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Articles de revues sur le sujet « Photographic space »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 19 février 2022

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1

Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, no. 5 (December 2, 2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.

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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two

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Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.

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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consis

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Tee, Sim-Hui. "Transparency, Photography, and the A-Theory of Time." Problemos 93 (October 22, 2018): 177–92. http://dx.doi.org/10.15388/problemos.2018.93.11761.

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 [full article, abstract in English; only abstract in Lithuanian] Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the depicted object situated from the space

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Cronin, Anne M. "Researching Urban Space, Reflecting on Advertising." Space and Culture 14, no. 4 (September 19, 2011): 356–66. http://dx.doi.org/10.1177/1206331211412278.

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This photo essay places into dialogue practices of photographing urban space and the market research practices of the U.K. outdoor advertising industry. It explores photography as a method for accessing understandings of cities, and it examines ways of analyzing the interplay between photographic practices and data gathered through ethnography. Through personal reflections on the research process, the essay considers the spatial practices of the outdoor advertising industry and how its billboards and panels act to space out cities and city imaginaries.

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Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (October 2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.

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This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory the

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Sile, Agnese. "Mental illness within family context: Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty." Arts and Humanities in Higher Education 17, no. 1 (January 12, 2018): 84–103. http://dx.doi.org/10.1177/1474022216684635.

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The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the pro

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Watanabe, Toshio. "Geometrical Structures of Photographic and Stereoscopic Spaces." Spanish Journal of Psychology 9, no. 2 (November 2006): 263–72. http://dx.doi.org/10.1017/s1138741600006168.

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Two experiments were conducted to investigate the geometrical structures of photographic and stereoscopic spaces. In Experiment 1, it was investigated how accurately photographic space reproduces real physical space, and the geometrical structure of photographic space was compared with that of visual space. As a result, the mapping function of distance between photographic and physical spaces (δ = adb) shows that a and b range from 0.96–1.1 and 0.69–0.78. The mapping function of angle between photographic and physical spaces (Φ = gϕh) shows that g and h range from 2.37–5.29 and 0.74–0.97. Furt

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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people o

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Kanicki, Witold. "Wundercamera Obscura." Cabinet, Vol. 2, no. 2 (2017): 70–73. http://dx.doi.org/10.47659/m3.070.art.

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Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in m

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Tavakol, Reza. "The time(s) of the photographed." Philosophy of Photography 10, no. 2 (October 1, 2019): 195–206. http://dx.doi.org/10.1386/pop_00015_1.

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The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver, whether mechanical (the camera), biological (the eye‐brain as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe, concerning space and time, impact on the

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Chervonik, Olena, and Geoffrey Batchen. "Negative Thinking - A History of the Photographic Negative as a Repressed Other: Conversation with Geoffrey Batchen." Master, Vol. 5, no. 2 (2020): 106–10. http://dx.doi.org/10.47659/m9.106.int.

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Olena Chervonik talks with Geoffrey Batchen about his two most recent publications: Apparitions: Photography and Dissemination, that reached bookshelves in 2018, and Negative/Positive: A History of Photography, slated for release later in 2020. The conversation revolves around the photographic condition of reproducibility, repetition and difference, embedded in the medium from the time of its inception. While Apparitions explores photography’s relation to various newsprint outlets of the nineteenth century, Negative/Positive traces a comprehensive history of the medium’s propensity for multipl

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O'Brien, Kevin, Benjamin Beberness, Steve Chrisman, Frances E. Mount, and Gary Seloff. "Interface Evaluation and Enhancements to the Image Access and Management System for Space Shuttle Earth-Looking Photography: NASA/Johnson Space Center Houston, TX." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 37, no. 15 (October 1993): 1036. http://dx.doi.org/10.1177/154193129303701508.

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The Image Access and Management System (IAMS) is being developed to provide easy access to photographic images taken by Space Shuttle astronauts. The photographs, coupled with a textual catalogue of descriptive characteristics, forms a significant database of information about the Earth's surface. The IAMS incorporates a video laser disc containing digitized images, an electronic database containing descriptive information about each photo, and software allowing the database to be searched and the images to be viewed. The demonstration presents the IAMS and the unique interface development iss

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Duncan, Margaret Carlisle. "Sports Photographs and Sexual Difference: Images of Women and Men in the 1984 and 1988 Olympic Games." Sociology of Sport Journal 7, no. 1 (March 1990): 22–43. http://dx.doi.org/10.1123/ssj.7.1.22.

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This paper develops a theoretical framework for understanding how and what sports photographs mean. In particular, it identifies two categories of photographic features as conveyors of meanings. The first category is the content or discourse within the photograph, which includes physical appearances, poses and body positions, facial expressions, emotional displays, and camera angles. The second category is the context, which contributes to the discursive text of the photograph. The context includes the visual space in which the photograph appears, its caption, the surrounding written text, and

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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.

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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that cha

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Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the se

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Coronado, Jorge. "Instances of Agency: Julio Cordero’s Archive and Photographic Portraits." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 24–45. http://dx.doi.org/10.5195/bsj.2018.195.

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In this article, I discuss the notion of agency in relationship to Julio Cordero’s photographs. Julio Cordero (1879-1961) owned a photography studio in La Paz in the first half of the twentieth century and produced an array of images both inside and outside of the studio. I also offer a sense of the rich documentation that exists in the complete Cordero archive as well as the insights that it opens up concerning the interventions in self-representation made possible by photographic portraiture. Essentially, these interventions lead us to conceptualize image culture as a prime space for enactin

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Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe, and Jeannine Tang. "Residues of a Dream World." Theory, Culture & Society 28, no. 7-8 (December 2011): 358–89. http://dx.doi.org/10.1177/0263276411425834.

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The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines the public and public sphere of the High Line. H

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Aleksey, Glushaev. "Catch a Sight of "Church": Amateur Photographs as a Window into the Life of Evangelical Christians of the USSR." TECHNOLOGOS, no. 1 (2021): 66–75. http://dx.doi.org/10.15593/perm.kipf/2021.1.06.

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It is known that the documents from the State archives concerning the history of religious life in the USSR had the primary importance and they are remained the same. However, a significant part of historical documents are kept by believers. Film and photo documents are of particular interest. The “visual turn” in the historiography of the beginning of 2000s opened up new opportunities for studying film sources and photographic documents. The attention of historians has focused on the symbolic and linguistic systems of transmission of film and photographic messages, on the visualization of eth

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Samarkina, Mariia. "Ekphrasis in Photography Lyrics: Methods of Representation." Slavic World in the Third Millennium 14, no. 1-2 (2019): 206–18. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.13.

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The article deals with ekphrasis (verbal description of visual artworks) in lyrics about photography. The purpose of this article is to clarify the possibility of using the term “ekphrasis” in relation to photographic lyrics and to divide the phenomena of photopoetics and photoekphrasis. The difference becomes obvious as we analyze the following texts: “Photograph from September 11” and “Hitler’s First Photograph” by Polish poet Wislawa Szymborska, “A Snapshot” by Russian poet Bella Akhmadulina and “From the Album” by Russian poet Genrikh Sapgir. The four texts are characterized by a special t

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MacLochlainn, Gráinne. "Moving pictures: the National Photographic Archive." Art Libraries Journal 25, no. 3 (2000): 33–36. http://dx.doi.org/10.1017/s0307472200011755.

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The large and varied collection of Irish historical photographs previously housed in the National Library of Ireland has recently been relocated to Dublin’s Temple Bar. A purpose-built archive provides storage vaults, reading room facilities and an exhibition space for this important aspect of the Irish cultural heritage, thus balancing the preservation of the photographs with access to the images. This paper provides a candid look at the development of a National Photographic Archive.

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Peraica, Ana. "Selfies and the World Behind Our Back." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 48–53. http://dx.doi.org/10.47659/m4.048.art.

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(an excerpt from the upcoming book Postdigital Arcadia) Selfie photography serves not only a traditional role of photographic (self)recording, but also for manoeuvring the space behind one’s own back. Unfortunately, as two realities, the unmediated and mediated, human and machine vision, are not matching, there are many accidents of selfie-makers due to the crabwalk. By this, the photographic technology based on the rear-view mirror – in which objects (may) appear closer than they are – finally resolves one of the largest tragedies of human self-perception; the inability to see and control the

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Korab, Balthazar. "PHOTOGRAPHIC ESSAY: IMAGES IN FORM AND SPACE." Architectural Theory Review 2, no. 1 (November 1996): 186–201. http://dx.doi.org/10.1080/13264829609478310.

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Christenson, Mike. "On the architectural structure of photographic space." Architectural Science Review 54, no. 2 (May 2011): 93–100. http://dx.doi.org/10.1080/00038628.2011.582365.

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McNally, D. "Impact of Space Debris and Space Reflectors on Ground-Based Astronomy." Symposium - International Astronomical Union 196 (2001): 188–92. http://dx.doi.org/10.1017/s0074180900164095.

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Astronomical fields under observation are being increasingly crossed by satellites. Such crossings either leave a “trail” on a photographic or CCD image, or corrupt a photographic observation. Such trailing/corruption may render an observation useless for scientific analysis. There is also the much more serious problem posed by suggestions to put solar reflectors in space for Earth illumination, artistic, celebratory or advertising purposes and, by extension, to longer term suggestions of ways to utilise dark time rather than twilight time. It is only a matter of time until the solar reflector

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Gliese, Wilhelm, Arthur R. Upgren, T. E. Corbin, H. K. Eichhorn, G. Gatewood, I. I. Kanaev, T. E. Lutz, J. D. Stock, and W. F. Van Altena. "24. Photographic Astrometry." Transactions of the International Astronomical Union 19, no. 1 (1985): 253–58. http://dx.doi.org/10.1017/s0251107x00006350.

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The question of the title of Commission 24, obviously, offers a difficult problem as already mentioned in recent reports. Photographic Astrometry no longer describes the whole scope of the commission. This problem has continued during the last three years especially in view of the preparations for the astrometric tasks of the NASA Space Telescope and of the ESA satellite HIPPARCOS.

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Ulmer, Jasmine B. "Writing Urban Space: Street Art, Democracy, and Photographic Cartography." Cultural Studies ↔ Critical Methodologies 17, no. 6 (June 22, 2016): 491–502. http://dx.doi.org/10.1177/1532708616655818.

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In this article, the street is both a place of travel and a space for critical discourse. As tensions between public and private spaces play out in the streets, street artists claim visible space through multiple forms of art. Through a critical performance geography and a qualitative inquiry of the street, I photograph the movement of art across walls, doorways, windows, sidewalks, lampposts, alleyways, gutters, and dumpsters over a 7-month period in the Eastern Market neighborhood of Detroit ( N = 806). After describing street art as a fluid genre that has developed into a diverse spectrum o

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Wall, Gina. "Writing the world: photographing the text of the landscape." Excursions Journal 1, no. 1 (September 12, 2019): 123–42. http://dx.doi.org/10.20919/exs.1.2010.131.

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I am engaged in a practice led thesis, which has been challenged and shaped by thinkers in the fields of critical theory and philosophy. Although I work in dialogue with these theorists, I am principally a visual practitioner who is most at home with traditional, wet process photography.I began with a general concern regarding my own resistance to landscape photography as the depiction of the view, which has led me to question the persistence of the (illusion of) the unified photographic moment. My visual process, which began quite simply as a reaction against the pervasiveness of the view in

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Whitlock, Richard. "Perspective and Memory in Photographic Images." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 81–85. http://dx.doi.org/10.47659/m4.081.art.

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Digital imaging may have tied us to the computer keyboard, but it allows us to recuperate for photography the freedom and control that painters and draughtsmen have always had when reconstructing space on a flat surface. Angles of vision can be explored beyond the normal reach of the human eye or the camera lens. For the last few years I have concentrated in particular on the application of orthographic projection to photographic images, both moving and still. I have found that removing the conventional perspective has the effect of defamiliarising and enriching what we see: objects seem to pa

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Schiller, Devon, and Cedric Kiefer. "Augumenting The Physiognomic Gaze Across Space and Time: A Conversation with onformative." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 54–65. http://dx.doi.org/10.47659/m4.054.art.

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Augmented photography can be used in the digital arts to over-code upon real-world environments with computer-generated data, in order to translate stimuli across sensory modalities, and thereby extent or increase our faculties for perceiving spatial and temporal relations. Because of this media-specific affordance, the augmentation of the photographic medium may have especial application for the “physiognomic gaze,” a way of doing “form interpretation” or “nature knowing” based on the physical behaviors and psychological phenomena of the human face, head and body. The innovativeness of such t

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Eshaghi, Peyman. "To Capture a Cherished Past." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 282–306. http://dx.doi.org/10.1163/18739865-00802007.

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This essay focuses on the genre of pilgrimage photography as it developed over the course of the twentieth century in the holy city of Mashhad, Iran. Photographs made during pilgrimages to the shrine of Imam Riza count among the most popular vernacular genres of Iranian photography. Pilgrimage photographs should be understood as sacred photo-objects, at once signifiers and carriers of piety. Once framed and taken home by pilgrims, they not only capture and memorialize the sacred encounter, but also carry the aura of the divine into the mundane space and time of the everyday. I focus on the par

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Cruzeiro, Cristina Pratas. "The image of the dictatorship in perspective: the photographs from Fernando Lemos between 1949 and 1954." PORTO ARTE: Revista de Artes Visuais 22, no. 36 (December 30, 2017): 63. http://dx.doi.org/10.22456/2179-8001.80110.

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From the photographic productions from Fernando Lemos between 1949 and 1952 in Portugal and between 1953 and 1954 in Brazil, this article aims to reflect on the imagery carried out by the artist when he left Portugal in face of the one produced in Brazil in the years immediately posthumous to his arrival. Fernando Lemos left for Brazil in 1953, exhibiting his work at the Museum of Modern Art of São Paulo and, in 1954, at the Museum of Modern Art of Rio de Janeiro – where he showcased part of the extensive photographic production he produced in Portugal. The imagery language of these photograph

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LUKE, MEGAN R. "The photographic reproduction of space: Wölfflin, Panofsky, Kracauer." Res: Anthropology and aesthetics 57-58 (March 2010): 339–43. http://dx.doi.org/10.1086/resvn1ms25769987.

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du S. Read, Leslie. "Social Space in Ancient Theatres." New Theatre Quarterly 9, no. 36 (November 1993): 316–28. http://dx.doi.org/10.1017/s0266464x00008228.

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How do modern archeological discoveries mesh with and affect present views of ancient theatrical techniques – specifically, of the interrelationship between performers and audience? Looking especially at the ways in which the audience itself was able to interact through the construction of the areas devoted to its own accommodation and circulation, Leslie du S. Read here blends narrative comment and photographic illustration to create a picture of the essential sociability of ancient theatre spaces – an aspect usually ignored by scholars primarily concerned with dramaturgical techniques. Lesli

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Vollgraff, Matthew. "The Archive and the Labyrinth: On the Contemporary Bilderatlas." October 149 (July 2014): 143–58. http://dx.doi.org/10.1162/octo_a_00187.

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The indexicality of photography has by now become a theoretical common-place: The photographic image presents us with the punctual index of a given “scene” at a specific moment. That scene is situated in an irretrievable past, its referents irrevocably displaced in time and space; indeed, the indexical image points ineluctably to something no longer extant.

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Hoelscher, Steven. "The Photographic Construction of Tourist Space in Victorian America." Geographical Review 88, no. 4 (October 1998): 548. http://dx.doi.org/10.2307/215712.

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Hoelscher, Steven. "The Photographic Construction of Tourist Space in Victorian America." Geographical Review 88, no. 4 (October 1, 1998): 548–70. http://dx.doi.org/10.1111/j.1931-0846.1998.tb00126.x.

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Imada, Adria L. "Promiscuous Signification." Representations 138, no. 1 (2017): 1–36. http://dx.doi.org/10.1525/rep.2017.138.1.1.

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This essay assesses clinical photographs of leprosy patients created by the Hawai‘i Board of Health in the late nineteenth and early twentieth centuries, or what may be the most extensive visual cataloging of indigenous, Asian, and immigrant bodies in America’s Pacific empire. Building on theoretical and methodological approaches to archives as a process rather than a source, I follow the trail of these clinical images through time and space, from their emergence within a photographic practice of medical management and segregation in Hawai‘i to their prolific circulation in transnational polit

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Smith, Olga. "The Spaces of Containment: Valérie Jouve's Urban Portraits." Nottingham French Studies 53, no. 2 (July 2014): 155–68. http://dx.doi.org/10.3366/nfs.2014.0083.

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This article analyses the complex dynamics between the human body and the urban environment in the work of French photographer Valérie Jouve. Focussing on a number of works drawn from the series Les Personnages and Les Façades, I propose the notion of containment to be crucial to the study of Jouve's urban portraits. I first approach it as a matter of containment of the human body by the civic and architectural structures of the city, arguing that Jouve renders visible the usually hidden mechanisms of such containment. This leads me to consider the question of boundaries and the relationship o

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Banerjee, Sandeep. "“NOT ALTOGETHER UNPICTURESQUE”: SAMUEL BOURNE AND THE LANDSCAPING OF THE VICTORIAN HIMALAYA." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 351–68. http://dx.doi.org/10.1017/s1060150314000035.

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During his third expedition into the higher Himalaya in 1866, the most ambitious of his three journeys into the mountains, Samuel Bourne trekked to the Gangotri glacier, the source of the Ganges. At that site he took “two or three negatives of this holy and not altogether unpicturesque object,” the first photographs ever made of the glacier and the ice cave called Gomukh, meaning the cow's mouth, from which the river emerges (Bourne 96). These words of Victorian India's pre-eminent landscape photographer, importantly, highlight the coming together of the picturesque mode and the landscape form

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Makiewicz, Małgorzata. "Mathematical Cognition in Metaphors Expressed Through Photography / Matematyczne Poznanie Poprzez Metafory Wyrażone Fotografią." Chemistry-Didactics-Ecology-Metrology 17, no. 1-2 (December 1, 2012): 27–39. http://dx.doi.org/10.2478/cdem-2013-0002.

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Abstract The paper signals the foundations of the new method of teaching mathematics that is currently emerging from the concept of human cognition and the constructivist paradigm. The presented examples of the hermeneutic research conducted for 17 years are concerned with an analysis of the formulated mathematical problems in the language of photographic metaphors. Thoughts expressed through the photographic image and text consisting of the caption and the description (dual coding) reveal the structure of cognitive networks of authors of photographs, which has a special significance in creati

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A. I., Tapol. "CRISIS OF MODERN VISUAL PRACTICES." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 41–47. http://dx.doi.org/10.17721/ucs.2019.2(5).08.

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The article focuses on the analysis of the liquefaction of basic settings of the modernity's visual practises, specifically of signification regime and mode. The general dynamics of historical types of visual practices and the role of the Modern vision regime in it are described. The visual parameters of the signifying modes of realism and modernism are defined. The crisis of modern visual practices is specified through the logic of their transformation. The status of photography as the basic visual practice of the modernism signifying mode is proved. From the beginning of the era of "technica

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Kozyatincky, R. S. "BACKGROUND AND LINEAR PERSPECTIVE: SPACE IN SELFY." Aspirantskiy Vestnik Povolzhiya 19, no. 3-4 (June 15, 2019): 67–73. http://dx.doi.org/10.17816/2072-2354.2019.19.2.67-73.

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The article is devoted to the changes in the space representing the background in the selfie through the historical experience of the self-portrait in the visual culture. The digital photographic self-portrait (selfie), which has become one of the most striking phenomena of the visual culture of our time in the context of historical experience of visual representation in the context of a rapidly changing cultural situation (transition from “linguistic” to “iconic turn”) in the context of historical experience of visual representation allows the author to focus on those changes which occur betw

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Welch, Edward. "La Carte et le territoire: Mapping, Photography and the Visualization of Contemporary France." Nottingham French Studies 53, no. 2 (July 2014): 186–200. http://dx.doi.org/10.3366/nfs.2014.0085.

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Drawing on recent work by novelist Michel Houellebecq and photographer Raymond Depardon, this article examines the relationship between visual culture, spatial change and modernization in contemporary France. Investigating how Houellebecq foregrounds the visual representation of space in his novel La Carte et le territoire (2010), the article goes on to align the questions it raises with the six-year photographic tour of France undertaken by Raymond Depardon during the first decade of the twenty-first century. It considers Depardon's portrait of contemporary France in the context of his previo

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Durden, Mark. "Light Catcher." Sophia Journal 5, no. 1 (December 1, 2020): 90–95. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_09.

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Among his remarkable performance-based short films made in the garden of his family home, two films show the artist holding a mirror to both catch and reflect sunlight back to the camera and viewer. Such performances provide a fitting allegory for his relationship to the medium of photography. As a photographer Peter Finnemore is someone who catches and plays with light. Light is key to the pictures made in his home place in rural mid Wales, Gwendraeth House. The photographs relay the intimacy he has with his childhood home, which has been in his family for generations. Finnemore has been phot

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Miranda, Diana, and Helena Machado. "Photographing prisoners: The unworthy, unpleasant and unchanging criminal body." Criminology & Criminal Justice 19, no. 5 (September 20, 2018): 591–604. http://dx.doi.org/10.1177/1748895818800747.

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The use of photography in representing the criminal body has long been a focus of interest in the social sciences, especially so when exploring the historical evolution of criminal identification practices. By contributing to the emerging field of visual criminology, this article explores current practices around photography of prisoners in the everyday contexts of the prison space. Drawing on a qualitative study conducted with prisoners, prison guards and probation officers in three Portuguese prisons, we analyse how different social actors construct the criminal body. This construction is ex

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Spurn�, Pavel. "EN photographic Perseids." Earth, Moon, and Planets 68, no. 1-3 (1995): 529–37. http://dx.doi.org/10.1007/bf00671549.

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Anikeeva, I. A. "Method and algorithm of automatic color rendition quality assessment of digital aerial and space photos." Geodesy and Cartography 937, no. 7 (August 20, 2018): 45–56. http://dx.doi.org/10.22389/0016-7126-2018-937-7-45-56.

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Today the photographic quality assessment of aerial and space images is made visually, with a big deal of subjectivity. The main problems are the lack of parameters characterizing the photographic quality of images and the lack of methods for determining these parameters. The correctness of color rendition is one of the most important indicators of the photographic aerial and space images’ quality. Research problems included the developing methods for determining the color imbalance of digital images; developing the assessment criterion of color imbalance and a method of its calculation; as we

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Pascu, D., and R. E. Schmidt. "Photographic positional observations of Saturn." Astronomical Journal 99 (June 1990): 1974. http://dx.doi.org/10.1086/115480.

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Debehogne, H., M. Scardia, and D. Ghiringhelli. "Photographic positions of Minor Planets." Astronomische Nachrichten 315, no. 4 (1994): 319–22. http://dx.doi.org/10.1002/asna.2103150409.

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Debehogne, H., M. Scardia, and D. Ghiringhelli. "Photographic positions of Minor Planets." Astronomische Nachrichten 316, no. 2 (1995): 121–24. http://dx.doi.org/10.1002/asna.2103160209.

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