the study, constitutes a semantics of the place, through effects of juxtaposition and a posteriori approximation. The tracking of clues and the capture of fragments are among the main tools of the field. Herbarium, photography and cartography are part of this documentary collection which constitutes an exsiccata whose thesis is intended to be the place of formulation and translation
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Baddeley, Gwen. "Street Art Photography: Mapping the Interstices of Urban Experience." Thesis, 2011. http://spectrum.library.concordia.ca/15184/1/Baddeley_MA_F2011.pdf.
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Thomashow, JE. "The photography of street art as a representation of place." Thesis, 2013. https://eprints.utas.edu.au/15945/2/whole-thomashow-thesis-2012.pdf.
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This research project explores how the photography of street art can contribute to the understanding of place. This argument is supported through an examination of techniques and concepts utilized by a range of photographers who have practiced social documentation. The research aims to demonstrate how the photography of street art can reflect social, cultural, and natural identities that are unique to specific environments.
The background to this project is located in the tradition of social documentary in the work of mid 20th century photographers such as Walker Evans, Robert Frank, and Manuel Alvarez Bravo. The exegesis explores these artists’ abilities to capture the vernacular elements that characterize specific locations. The exegesis discusses the arrangement of elements within individual photographs, as well as the arrangement of the photographs in series, and specifically how these strategies provide a social and political commentary. The project is further contextualized by a range of contemporary color photographers including Joel Sternfeld, Steven Shore, Jeff Laio, and Jeff Whetstone, demonstrating the potential for color to contribute to an exploration of place within social documentary photography.
The result of the research is a collection of photographs that describe differences in a range of social landscapes by comparing styles and techniques in street art from three different countries: Australia, South Africa, and the United States. The thesis exhibition consists of a series of large scale photographic prints that depict street artworks in their surrounding context, including people and natural or built environments. In these photographs, street art is the dominant form of vernacular expression. It embodies the visual characteristics of environments undergoing pronounced change. These photographs form a narrative concerned with the social, political, and natural identities of a place.
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Cheney, Clifford Sidney. "The Arab street : a photographic exploration." Thesis, 2009. http://hdl.handle.net/2152/ETD-UT-2009-12-677.
Full textAbstract:
Journalists use the term Arab Street to describe what they often imply is a volatile
Arabic public opinion. This photo story travels through four Arab areas or Jordan, Qatar,
Israel/Palestine and Egypt in order to show the diversity and complexity of each. The
media’s tendency to lump all Arabs into one political block is detrimental to a true sense
of cultural understanding that is required for peace.text
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Chu-WenPeng and 彭楚文. "A Rebellious Soul — A Study on William Klein's Fashion and Street Photography." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/q43erp.
Full textAbstract:
碩士國立成功大學
藝術研究所
105
William Klein (1928-) is a French-American photographer and film director. 2010 British photographic magazine Professional Photographer selected the most influential photographer, Klein is one of them. Klein is a versatile artist, the street photography and subversion of the mainstream aesthetic concept used in fashion photography, avant-garde style so that he became famous in the fashion photography circle. No rules, no frame, no limit is Klein's photography concept, the real outdoor street shooting is what he wants to show the theme. Klein majoring in sociology, the city is his shooting theme, through the confusion of blurred, out of focus, rough quality and so on, breaking the popular poplion popular photography skills to the eyes of a stranger, on the real expression of the people, showing the diverse appearance of different cities. And Klein was photographed with humorous, satirical techniques to convey the current political and social issues and to make his work visible and become one of the contemporary controversial artists. At present, the domestic research on the Klein related research is rare, so this study collated and analyzed the relevant literature of Klein, combing Klein from the photography industry fortune-oriented image creation, and by Klein's work concept, social issues to reflect on the importance and influence of image aesthetics in contemporary times. This study is based on the text analysis method, the image analysis method and the art sociology method to explore the Klein's works. The purpose of the research is (1) to understand the location and characteristics of Klein's fashion photography history (2) analyzing Klein street photography and covering social works, and (3) exploring the innovation and influence of Klein's work. Hoping to understand the impact of Klein's study fashion photography, street photography, cinema issues for society.
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Khubisa, Mandla Bheka Moses. "A documentary investigation of the Imvunge group of street photographers in Durban with specific reference to the develpment of photographic and business skills (1999-2009)." Thesis, 2012. http://hdl.handle.net/10321/739.
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Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Photography, Durban University of Technology, 2012.The aim of this research is to document and evaluate the Imvunge group of street photographers in Durban with specific reference to the development of photographic and business skills from 1999 to 2009. This study will focus on a discussion of how members of the Imvunge group started their photographic careers as street photographers and how, through participating in projects and workshops, they developed their photographic skills and became professional photographers. This will include an investigation of both photographic skills such as image capturing, lighting techniques, image presentation and visual literacy; as well as business skills such as basic accounting and marketing. Chapter One provides an account of the history of photographic techniques and street photography in Europe, Africa, South Africa, KwaZulu-Natal and Durban in order to provide a context to the formation of the Imvunge group of photographers. Chapter Two provides an historical background of the candidate’s work as a street photographer in Durban from 1969 to 1989, before registering at Technikon Natal for formal training in photography. It also discusses his life history from being a young businessman, a lecturer, in order to provide information regarding the business and photographic skills acquired and which he was able to impart to street photographers. Chapter Three documents the formation of the Imvunge Street Photographers’ group; the partnership between the Imvunge group and the Durban Art Gallery, the Imvunge group’s exhibitions and projects, the history of selected members of the Imvunge group and an analysis of their work to provide evidence of an improvement in their photographic skills. The conclusion will present findings from this research project and will include a proposal for areas of research.
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Wei, Jen Yi, and 魏仁一. "Unveil the Inner Beauty of Street Peeking：The Art Discourse of Wei Jen Yi's Photography." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/qg5365.
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碩士臺北市立大學
視覺藝術學系碩士在職專班
106
This study seeks the theoretical bases of the mental changes and transformation in viewing the images from the fields of psychoanalysis, psychology, and behavioral analysis and develops the works on these bases. The theoretical discussion is conducted in terms of the following perspectives: 1. The definition of the Chinese character “Kui (Peeking),” 2. Personality and psychosexual development, 3. The motive theories of behaviorism and humanism, 4. Curiosity, 5. Peeking phenomenon, and 6. Image viewing theories. Furthermore, the street snap photographic creation proceeds in terms of the following perspectives: 1. Peeking of curiosity, 2. Peeking of time, 3. Peeking of motives, 4. Peeking of sub-consciousness, and 5. Collected peeking of the public. What will happen as an image is presented in front of the viewers? This paper discusses the psychological changes in the viewing behavior through psychoanalysis and finds that in the process the behavior is driven, occurs and meets the standard of the result. Even though the external behavior is not obvious, the internal mental changes still follow the theoretical models, which can be called the mental peeking or inner peeking. In other words, like the title of my study, it is to “unveil the inner beauty of street peeking.”
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Chen, Kuan-Ju, and 陳冠汝. "An Action Research of Applying Community-based Art Education to Street Photography Teaching: Puzih Community as the Case." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/w5cg7u.
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碩士國立彰化師範大學
美術學系藝術教育碩士班
104
Images can easily connect our emotions and life experiences. With the progress of technology, students can interpret their own life stories with a simple press of the shutter button. Community is an essential part of students’ lives, but the educational system in school today does not provide students the chance to know their environment of community and to cherish their cultural connotations. The aim of the study is to develop an art education based street photography course, providing students to observe their community in photographic perspective and to cherish their community’s historical building and cultural values by visiting them. The study applies educational action research, through the teaching feedbacks, the interviews, the observations and the introspections of teaching and studying, the process and the result of the art education based street photography teaching are revealed. According to the conclusion of the study, the observations of the lesson design, teaching strategy and study results are as follows: 1. Design a course that gradually discover, understand and identify students’ community. In the stage of understanding community, the course gives students a guide to the origins and linage of their community. Then the images of their community are provided to enhance students’ care to their communities. And taking photograph of the community as a creative way of learning visual art. 2. In teaching strategy, teachers’ team teaching and students’ team learning are built and blended in community guide activity. Image appreciation teaching should be high lightened, and use multiple evaluation to improve students’ learning. 3. In students’ recording of their community, photographic media can trigger their motivations. And they will take teachers’ works as example and find their favorite buildings as subjects. Their works are related to their artistic performances and creative abilities. 4. Community based street photography course can improve students’ care and understanding of the culture and history of their community. Also, it enhances students’ will to walk in and record the community. 5. Cultural festival photographs can deeply trigger students’ emotions of identification. And photographic activity provides the way of interpretation. Moreover, non-school district students can also gain their identification to their communities through this learning. Finally, according to the conclusion of the study, suggestions to curriculum design, teaching practice and subsequent study are given in hopes of contributing to further research: 1. The course that blends in communities’ resource enriches students’ learning essence. However, safety of communities should be considered to create a safe learning space. Teachers should integrate their ideals to enhance teaching efficacy. 2. There should be flexible time to draw out students’ imagination. Using flexible teaching assessment to escalate students’ motivation of finishing their homework.
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Rubin, Caitlin Julia. "Somewhere between here and there : Sharon Hayes and Catherine Opie, picturing protest." 2013. http://hdl.handle.net/2152/21524.
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Both Sharon Hayes’s "In the Near Future" (2005-2009) and Catherine Opie’s photographs of assemblies and rallies (2007—) take protest as a topic of investigation. Hayes enacts solo protests in urban centers and documents her project’s iterations; Opie attends organized marches and demonstrations and photographs the gathered crowds. Yet while both projects perform or picture protest in the present-day, neither is wholly of this moment. In her staged actions, Hayes holds the signs and slogans of earlier social movements, and both she and Opie create and consider the images they capture in relation to experiences and visual records which predate them. This thesis considers the ways in which expectations and desires for present and future moments are rooted in understandings of social or political pasts, investigating the work of Hayes and Opie alongside the events of Occupy Wall Street and the histories of the movements these artists reference: ACT UP (AIDS Coalition to Unleash Power), Queer Nation, and the Memphis Sanitation Strike of 1968. Focusing on the role of the documentary image in the creation and remembrance of historical events, the paper looks at how the longing to reinhabit a pictured past becomes incorporated within a desire to feel historical, and how fantasies of the past and future are absorbed into the charged space of present. Concentrating first on this temporal rearrangement (referred to by Hayes as an “unspooling of history”) and turning next to the reengagement and embodiment of symbolic imagery, this thesis explores how works by Hayes and Opie emphasize disappointment in the present scene while simultaneously endeavoring to establish alternative spaces of social and political possibility—both new sites and reimagined worlds of belonging.text
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Houšková, Aneta. "Stopy v současném umění." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-438696.
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The diploma thesis as a whole deals with the topic of tracks in contemporary art. It is divided into three parts. Theoretical, didactic and practical part. In the theoretical part, I first define what a track means to me and I apply this definition when searching for tracks in the works of contemporary artists. The theoretical part of the work includes an interview with Patrik Proška, an artist creating some of his works in public space. In the didactic art project, created for high school students, the topic of tracks is viewed somewhat more freely. The main goal of the thematic unit is to lead students to think about tracks through their own artistic activity. Based on the experience gained, they should be able to think about the transience of the tracks, the meaning of our legacy and the consequences of our existence. I especially focus on the art area related to land arts and street art or graffiti. The practical part is the result of my reasoning about the tracks left in public space. I established my reasoning on the knowledge gained in the theoretical part. The result is a set of author's books that document my thoughts on the tracks found or created. I focused my attention mainly on the human desire to leave their tracks in the public space. KEY WORDS track, public space, art, land art,...
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Huang, Chi-Ying. "An Economic Analysis of Stream Restoration in an Urban Watershed: Austin, Texas." Thesis, 2012. http://hdl.handle.net/1969.1/ETD-TAMU-2012-05-10736.
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By 2006, the U.S. government has spent $15 billion to address the degradation of urban streams, including erosion of stream banks, disconnection of rivers from the floodplain, and disturbance of surface runoff pathways. Bank stabilization is one of the most prevalent restoration activities in urban stream restoration. Unfortunately, most stream restoration projects have been undertaken without a pre- or post-evaluation of the impact of stream restoration on real value in the area. All restoration projects beg the question: Did the money spent on the project result in greater benefits to stream stability as well as to adjacent properties? The Walnut Creek watershed, located in Austin, Texas, has experienced varying stages of urbanization since the 1990s. One of the streams, the Walnut Creek tributary, was restored in 2003. The purpose of this study is to assess the impact of stream restoration on housing values. We applied the hedonic pricing method to evaluate the changes in housing value associated with housing and environmental characteristics. Repeat ground photography was utilized to assess stream restoration activities at spatial and temporal scales. Our results suggest that the stream restoration project resulted in significant positive impacts on housing values in the periods of restoration (8.3%) and restoration adjustment (10.7%). However, the project did not enhance the values of houses on the floodplain. In addition, results show that erosion had continuous negative impacts on housing values. Overall, the restoration project contributed to the greater benefits during the restoration adjustment period right after restoration by an increase of 1% of the average housing value for each property on the restoration site. In this study, the benefits of stream restoration project were minimal since bank stabilization was the main activity considered in this stream restoration project. Nevertheless, restoration enhances the stability of the stream banks, minimizes erosion problems, and presents an enhanced aesthetic beauty of the stream in Austin, Texas.
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Tsai, Rong-Jium, and 蔡榮君. "Application of Orthorectified Aerial Photographs and VRML Technique in Stream and Shore Line of the Linkou Tableland." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/84345294724648019535.
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碩士國立中央大學
地球物理研究所
86
This study performs visualization of a remote sensing images and adigital terrain model(DTM). A level 10 satellite image which is anorthoimage could be registry with DTM to perform a correct perspective view. An aerial photograph, however, must be rectified in order to calibratethe relief displacement and system errors before visualization is performed.Hence, we calcuate the six elements of exterior orientation by space resect method first, then create an orthoimage of aerial photograph with collinearity condition equations according to a DTM. The geocoded orthoimage of an aerial photograph can be easily integred into a Geographic Information System(GIS). This study picks streams and shore lines at the Linkou Tableland from orthorectified aerial photographs, photobase maps and topographicmaps of different years. After digitizing these in GIS, we could compare shore lines and streams of the Linkou Tableland at differentyears from 1925 to 1997 years to see their changes. Additionally, we digitized detailed DTMs at stream head area and to see if there washead erosion happened. Finally, we performed visualizations and flight simulations by using Virtual Reality ModelingLanguage(VRML) and WWW browser with a Pentium PC. This study establishes a procedure of rectification of an aerial photograph and visualization of remote sensing images under PC.
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Mendonça, Luís Guilherme Jordão de. "Os cineastas amadores do pós-guerra: a fotografia de rua como sinopse da modernidade cinematográfica." Doctoral thesis, 2016. http://hdl.handle.net/10362/19066.
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Na transição da fotografia para o cinema, um grupo de nova-iorquinos operou
uma revolução silenciosa no coração da linguagem do cinema. Entre um cinema ainda
feito sob o signo da Hollywood clássica, o impacto do neo-realismo italiano, a Nouvelle
Vague, o cinema directo e o New American Cinema, os outsiders Morris Engel,
Ruth Orkin, Helen Levitt, James Agee, Lionel Rogosin, Weegee e Rudy Burckhardt
encontraram nas ruas as coordenadas de um cinema livre que pensa em fotografias. É
a partir deste “lugar sinóptico” que se propõe a modernidade cinematográfica como
(est)ética fotográfica.In the transition between photography and cinema, a group of new yorkers led a silent revolution in the heart of cinema's language. Between a cinema made under the rule of classical Hollywood, the impact of Italian neorealism, the Nouvelle Vague, the direct cinema and the New American Cinema, the outsiders Morris Engel, Ruth Orkin, Helen Levitt, James Agee, Lionel Rogosin, Weegee and Rudy Burckhardt found in the streets the coordinates of a free cinema that thinks in photographs. It is from this “synoptic spot” that we can suggest a cinematographic modernity as a photographic aesthetic/ethics.
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Mendonça, Luís Guilherme Jordão de. "As Imagens de Morris Engel e Ruth Orkin: O Berço da Modernidade no Cinema." Master's thesis, 2010. http://hdl.handle.net/10362/123981.
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Esta dissertação debruça-se sobre a obra de Morris Engel e Ruth Orkin. Com base em textos e teorias de André Bazin, Alain Bergala, Jonas Mekas, Georges Sadoul e Richard Leacock, procuramos dar sustentabilidade à ideia (apontada por estes autores) que Little Fugitive (1953) é o “elo que falta” entre a fotografia de rua, o neo-realismo italiano e o nascimento do cinema independente norte-americano tal como da Nouvelle Vague francesa; e que se deve a Morris Engel a paternidade do primeiro sistema síncrono som-imagem inteiramente móvel, posto à prova na sua última longa-metragem, Weddings and Babies (1958).This dissertation deals with the work of Morris Engel and Ruth Orkin. Supported by the texts and theories of André Bazin, Alain Bergala, Jonas Mekas, Georges Sadoul and Richard Leacock, I try to sustain the idea (pointed out by these authors) that Little Fugitive is the “missing link” between street photography, the Italian neorealism and the birth of the American independent cinema as such as the French New Wave; and that Morris Engel is the inventor of the first fully mobile, synchronous sound-and-picture system, which was tested in his last movie, Weddings and Babies (1958).
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Cabral, Catarina Isabel Crespo Ribeiro. "Lugar e memória: do caminhar na rua para as imagens contemporâneas. Uma reflexão estética." Master's thesis, 2021. http://hdl.handle.net/10362/136209.
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A reflexão sobre a memória cultural, pós-memória e lugar nas imagens contemporâneas continua hoje a ser pertinente com os autores que recentemente se têm debruçado sobre estes temas no campo da estética e dos estudos artísticos, bem como com as obras de cinema e fotografia que nos últimos anos têm explorado estas questões. Esta dissertação pretende analisar a ligação entre lugar e memória no filme Hiroshima, mon amour, de Alain Resnais (França / Japão, 1959, 90’), na instalação de fotografia e vídeo The J. Street Project, de Susan Hiller (2002-2005) e no filme-ensaio Four Parts of a Folding Screen, de Anthea Kennedy e Ian Wiblin (Reino Unido, 2018). O trabalho parte do caminhar na rua para o caminhar nas imagens, e as obras escolhidas para análise têm a particularidade delas mesmas criarem o seu caminhar nas ruas que apresentam.The reflection on cultural memory, post-memory, and place in contemporary images is still relevant today, with many authors in the artistic studies field working on these topics and with film and photography artworks still exploring those matters as well. This master thesis analyzes the link between place and memory in the following works: the feature film Hiroshima. mon amour, by Alain Resnais (France / Japan, 1959, 90’), the photography and video installation The J. Street Project, by Susan Hiller (2002-2005) and the film-essay Four Parts of a Folding Screen, by Anthea Kennedy and Ian Wiblin (UK, 2018). This dissertation goes from the idea of walking on the streets to the concept of walking on the images. The works chosen for this analysis have their own particularity of creating their walking on the featured streets.