Dissertations / Theses on the topic 'Technical Photography'
To see the other types of publications on this topic, follow the link: Technical Photography.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 20 dissertations / theses for your research on the topic 'Technical Photography.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Meyer, Eric T. "Socio-technical perspectives on digital photography scientific digital photography use by marine mammal researchers /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3278467.
Abstract:
Thesis (Ph.D.)--Indiana University, School of Information Science, 2007.Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4119. Adviser: Howard Rosenbaum. Title from dissertation home page (viewed May 19, 2008).
2
Brunetti, Tina Marie. "The effect of observer involvement on subjective judgments of technical, emotional, and overall quality of photographic prints." Diss., This resource online, 1995. http://scholar.lib.vt.edu/theses/available/etd-06062008-162326/.
3
Martin-Rainaud, Claude. "Dans le regard de la chambre." Thesis, Avignon, 2015. http://www.theses.fr/2015AVIG1143/document.
Abstract:
Par un trou, l’image renversée de ce qui se trouve à l’extérieur se projette à l’intérieur d’une chambre obscure. Ce phénomène, à l’oeuvre en permanence dans les espaces naturellement sombres, dans les yeux de l’homme et de la plupart des animaux, occasionnellement à l’intérieur de l’habitation, est aussi le principe à la base de la photographie et du cinéma. Ce problème d’optique a été observé et décrit pour la première fois en Europe dans les Problemata d’Aristote. Au cours des siècles, ce principe du «phénomène de la camera obscura» a été étudié et utilisé pour mesurer le temps et l’espace, effectuer des observations et des expériences astronomiques, produire des images ou des spectacles. Ces dernières décennies, les sciences ont démontré que pour prendre vie, se reproduire et évoluer, la matière s’est emparée progressivement de ce phénomène issu de la lumière. À travers la vision, il a un rôle premier dans notre perception du monde et notre conscience d’être. Cependant, rares sont les études de ses caractéristiques et de ses applications naturelles, techniques et esthétiques. Notre recherche voudrait contribuer à faire émerger une cohérence globale dans ces domaines. La méthode utilisée ici repose sur une pratique artistique de la capture photographique dans la camera obscura elle-même des images qui y apparaissent. En outre, cette pratique s’appuie sur une approche analytique fondée sur un choix de sources philosophiques, scientifiques et romanesques, poétiques et cinématographiques. Nous suivons d’abord à travers ces documents la genèse des objets techniques qui se rattachent au phénomène de la camera obscura. Puis la recherche se focalise sur certains artistes qui sont présumés avoir fait usage, ou qui ont effectivement employé des appareils «optiques» pour réaliser leurs oeuvres depuis le quinzième siècle. Nous concluons sur la démarche et l’oeuvre de certains photographes contemporains qui se consacrent à photographier le phénomène de la camera obscura, dont les travaux ouvrent à l’art de la photographie des perspectives inédites, tout en se référant à des questions picturales fondamentalesThrough a hole, the inverted image of what is outside, is projected inside a dark room. This phenomenon,constantly at work in naturally sombre closed spaces, in the eyes of humans and most animals, occasionallyinside habitations, is also the optical principle that made photography and motion pictures possible. This opticalproblem was observed and described for the first time in Europe by Aristotle in his Problemata. Then, over thecenturies, this “camera obscura phenomenon” was studied and used to measure time and space, makeastronomical observations and experiments, produce images or theatrical performances. In the last few decades,science has demonstrated that for matter to come to life, breed and evolve, it has gradually taken hold of thisphenomenon produced by light. Through vision it plays a fundamental role in our intimate perception of theworld and our self-consciousness. However, few academic studies address its natural, technical as well asaesthetic characteristics. This research will try to bring forth a global coherence in this field. The method that weuse is founded on our artistic practice of the photographic capture of the images as they appear inside thecamera obscura. In addition, this practice is also based on an analytical approach founded on a range ofphilosophical, scientific and fictional sources including poetry and movies. We follow through these documentsthe genesis of the technical objects related to the camera obscura phenomenon. Then, our research focuses onsome artists alleged to have, or have actually utilized "optical" devices to perform their works of arts since thefifteenth century. We conclude with the approach and practice of some contemporary photographers committedto photographing the camera obscura phenomenon, whose works of arts open new perspectives forphotographic art, yet still refer to fundamental questions about art
4
Dudragne, Julie. "Desseins polymorphes, une approche poétique de la lumière : dessiner la lumière." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010565.
Abstract:
La narration d'une pratique s'ébauche parfois par la présence d'une simple lettre, comme un humble point dévoile l'existence d'une ligne. Le "e" réapparaît au sein du dessin, le pare d'une multiplicité de significations, lui donne le poids perdu ou jamais acquis d'une esquisse autonome.La tradition du dessein se questionne par le biais d'un phénomène, dessiner la lumière, à l'heure d'une reproductibilité technique exacerbée.Le chemin sinueux emprunté par le dessin le mène au franchissement de frontière pléthorique, annonçant sa transversalité. Le mouvement immanent à la matière utilisée et l'hybridation comme notion intrinsèque à la création actuelle, toujours au service de l'élément graphique, vont faire opérer au dessin de nombreux déplacements intra et interdisciplinaires - conviant origines, idées, concepts et procédés techniques - mais aussi physiques. La réalisation de la lumière produite par l'expérience graphique, ses passages entre visible et non visible, se retrouve dans le signe et dans l'indice photographique et interroge la perception. La recherche de luminosité et de contraste, souvent traduites par la présence de noirs et de blancs, offre à l'espace plastique une palette infinie de possibles variations.Cette potentialité exhaustive requiert l'ultième acte du processus créatif, le choix, façonnant la mise en espace de la lumière en de multiples compositions graphiques.Le jeu, la phantasia et la poétique du phénomène lumineux, malgré l'évolution des procédés techniques employés, préservent la confidence qui confère au dessin se caractère intime dans lequel se silhouette un onirisme, une manière de résister. Travailler la lumière aujourd'hui dans le secret d'un acte aveugle, aveuglé, aveuglant, problématise la notion d'authenticité induisant un rapport à l'aura toujours en valse-hésitation entre apparition et disparition face à sa perte auparavant annoncéeThe narrative outline of a practice is sometimes sketched by the presence of a simple letter, like a humble dot can reveal the existence of a line.The "e" appears again in the drawing, adorns it with a multiplicity of meanings, giving it the weight never acquired of an autonomous sketch. (There is distinction in French language between the words "dessein" and "dessin" which one I play). At a time of heightened technical reproducibility and through a phenomenon - drawing the Light - the ambition and its tradition question themselves.The Drawing, on a sinuous path, crosses some excessive borders/frontiers, announcing his "transversality". The movement immanent to the material used and the hybridization as an intrinsic concept of the actual creative process, always at the service of the graphic element, will push the Drawing in many directions within and across disciplines - inviting origins, ideas, technical concepts and processes - but also physical. The light produced by the graphic experience, movements between visible and invisible, can be found not only in the sign but also in the photographic index and questions our perception.The research forn brightness and contrast in shades, often with black and white tons, gives an infinite range of potential variations to the creative/esthetic space/arena. This exhaustive potential is threatened by the ultimate act of creativity : the choice, shaping the spatial dispositions of light into multiple graphic compositions.Despite certain technical processes and their evolution, play, phantasy and light phenomenon' poetics protecting the Drawing' secret : an intimate characteristic in which onirism, as a wayto resist, appears. Working with light today - in a secret of a blind act, blinded, blinding - questions the Authenticity as a concept, creating an uneasy relationship to the aura, always between appearance and disappearance facing its previously announced loss
5
Le, Roux Salome. "A technical survey of Lucky Madlo Sibiya’s (1942 – 1999) materials and techniques employed in his carved and painted wood panel artworks." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78370.
Abstract:
The study aims to achieve an understanding of the artist’s materials and techniques used by Lucky Madlo Sibiya when he created his carved and painted wood panel artworks. A survey of the artist’s materials and techniques is of great importance, because he is represented in multiple institutional, corporate and private collections – including the University of Pretoria. His carved and painted wood panel artworks are also reaching an age (at least 20 years old, as 2019 is the twentieth anniversary of his death) when they would soon require conservation and restoration, if not stored and displayed according to sound conservation conditions and standards. For best-practice conservation and restoration, in-depth knowledge of the materiality of an artwork is needed. In order to reach an in-depth knowledge of the materiality of Sibiya’s carved and painted wood panel artworks, the survey intends to examine and document through the combination of various historical, visual and analytical techniques artworks with unrefuted provenance. The analytical techniques used are popular in heritage conservation, because they are non-invasive and non-destructive. They include provenance studies, visual examination, technical photography, X-ray Fluorescence and Fourier-transform Infrared Spectroscopy. In combination, the techniques should reveal the materials and techniques Sibiya employed. This knowledge will be used to safeguard and preserve this part of South African art heritage.Mini Dissertation (MSocSci)--University of Pretoria, 2020.
Tangible Heritage Conservation
MSocSci (Tangible Heritage Conservation)
Unrestricted
6
Polidoro, Bruno Bortoluz. "Sobre a luz e as potências do escuro na fotografia: imagens técnicas de alcova no cinema." Universidade do Vale do Rio do Sinos, 2009. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2640.
Abstract:
Made available in DSpace on 2015-03-05T18:25:03Z (GMT). No. of bitstreams: 0
Previous issue date: 2Nenhuma
Esta dissertação está inserida na linha de pesquisa Mídias e Processos Audiovisuais, e tem como objetivo geral discutir a fotografia – e a luz, em especial – como atualização do escuro em audiovisuais. A fundamentação teórica é construída principalmente a partir de conceitos propostos por Vilém Flusser, Henri Bergson, Gilles Deleuze, Jacques Aumont e Jean-Paul Sartre. Com foco no cinema, a análise é feita em filmes nos quais aparecem cenas de sexo; aponta nessas imagens técnicas a intervenção da fotografia na formulação dos conceitos fílmicos; e esboça alguns jogos de claros e escuros criados por uma luz líquida. A metodologia combinou rizomaticamente a desconstrução, a cartografia e a dissecação, e permitiu autenticar molduras intrínsecas à iluminação e à construção fotográfica de imagens de alcova.
The present thesis is inserted in the Media and Audiovisual Processes research line, and its general objective is to discuss photography – and light, especially – as an update of the dark in audiovisuals. The theoretical basis is built mainly from concepts proposed by Vilém Flusser, Henri Bergson, Gilles Deleuze, Jacques Aumont and Jean-Paul Sartre. Focusing on cinema, the analysis is made of movies in which there are sex scenes; points out in these technical images the interference of photography in the formulation of filmic concepts; and outlines some games from lights and shadows created by a liquid light. The methodology rizomatically combined the deconstruction, the cartography and the dissection, and made the authentication of framings intrinsic to the lighting and to the alcove photographic images construction possible.
7
Costa, Manuel da. "A subjetividade das formigas : uma abordagem pragmática do uso artístico da eletrongrafia na representação de mundos ocultos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/10831.
Abstract:
Dando continuidade a uma pesquisa estética iniciada em 1991, este projeto de pesquisa em arte propõe a realização da série FORMIGAS, e o texto desta dissertação trata das relações entre a ética e a estética que essa obra estabelece ao longo dos quatro anos de duração do seu processo instaurador. No decorrer desse período, uma primeira versão dessa mesma série, composta por uma seqüência de nove eletrongrafias de caras de formigas de várias espécies, gerou um impasse ético que a presente versão, composta por uma seqüência de quinze eletrongrafias de caras de formigas do gênero acromyrmex, propõe discutir e contornar.The current paper is a research project in art that discusses the relation between the ethics and the aesthetics brought about by the making of the ANT series. It is part of an aesthetic investigation initiated in 1991 and the series instauration process has taken four years. A first version of the series was composed by a sequence of nine electrongraphs of ant faces of several species, and the second version is composed by fifteen electrongraphs of ant faces of the genus acromyrmex. The first version raised an ethical dilemma which the second one and this paper are meant to discuss and resolve.
8
Yang, Tian. "Large Format Photography in the Digital Era." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391670.
Abstract:
Large format photography refers to the photographic practice that utilizes a large light
sensitive surface to capture photographs. As of 2018, large format photography is still
a subset of analog photography. The digital revolution brings us into the digital era.
Manufacturers and businesses in the photography industry is forced to adapt the
transition from analog to digital in order to survive and succeed in the new market.
Meanwhile, photography theorists find themselves facing a new set of issues
because the photographs have become immediate and immaterial. While camera
manufacturers have in effect accelerated the analog-to-digital transition with their
proactive business strategies and relentless marketing campaigns, higher education
has become the last bastion for the analog where large format camera classes teach
students the tradition of photography and how to see the world contemplatively.
9
Freni, Valentina. "Apport de l'imagerie scientifique à la caractérisation des pigments des œuvres du peintre orientaliste Etienne Dinet." Electronic Thesis or Diss., Sorbonne université, 2020. http://www.theses.fr/2020SORUS261.
Abstract:
Au cours de cette recherche, nous avons contribué à l’étude et à la caractérisation des pigments utilisés par le peintre français Étienne Dinet à l’aube du XXe siècle. Notre approche a consisté à nous appuyer sur les manuels de peinture écrits par le peintre (Les fléaux de la peinture) dans lesquels il expose sa recherche des matériaux à utiliser en peinture. En nous basant sur ces écrits, nous avons créé une base de données de photographies scientifiques et de spectres de réflectance (visible et proche infrarouge) pour pouvoir déterminer les pigments employés dans ses tableaux. Sept tableaux ont ensuite étudié. L’imagerie scientifique nous a permis de caractériser la palette du peintre, en particulier lorsque nous avons eu la possibilité d’associer plusieurs techniques d’analyse produisant des données complémentaires. Nous avons ainsi montré l’intérêt d’employer simultanément un ensemble de techniques non invasives d’imagerie pour la caractérisation des pigments : aucun prélèvement de matière picturale n’est nécessaire et la faible quantité de lumière irradiant l’œuvre durant les mesures n’affecte pas sa conservation. La photographie technique peut fournir de nombreuses informations sur l’état de conservation d’une peinture et nous permet de détecter les interventions de restaurations effectuées au cours du temps. Elle nous permet aussi de formuler des hypothèses sur la palette du peintre. Pour confirmer ces hypothèses, il est nécessaire d’effectuer des analyses comme la fluorescence des rayons X et l’imagerie hyperspectrale, qui fournissent des informations plus précises et dont l’interprétation est plus certaineThis research aims to contribute to the study and characterization of the pigments used by the French painter Étienne Dinet at the dawn of the 20th century. Our approach draws on painting manuals written by the artist (Les fléaux de la peinture), in which he shows his search for materials to be used in painting. Based on these writings, a database of scientific photographs and reflectance spectra (visible and near infrared) was created to determine the pigments used in his paintings. Seven paintings were then studied. Scientific imaging enabled us to characterize the painter’s palette, especially when we had the opportunity to combine several analytical techniques producing complementary data. We have thus shown the value of using a set of non-invasive imaging techniques simultaneously for pigment characterization: no pictorial material is required and the low amount of light radiation during measurements does not affect its conservation. Technical photography can provide a lot of information about the state of preservation of a painting and allows us to detect restoration interventions done over time. It also allows us to make hypotheses about the painter’s palette. To confirm these hypotheses, analyses such as X-ray fluorescence and hyperspectral imaging, which provide more accurate information and more direct interpretation, are required
10
Steele, Michael. "An evaluation of photographic still image functionality with particular reference to image quality and viewer attributes in a higher education learning context : a practitioner's perspective." Thesis, Robert Gordon University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311795.
11
Novotný, Václav. "Analýza dokumentace skutečných poškození vozidel při dopravních nehodách." Master's thesis, Vysoké učení technické v Brně. Ústav soudního inženýrství, 2010. http://www.nusl.cz/ntk/nusl-232493.
Abstract:
This diploma thesis deals with a comprehensive analysis of the photographic documentation of vehicle damage in traffic accidents. A systematic overview of the current documentation and included inspection is carried out in the analysis. Police records are compared with records made during the crash tests. Further, the documentation in this thesis is divided into two groups of conflicts. The representative of the accidents are described in detail and then evaluated. Similarly, this procedure is practiced on other car accident that reflect the mutual deformation. The result of this thesis is to determine the optimal location of the lens for the acquisition of documentation and establishing a baseline number of photos to document damage to the vehicle after the traffic accident.
12
Kuncová, Andrea. "Analýza a vyhodnocení dokumentace skutečných poškození vozidel po malých dopravních nehodách." Master's thesis, Vysoké učení technické v Brně. Ústav soudního inženýrství, 2012. http://www.nusl.cz/ntk/nusl-232681.
Abstract:
Diploma thesis analyzes documentation recieved from city magistrates,insurance companies or directly from police,concerning minor accidents. Documentation consists of a road accident reports,photodocumentation and plans of a real life collision sites,filed by the police and its experts. Analysis of this documentation and its consequent evaluation shows the extend of the damage occuring to an actual vehicles involved in a minor road accidents and what evidence left on site by these collisions. Informations gained from the analysis could be used as a guide when processing an insurance claim.
13
Trnková, Barbora. "Rozklad černé, technika nedůsledného překládání Světla." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232329.
Abstract:
Im interested in the topic of praying machine, because I want to analyze aspects of photography and its functions. It's known, that the reality is manipulated by photography. Bud we can also say, that the relationship between reality and photography is neutral in fact, that the manipulation is made by our interpretation of photography. The change of the reality can be realized just in the dialog between photography and reality. Can it be, that the mechanization change into the will? Does it prays praying mill or the buddhistic monk, who rotates the mill? When he believes into it, is it enough? Or is it enough if believes who watch the monk with his mill? ... The computers from he place A are "praying" the prayers from the place B. With Tomáš Javůrek we collaborated with Vladimír Veselý and Radek Lát to create the Game for re-articulation our reality on the base of the revision of our faith.
14
Scanlon, Peter Henry. "An evaluation of the effectiveness and cost-effectiveness of screening for diabetic retinopathy by digital imaging photography and technician ophthalmoscopy and the subsequent change in activity, workload and costs of new diabetic ophthalmology referrals." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446860/.
Abstract:
Aims: 1) To validate an Ophthalmologists reference standard examination. 2) To evaluate the effectiveness and cost-effectiveness of the introduction of a community based non-mydriatic and mydriatic digital photographic screening programme for diabetic retinopathy. 3) To determine the subsequent change in workload of the Ophthalmology Department. Methods: 1) An Ophthalmologist's examination was compared prospectively with 7-field stereo-photography in 239 persons. 2) 3611 patients attending general practices in Gloucestershire had one-field, non-mydriatic and mydriatic two-field digital photography. 1549 of these patients were examined by an Ophthalmologist. A cost effectiveness analysis was undertaken. 3) A retrospective study of Eye clinic workload was performed for the year before screening commenced, 2 years of the first round and the first year of the second round. Results: 1) In comparison with 7-field stereo photography, the Ophthalmologist's examination gave a sensitivity of 87.4% (confidence interval 83.5-91.5%) and a specificity of 94.9% (91.5-98.3%). 2) For mydriatic digital photography, the sensitivity was 87.8%, specificity was 86.1% and technical failure rate was 3.7%. For non-mydriatic photography, the sensitivity was 86.0%, specificity was 76.7% and technical failure rate was 19.7%. The best estimate of cost per true positive detected was 429 (range 394-473) for mydriatic and 490 ( 450-535) for non-mydriatic photography. 3) The annual referral rate and the number with diabetes in the county increased over the four years and only reduced in the fourth year for laser treatment sessions (171,282, 265, 199). Conclusions: Two-field mydriatic digital photography is an effective and cost-effective method of screening for referable diabetic retinopathy whereas non-mydriatic digital photography has an unacceptable technical failure rate and low specificity. The consequent workload in the Eye clinic increased in the first round of screening but, with increasing numbers of people with diabetes, did not fall below the pre-screening level, except for laser treatment.
15
Fiol, Mariana Peramezza Del. "Professores do curso de fotografia e a formação pedagógica na perspectiva do olhar do fotógrafo." Universidade Presbiteriana Mackenzie, 2015. http://tede.mackenzie.br/jspui/handle/tede/1936.
Abstract:
Made available in DSpace on 2016-03-15T19:43:03Z (GMT). No. of bitstreams: 1
Mariana Peramezza Del Fiol.pdf: 9571108 bytes, checksum: 13c1053a06dd68cf79d98505086cbd20 (MD5)
Previous issue date: 2015-08-12The framework of this research is constructed through the pedagogue s eyes and examines how teachers, who are active in the market, learn how to become educators, working for an institution which is specialized in technical professional training. additionally, how teachers practicing their skills for the construction of a photographer s vision, with their students, could help them to achieve an outstanding position in their chosen careers. this concern has triggered a number of pedagogical questions such as: lesson planning, student s knowledge, organizational culture, including the pedagogical proposal of the institution and how it could interfere, or not, in the teacher s pedagogical work. this research deals with the identification of the constructing processes of didactic and pedagogical knowledge, through a photographer s vision, by professional teachers in a photography technical course. thus, the group selected for the research is formed by professionals working for such institutions. the methodology used was fieldwork, constant observation of teachers as well as interviews and analysis of data, described under the researcher s vision and interpretation. the construction of the teachers knowledge was identified by examining the teachers statements. they were classified according to several academic references. the relevance of this research is to contribute to the teachers education in specialized technical courses so that they can assist the education of young adults in their professional education. the result of the research shows clearly the ease and difficulties in the education of a photographer, as a teacher, and what needs to be changed in this process in order to enhance and stimulate a creative movement in the students and in the teachers themselves.
A pesquisa começa a ser enquadrada na lente da pedagoga a partir do problema apresentado; em como professores atuantes do mercado de trabalho aprendem a serem educadores, dentro de uma instituição voltada para o ensino técnico profissionalizante. professores exercendo a sua prática para a construção do olhar fotográfico junto aos seus alunos, para que estes se destaquem na profissão escolhida. isto desencadeou uma série de questões referentes a situações pedagógicas envolvendo desde o planejamento de aulas, conhecimento dos alunos, cultura organizacional, incluindo a proposta pedagógica e como ela consegue interferir favorecendo ou não o professor no seu trabalho pedagógico. esta pesquisa trata da identificação dos processos de construção dos conhecimentos didático pedagógico, pelo olhar fotográfico, dos professores do curso técnico de fotografia no exercício da profissão docente. para isso o grupo selecionado para análise, foram professores que atuam no ensino técnico do curso técnico em fotografia. a pesquisa teve como metodologia o trabalho de campo, o contato de observação intenso com os professores e foi utilizada entrevistas, além da observação, culminando na análise dos dados, descrita na visão e interpretação da pesquisadora. nas falas dos professores, foram identificados e classificados, segundo as referências teóricas, nas diversas tipologias da construção dos saberes docentes. a relevância da pesquisa é contribuir com a formação dos professores na modalidade de ensino técnico, na formação de jovens e adultos na educação profissional. a pesquisa, ao final do mestrado, deixa clara claras as facilidades e dificuldades na formação do fotógrafo como professor e o que se faz necessário mudar no processo de formação no contexto apresentado para favorecer e estimular a criatividade em sua profissão para que estes provoquem transformações nos alunos e em si mesmos.
16
"Socio-technical perspectives on digital photography: Scientific digital photography use by marine mammal researchers." INDIANA UNIVERSITY, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=3278467.
17
Hemp, Doreen. "Process in glass art : a study of some technical and conceptual issues." Diss., 1995. http://hdl.handle.net/10500/16933.
Abstract:
Glass has been made and used for centuries but South African artists, isolated for the last three
decades, are only now becoming aware of the potential of hot or warm glass as an art medium. In
antiquity glass objects were created using various processes but the 'factory' tradition began with
the discovery of the blowing iron in the first century AD. The invention of the tank furnace in the
late 1950s revolutionised modem production, enabling individual artists to make glass in private
studios without blowing teams. The research describes ancient.. glassmaking processes and
indicates how they have been explored, adapted and used by contemporary artists world wide,
challenging craft orientated paradigms, and proving that glass is a viable and important sculpture
medium. The practical research demonstrates the application of many processes and relates
technical issues to sculptural concepts which are realized through the physical and material
properties of glass.Art History, Visual Arts & Musicology
M.A. (Fine Art)
18
Dotřel, Jan. "Transformace kultovní a konceptuální hodnoty v dějinách fotografie." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-266282.
Abstract:
This historical work focuses on the theory of photography. It is divided into three autonomous episodes chronologically correspond to three historical stages. These parts are connected with one genealogies of one possible reading of the photography. The first part deals with the historical circumstances and causes of the birth of photography. The second phase describes the later period of history of the Weimar Republic and photographic movement of Neue Sachlichkeit. The last part concentrates on Düsseldorf School of Photography and its current followers. These historical eras combines the aesthetic issues of cult and conceptual values, which is demonstrated on the way how read the photographic medium as a specific aesthetic phenomenon.
19
Raszková, Ivona. "Retuš současné žurnalistické fotografie." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329075.
Abstract:
In my master thesis I deal with a retouch of contemporary journalistic photography (in the period from 90's to the present). Thus they are digital photographs, which I compare with analogue photography. Retouch of analogue photography was technically more exacting than retouch of digital photography and people couldn't imagine the way of editing photography therefore they trusted to it. I assume that the truth pretension was preserved in the case of journalistic photography. My hypothesis is that the media play upon the truth pretension of the journalistic photography. The photography should have represented the reality. But nowadays we already know that it is not have to be like that. Nevertheless detection of edited photographs evokes a scandal, a shock and a discussion. The media retouch photographs and thereby actually modify the reality. The whole my hypothesis is: The media play upon the truth pretension of the journalistic photography which they edit with use of retouch technique thereby they modify the reality and it evokes a scandal after revealing the edited photography.
20
Vodrážková, Katrin. "Fenomén filmu - informace - společnost." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-326732.
Abstract:
The dissertation presents an analysis of film and photographic media as two specific information systems. It is based mainly on the system theory of Niklas Luhmann, the basis upon which film is understood as a social system. The phenomenon of film is further developed as an imaging technique in the contemporary information society and electronic culture. The work shows new forms of imaging in film, but also a comparison of imaging techniques in the photographic medium. The goal of the dissertation is to contribute to a more detailed understanding of moving images and to develop the possibilities of film, which has the potential to become a future information system. Powered by TCPDF (www.tcpdf.org)