Книги: "Image moment"

1

Jussim, Estelle. The eternal moment: Essays on the photographic image. New York, NY: Aperture, 1989.

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2

Guibert, Hervé. L' image de soi, ou, L'injonction de son beau moment? Bordeaux, France: William Blake and Co., 1988.

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3

Fleming, Dan. Making the transformational moment in film: Unleashing the power of the image (with the films of Vincent Ward). Studio City, CA: Michael Wiese Productions, 2011.

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4

Tuzikov, A. V. Matematicheskai︠a︡ morfologii︠a︡, momenty, stereoobrabotka: Izbrannye voprosy obrabotki i analiza t︠s︡ifrovykh izobrazheniĭ. Minsk: Belorusskai︠a︡ nauka, 2006.

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5

Tuzikov, A. V. Matematicheskai︠a︡ morfologii︠a︡, momenty, stereoobrabotka: Izbrannye voprosy obrabotki i analiza t︠s︡ifrovykh izobrazheniĭ. Minsk: Belorusskai︠a︡ nauka, 2006.

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6

Flusser, Jan, Tomáš Suk, and Barbara Zitová. 2D and 3D Image Analysis by Moments. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781119039402.

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7

Pawlak, M. Image analysis by moments: Reconstruction and computational aspects. Wrocław: Oficyna Wydawnicza Politechniki Wrocławskiej, 2006.

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8

Lillis, Brian. Images of Cork City: Shared moments. Dublin: Nonsuch, 2007.

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9

Rahman, S. M. Mahbubur, Tamanna Howlader, and Dimitrios Hatzinakos. Orthogonal Image Moments for Human-Centric Visual Pattern Recognition. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-32-9945-0.

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10

Perry, Beth. More moments in time: Images of exemplary nursing. Edmonton, AB: AU Press, 2009.

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11

Cashin, Marilynn A. A moment in time: Images of Victorian fashions from the mid-1800s. South Plainfield, N.J: Mac Publications, 1992.

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12

Hari, Kokula Krishna, ed. Retrieval of Remote Sensing Images based on Color Moment and GLCM: ICIEMS 2014. India: Association of Scientists, Developers and Faculties, 2014.

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13

Lacouture, Jean. Les grands moments de la Ve République: 50 ans en images. Paris: Flammarion, 2007.

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14

Wiesner-Hanks, Merry, ed. Challenging Women's Agency and Activism in Early Modernity. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463729321.

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Examining women’s agency in the past has taken on new urgency in the current moment of resurgent patriarchy, Women’s Marches, and the global #MeToo movement. The essays in this collection consider women’s agency in the Renaissance and early modern period, an era that also saw both increasing patriarchal constraints and new forms of women’s actions and activism. They address a capacious set of questions about how women, from their teenage years through older adulthood, asserted agency through social practices, speech acts, legal disputes, writing, viewing and exchanging images, travel, and community building. Despite family and social pressures, the actions of girls and women could shape their lives and challenge male-dominated institutions. This volume includes thirteen essays by scholars from various disciplines, which analyze people, texts, objects, and images from many different parts of Europe, as well as things and people that crossed the Atlantic and the Pacific.

15

Alarcón Jiménez, Andrés, Mónika Contreras Saiz, Natalia Angélica Pérez Pedraza, Amor Arelis Hernández Peñaloza, Orfa Kelita Vanegas Vásquez, and Eugenia Varela Sarmiento. Escenarios para el desarrollo del pensamiento crítico. Edited by Eugenia Varela Sarmiento. Bogotá. Colombia: Universidad de La Salle. Ediciones Unisalle, 2019. http://dx.doi.org/10.19052/978-958-5486-79-9.

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Este libro muestra una diversidad de miradas acerca de cómo se puede percibir o estudiar el pensamiento crítico, tratar la formación del mismo desde escenarios como la literatura, la televisión, los textos auténticos o las imágenes. Esta investigación representó un reto para los autores, quienes tienen visiones desde contextos económicos, políticos, sociales y culturales para determinar los escenarios en los que quieren trabajar el concepto que los reúne. Para todos son fundamentales los conceptos de lector, lectura, espectador e historia. La multiplicidad de visiones nos lleva a leer, en un principio, cómo un uso del pasado nos construye como humanos en una sociedad que cuenta su propia historia con ironía. En un segundo momento, se nos revela un concepto íntimamente ligado al pensamiento crítico: la conciencia histórica, analizada desde los productos culturales masivos. Así mismo, se muestra la manera en la que la imagen puede ser leída críticamente y desde otra visión junto al texto y cómo esta construcción social se configura desde el contexto de la modernidad en el objeto del libro. En un cuarto momento, llega el impacto de una lectura crítica con enfoque de género, tocando temáticas de la violencia y la política. Luego, nos encontramos con un trato de la literatura de la violencia, la cual analiza la emoción y la emocionalidad que puede llegar a producir la lectura en el lector, este último como sujeto preponderante en el que se revelan los toques íntimos de una reflexión profunda. Por último, se tratan los textos auténticos con respecto a lo intercultural y lo pedagógico como construcción del sujeto

16

NIMS Thematic Workshop (2010 Inch'ŏn, Korea). Mathematical and statistical methods for imaging: NIMS Thematic Workshop, August 10-13, 2010, Inha University, Incheon, Korea. Edited by Ammari Habib. Providence, R.I: American Mathematical Society, 2011.

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17

Mukundan, R., and K. R. Ramakrishan. Moment Functions in Image Analysis: Theory and Applications. World Scientific Publishing Company, 1998.

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18

Recognition of Ship Types from an Infrared Image Using Moment Invariants and Neural Networks. Storming Media, 2001.

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19

Bolt, Neville. The Violent Image. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197511671.001.0001.

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Fast-moving, self- propelled 'violent images' have radically changed the nature of insurgency in the modern world. Global media have revolutionized the way ideas, messages and images are disseminated, and the speed with which they travel. First satellite TV, then laptops and the Internet, and now mobile phones and social media have transformed the way we communicate, collapsing time and distance. Rebels who hope to overthrow states or to build transnational, ideological communities, have adopted these dynamic technologies. But they have also learned the key lesson: in a visual world, the power of the image has supplanted that of the written world. Neville Bolt investigates how today's revolutionaries have rejuvenated the nineteenth century 'Propaganda of the Deed' so that terrorism no longer simply goads states into overreacting, thereby losing legitimacy. The deed has become a tool to highlight the underlying grievances of communities. Pictures of 9/11, 7/1, and Abu Ghraib are today's weapon of choice. The Violent Image explores what happens in the 'moment of shock'; how emotive pictures attach to messages, causing populations to rise up in anger. From the Fenians to the Taliban to the Arab Spring we learn how insurgents have adapted the way they use violence to tell stories and effect social change. In the 'war of ideas', the new revolutionaries aim to set in motion surges of support that spread virally through global networks at such speed that states can no longer defend their own strategic narratives. Have we now reached the point where insurgents and populations are driving images and ideas so fast, that a new era of revolutionary politics is already upon us?

20

Radner, Hilary, and Alistair Fox. Arrested Images and “the Between-Images”. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0009.

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Raymond Bellour explains his concept of “the between-images,” and comments on the status of the arrested image in relation to the time-image, suggesting how video was an instrument of transformation at a brief historical moment that is already in the past because of the advent of the digital. In the contemporary world, he suggests, the computer now enables a continuous, ideal passage between all the domains of words, images, painting, and photography, obliterating the boundaries that formerly distinguished them. He concludes this section by speculating on the nature of images, ways of forming them, and how they only make sense when related to psychic and physiological factors.

21

Jutz, Gabriele. Audiovisual Aesthetics in Contemporary Experimental Film. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.10.

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This chapter maps the territory of the contemporary audiovisual cinematic avant-garde, which arose at the very moment of celluloid’s passage from mass use to obsolescence. It presents films that bear witness to the avant-garde’s ongoing interest in the formal organization of sound/image relationships. If one of the main concerns of sound in conventional film is to “naturalize” the image, experimental film is interested instead in ananti-naturalistic use of sound. Films without sound or even without images (which still can be called “films”), the use of audiovisual polysemy, asynchronous, or even synchronous sound, as well as the visualization of code-based music, are all means of revealing the constructed nature of the cinesonic event. The chapter examines the realm of the sound of technology itself, pointing out the creative potential ofoptically synthesized soundsas well aslive generated sounds and images, which attest to the agility of current projection performances.

22

Pappas-Kelley, Jared. Solvent Form. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526129246.001.0001.

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Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, such as Gustav Metzger), but also as a process within art that the object courts through form. In this manner, Solvent form looks to events such as the Momart warehouse fire in 2004 as well as the actions of art thief Stéphane Breitwieser in which the stolen work was destroyed. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup in their absence. From this vantage, Solvent form—hinging on the dual meaning in the words solvent and solvency—proposes an idea of art as an attempt to secure and fix, which correspondingly undoes and destroys through its inception. It also weaves a narrative of art that intermingles with Jean Baudrillard’s ideas on disappearance, Georges Bataille and Paul Virilio’s negative or reverse miracle, Jean-Luc Nancy’s concept of the image (or imago as votive that keeps present the past, yet also burns), and Giorgio Agamben’s notion of art as an attempt to make the moment appear permeable. Likewise, it is through these destructions that one might distinguish a solvency within art and catch an operation in which something is made visible through these moments of destruction when art’s metaphorical undoing emerges as oddly literal.

23

Lippert, Amy K. DeFalco. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190268978.003.0001.

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Pictures wielded considerable power in nineteenth-century society, shaping the way that Americans portrayed and related to one another, and presented themselves. This is not only a history through pictures, but a history of pictures: it departs from most historians’ approaches to images as self-explanatory illustrations, and instead examines those images as largely overlooked primary source evidence. Consuming Identities charts the growth of a commodified image industry in one of the most diverse and dynamic cities in the United States, from the gold rush to the turn of the twentieth century. The following chapters focus on the circulation of human representations throughout the city of San Francisco and around the world, as well as the cultural dimensions of the relationship between people, portraits, and the marketplace. In so doing, this work traces a critical moment in the shaping of individual modern identities.

24

Baker, Courtney R., ed. Slavery’s Suffering Brought to Light—New Orleans, 1834. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039485.003.0002.

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This chapter focuses on the abolitionist movement and the rise of physical sensation as a rhetorical theme. It interprets the term “image” in its post-nineteenth-century sense as identifying both the actual (“this really happened”) and the conventional (“this is what it looked like”). Although photography was not in place during all of the moments under investigation in this chapter, the clamor for visual proof is consistently evident. The chapter analyzes the Lalaurie affair of 1834—a scandal in which a white Creole woman named Delphine Lalaurie was found to have experimented on her slaves for her own wanton pleasure—to highlight a view of black humanity, as well as the power accorded to sight at this historical moment as a means to acquire knowledge. The encounters with the suffering bodies of enslaved blacks and the humane insight of these confrontations challenged core principles of slavery and, at moments, exposed the cracks in slavery's logic that would eventually lead to its abolition.

25

Flusser, Jan, Barbara Zitova, and Tomas Suk. 2D and 3D Image Analysis by Moments. Wiley & Sons, Incorporated, John, 2016.

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26

Marie, Robertson Eleanor. Dual Image (Silhouette Intimate Moments No. 123). silhouette, 1985.

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27

Flusser, Jan, Barbara Zitova, and Tomas Suk. 2D and 3D Image Analysis by Moments. Wiley & Sons, Incorporated, John, 2016.

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28

Conrich, Ian, and Estella Ticknell. Film's Musical Moments (Music & the Moving Image). Edinburgh University Press, 2006.

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29

J, Hendricks Sue, ed. 100 years of images: Capturing the moment. Winston-Salem, N.C: The Winston-Salem Journal, 1999.

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30

Hendricks, Sue J. 100 Years of Images - Capturing the Moment. The Winston-Salem Journal, 1999.

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31

Conrich, Ian, and Estella Ticknell. Film's Musical Moments (Music and the Moving Image). Edinburgh University Press, 2006.

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32

Manheim, Ron. Haiku and Haiga: Moments in Word and Image. Hotei Publishing, 2006.

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33

McDuff, Dusa, and Dietmar Salamon. Symplectic group actions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794899.003.0006.

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The chapter begins with a discussion of circle actions and their relation to 2-sphere bundles. It continues with a section on general Hamiltonian group actions and moment maps, then proceeds to discuss various explicit examples in both finite and infinite dimensions, and introduces the Marsden–Weinstein quotient, together with new examples that explain its relation to the construction of generating functions for Lagrangians. Further sections give a proof of the Atiyah–Guillemin–Sternberg convexity theorem about the image of the moment map in the case of torus actions, and use equivariant cohomology to prove the Duistermaat–Heckman localization formula for circle actions. It closes with an overview of geometric invariant theory which grows out of the interplay between the actions of a real Lie group and its complexification.

34

Goodman, Jessica. Goldoni’s Dilemma. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.003.0006.

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This chapter considers how, in his two years at the Comédie-Italienne, Goldoni attempted to control his image and assert his authority in a new, problematic context of collective authorship and normative anonymity. It employs the few remaining traces of canevas Goldoni wrote for the Comédie-Italienne—anonymous manuscripts, summaries in contemporary journals, and adaptations for the Italian stage—along with texts written before his arrival in Paris to explore the techniques he developed in the moment for creating and maintaining a good name. The first of these is the creation of a proto-directorial role to control how his work was conveyed to theatre audiences, and the second is the use of the written press to construct an image in print where direct publication was not possible.

35

Hatzinakos, Dimitrios, S. M. Mahbubur Rahman, and Tamanna Howlader. Orthogonal Image Moments for Human-Centric Visual Pattern Recognition. Springer, 2019.

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36

Gillum, Edward. Images: Expressive Moments from the Mind's Eye. Clouds Rest, 1993.

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37

Muehlberger, Ellen. Moment of Reckoning. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190459161.001.0001.

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Late antiquity saw a proliferation of Christian texts dwelling on the emotions and physical sensations of dying—not as a heroic martyr in a public square or a judge’s court but as an individual, at home in a bed or in a private room. In sermons, letters, and ascetic traditions, late ancient Christians imagined the last minutes of life and the events that followed death in elaborate detail. This book traces how, in late ancient Christianity, death came to be thought of as a moment of reckoning: a physical ordeal whose pain is followed by an immediate judgment of one’s actions by angels and demons and, after that, fitting punishment. This emphasis on the experience of death ushered in a new ethical sensibility among Christians, in which one’s death was to be imagined frequently and anticipated in detail. This was initially meant as a tool for individuals: preachers counted on the fact that becoming aware of a judgment arriving at the end of one’s life tends to sharpen one’s scruples. But, as this book argues, the change in Christian sensibility toward death did not just affect individuals. Death imagined as the moment of reckoning created a fund of images and ideas within late ancient Christian culture about just what constituted a human being and how variances in human morality should be treated. This had significant effects on the Christian adoption of power in late antiquity, especially in the case of power’s heaviest baggage: the capacity to authorize violence against others.

38

Bialecki, Jon. Dialogic Prophecies and Monologic Vision. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190652807.003.0003.

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Depictions of how language and authority are arranged in Pentecostal and charismatic Christianity tend to be organized in one of two seemingly irreconcilable ways. While they may not use this exact Bakhtinian language, they present this mode of religiosity as being organized either monologically or dialogically. Stranger still, the same author will present a monologic image at one moment, and a dialogic one the next. This chapter sees this tendency not as indecision or contradiction. Rather, this tendency points to the way that Pentecostal and charismatic Christianity can use monologic language to give rise to and sustain dialogical speech acts. This chapter reviews the text of a founding prophetic image reported by John Wimber, an early and influential leader of a Southern California charismatic evangelical movement called the Vineyard. It shows that this totalizing vision allows for a democratic vision of how inspired and prophetic speech functions in the Vineyard.

39

Barak, Ami, Biennale de l'image (Organization) Staff Momenta, and Mara Ambrozič. What Does the Image Stand For?: Momenta, Biennale de L'image. Kerber Verlag, 2018.

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40

Moments That Speak Stories And Images Of Connection. Koninklijk Instituut Voor de Tropen, 2012.

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41

Beth, Ph D. Perry. Moments in Time: Images of Exemplary Nursing Care. Canadian Nurses Association, 2001.

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42

Simpkin, Richard. Celebrity Quotes: Quotes and Images from Celebrities' Unguarded Moments. New Holland Publishers, Limited, 2016.

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43

Ron, Manheim, De Jong Jon, Stiftung Museum Schloss Moyland, Sammlung van der Grinten, and Joseph Beuys Archiv des Landes Nordrhein-Westfalen., eds. Haiku & Haiga: Augenblicke in Wort und Bilt = moments in word and image. Amsterdam: herausgegeben von = pub. by der Stiftung Museum Schloss Moyland, Sammlung van der Grinten, Joseph Beuys Archiv des Landes Nordrhein-Westfalen, in Zusammenarbeit mit = in association with Hotei Publishing, 2006.

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44

Halle, Randall. Contiguous. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038457.003.0004.

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This chapter explores German–Polish film relations. World War II created a caesura between Germany and Poland. For years, the complex connectivity that existed in the region was broken and instead dissociation characterized relations. The chapter examines the tentative conciliation of the two regions, focusing on documentary film. It begins with the work of a few documentarists who headed east at the time of the Wende, the moment of the collapse of the East Block. In bucking trends and heading east they captured images that ultimately speak more to the future of Europe. They not only documented important moments of “first contact,” they literally envisioned relationships that are still developing today.

45

Vernallis, Carol. Music Video’s Second Aesthetic? Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0016.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. MTV’s launch happened thirty years ago. Since then music video has undergone shifts in technologies and platforms, financial booms and busts, and changing levels of audience engagement. While music videos hit a low point at the start of the millennium, they have reemerged as a key driver of popular culture. This resurgence resembles MTV’s first moment: it’s again worth asking what music video can do and where it fits. A variety of styles, genres, and tropes marks both the eighties and today. The traditional definition of music video - a record-company product that puts images to a pop record in order to sell the song — has become too narrow. Instead we might describe music videos as containing heightened sound/image relations we recognize as such. Today's videos can reflect great technical proficiency. But in the eighties an attempt at an audiovisual connection often left a trace of the performers’ and director’s efforts. This gave videos a special charm. Today’s videos, however, may also reflect a full flowering of the genre. Many directors have labored in the industry and weathered its transitions: their experiences inform today’s music videos. This chapter looks at what this thirty-year history might add up to.

46

Fields, Sarah K. The History of Celebrity and the Laws of Reputation and Speech. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040283.003.0001.

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This chapter introduces the concept of celebrity and the rise of the sporting celebrity. It explains the evolution of the laws of reputation, specifically defamation, the rights of privacy, and the right of publicity. It also provides the legal and cultural backdrop in order to understand where the cases in the subsequent chapters fit in the history of celebrity and law. It argues that in the twenty-first century, sport celebrities are not known solely for their exploits on the field or court. They are famous every moment, and—because they are celebrities—members of the media stalk them and report on their every step and misstep. The media needs celebrities, and celebrities need the media. But periodically the two conflict over who really controls the image of the celebrity.

47

Jacobson, Matthew Frye. The Historian's Eye. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469649665.001.0001.

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Between 2009 and 2013, as the nation contemplated the historic election of Barack Obama and endured the effects of the Great Recession, Matthew Frye Jacobson set out with a camera to explore and document what was discernible to the "historian's eye" during this tumultuous period. Having collected several thousand images, Jacobson began to reflect on their raw, informal immediacy alongside the recognition that they comprised an archive of a moment with unquestionable historical significance. This book presents more than 100 images alongside Jacobson's recollections of their moments of creation and his understanding of how they link past, present, and future. The images reveal diverse expressions of civic engagement that are emblematic of the aspirations, expectations, promises, and failures of this period in American history. Myriad closed businesses and abandoned storefronts stand as public monuments to widespread distress; omnipresent, expectant Obama iconography articulates a wish for new national narratives; flamboyant street theater and wry signage bespeak a common impulse to talk back to power. Framed by an introductory essay, these images reflect the sober grace of a time that seems perilous, but in which “hope” has not ceased to hold meaning.

48

Lewis, Hannah. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0001.

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The introduction presents the book’s scope, approach, and organization. It recounts the history of the transition to synchronized sound film, which has largely been examined from the perspective of American cinema. However, because of aspects of French cinematic and musical culture that were unique to France, the transition unfolded in very different ways, becoming a hotly debated topic and resulting in divergent artistic responses. The introduction lays out the competing conceptions of sound film in France—for instance, its aesthetic proximity to either live theater or silent film, and its potential as a realist medium or a source of abstract fantasy—and the ways these conceptions played out in practitioners’ writings and films of the period. The films created during this “transitional” moment in filmmaking encourage us to reconsider long-held assumptions about the relationship between music and the moving image.

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Wright Rigueur, Leah. The Challenge of Change. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691159010.003.0004.

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This chapter analyzes how Edward Brooke's election was a moment of profound achievement for both black Republicans and the larger Grand Old Party (GOP) apparatus. Viewed as a political phenomenon, he not only represented the abstract goals of the National Negro Republican Assembly (NNRA) but also captured an image that moderate and liberal Republican leaders had struggled to harness since Barry Goldwater's unnerving rise in 1964. For a party traumatized in the aftermath of defeat, Brooke provided much needed proof that moderate Republican candidates could appeal to an interracial cross section of the American public. Drawing on a broader black middle-class tradition of respectability politics, he won his elections by running a campaign that was simultaneously race neutral and race conscious—a paradox, to be sure, but one that allowed an interracial audience to embrace him and his politics.

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Nishime, Leilani. Tiger Woods and the Perils of Colorblind Celebrity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038075.003.0003.

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This chapter moves from the more familiar white/nonwhite binary to the less commonly studied double-minority multiracial representation. The celebrity culture surrounding Tiger Woods is a vivid example of how the boundaries between black and white racial categories hinge on the exclusion or erasure of Asians from the national imagination. Until the scandal over his infidelity, sports and mainstream media celebrated Woods as the exemplar of our current colorblind moment. An analysis of his online and televised advertising campaigns and his representation in feature magazine articles prior to his adultery scandal demonstrates the difficulty of a multiracial reading in the context of colorblind rhetoric and visual practices. In contrast, postscandal publicity remakes his image from disembodied to overly embodied and debunks the argument, promoted by Woods himself, that we are beyond race and are thus blind to difference.

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