This thesis accompanies a practice as research doctoral project that investigates the perceptual mechanisms and conceptions of land as a site of constant change. It utilises photographic practice as a form of visual communication. The aim is to examine the roles of movement and memory in the perceptual experiences of the environment through a phenomenological framework that involves the consideration of the concepts of place and space from a temporal perspective. The principal theme is how the moving and changing environment can be interpreted through the stasis of photography and what this implies about the individual’s relationship to it. The research methodology is a Rhizomatic multi‐site and multi‐process approach, utilising various methods and investigating site types appropriately as an interwoven practice. This has resulted in five separate bodies of work that deal with different forms of movement. The work employs close range photogrammetry techniques liberated from the empirical traditions of archaeological photography and time‐lapse to investigate the human‐scaled aerial view and visually interpret embodiment in the environment. An exhibition, titled Continuum derived from this practice was also shown at Avenue Gallery, Northampton University, UK, from 27th October 2014 ‐ 7th November 2014. A catalogue of works, titled In Flux; Land, Photography and Temporality accompanies this thesis as a PDF on the disc provided (appendix # 1). The research concludes that a consideration of time and space as durational and flowing can be interpreted through the stasis of photography. Through this the changing nature of the environment can be investigated. This is achieved by extending the duration of photographic processes and making them evident in the resulting works. It is also enhanced through curatorial sequencing in a body of work that mimics environmental temporal experience as perceived by the mobile individual.

This thesis represents the findings from a series of experimental investigations that explore young people's transition from socially constrained image making to innovative photographic practice within the art education context. It identifies the constraints young peoples' vernacular theories about what makes a good photograph, have on their own photographic origination. It draws on the work of Berti and Freeman (1997) and Karmiloff-Smith (1992) and accepts underlying descriptions of theory of mind development in young children (Wellman 1990). The data was collected from 117 adolescents (72 girls and 45 boys) aged between 10 and 17 years old, who were attending government primary and secondary schools in Sydney Australia between late 2001 and mid 2003. The schools were located in and around Sydney's eastern, western and south-western suburbs and ranged from the inner city to the semi-rural hinterland. The students represent a range of socio-economic and cultural backgrounds. Participants' theories about photography and what makes 'good' and 'bad' photographs was ascertained by asking a series of structured questions at interview and analysing written responses to a questionnaire Five experimental situations produced 1344 photographs which were coded and analysed using ANOVA to establish between age-group and experimental task differences. The photographs were judged by expert photographers, for levels of innovation. Adolescents' explanations about the photographs they made were analysed for reflexive thinking. In order to map any shift in representational development throughout adolescence the data were divided into three age groups. 10-13 year old (n=40), 14-16 year olds (n=69) and 17 year olds(n=11). The study produced evidence that adolescents aged 10-13 years old had a na??ve theory of photography, and that 14-16 year olds had an emerging reflexive theory of photography, but they were constrained by both procedural understandings and social conventions of photography. Expert 17 year olds and adults have a reflexive theory of photography as evidenced by higher percentage of innovative images and more reflexive statements about their photographs. The findings provide baseline understandings of the cognitive processes implicit in photograph origination by adolescents and suggests implications for further research into the teaching and learning of photography as a creative medium in the Secondary School Visual Arts classroom.

Thesis (Ph. D.)--University of Michigan, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 387-405).

This thesis represents the findings from a series of experimental investigations that explore young people's transition from socially constrained image making to innovative photographic practice within the art education context. It identifies the constraints young peoples' vernacular theories about what makes a good photograph, have on their own photographic origination. It draws on the work of Berti and Freeman (1997) and Karmiloff-Smith (1992) and accepts underlying descriptions of theory of mind development in young children (Wellman 1990). The data was collected from 117 adolescents (72 girls and 45 boys) aged between 10 and 17 years old, who were attending government primary and secondary schools in Sydney Australia between late 2001 and mid 2003. The schools were located in and around Sydney's eastern, western and south-western suburbs and ranged from the inner city to the semi-rural hinterland. The students represent a range of socio-economic and cultural backgrounds. Participants' theories about photography and what makes 'good' and 'bad' photographs was ascertained by asking a series of structured questions at interview and analysing written responses to a questionnaire Five experimental situations produced 1344 photographs which were coded and analysed using ANOVA to establish between age-group and experimental task differences. The photographs were judged by expert photographers, for levels of innovation. Adolescents' explanations about the photographs they made were analysed for reflexive thinking. In order to map any shift in representational development throughout adolescence the data were divided into three age groups. 10-13 year old (n=40), 14-16 year olds (n=69) and 17 year olds(n=11). The study produced evidence that adolescents aged 10-13 years old had a na??ve theory of photography, and that 14-16 year olds had an emerging reflexive theory of photography, but they were constrained by both procedural understandings and social conventions of photography. Expert 17 year olds and adults have a reflexive theory of photography as evidenced by higher percentage of innovative images and more reflexive statements about their photographs. The findings provide baseline understandings of the cognitive processes implicit in photograph origination by adolescents and suggests implications for further research into the teaching and learning of photography as a creative medium in the Secondary School Visual Arts classroom.

Thesis (M.A.E.)--Georgia State University, 2007. / Title from file title page. Paula Eubanks, committee chair; Akela Reason, Melody Milbrandt, committee members. Electronic text (153 p. : ill.) : digital, PDF file. Description based on contents viewed Oct. 31, 2007. Includes bibliographical references (p. 151-153).

Thesis (PhD) -- AUT University, 2007. / Includes bibliographical references. Also held in print (413 p. : col. ill. ; 26 cm.) in the Archive at the City Campus (T 760.117 HO)

Thesis (Ph. D.)--University of Michigan, 1981. / Includes bibliographical references (leaves 387-405).

This PhD by practice sets out to reformulate the meeting between photographer and subject, from one that is commonly constructed as a power relationship to an empathic meeting between subjectivities. It is an attempt to re-engage with the original promise of photography –that of connecting with the ‘soul’ of the other. I take a phenomenological perspective, applying recent research in the field of neuroscience and psychology to throw new light on processes at play, both when we view photographically reproduced human faces and when we come face to face with others in the meeting preceding photographic portraits. My original contribution to knowledge consists of beginning to construct a theory as to why certain photographic portraits invoke an embodied reaction, whilst others leave us cold. What is it that makes us look again and again at particular photographic portraits? I propose that emotional contagion is an important factor both when making and viewing photograpic portraiture. It was not within the scope of this thesis by practice to explore this proposition, but it is an area suitable for further research. I use the practice as a testing ground, letting each new step develop out of my reflections on the previous work, using a qualitative methodology. I approach the face-to-face meeting through the writing of Maurice Merleau-Ponty and phenomenology, and make a series of experimentations, letting the practice twist and turn upon itself. I strip away and interchange the components of the photographic portrait one by one, project by project, letting my practice respond experimentally to both the theoretical research and the situation in which it is conceived. I move from still to moving and back again, through performance, text and sound, in an attempt to find that elusive embodied connection between subject matter and audience.

林曉東. / 呈交日期"一九九八年十二月". / 論文 (藝術碩士)--香港中文大學, 1999. / 參考文獻 (leaves 36-37). / 附中英文摘要. / Cheng jiao ri qi "Yi jiu jiu ba nian shi er yue". / Lin Xiaodong. / Lun wen (yi shu shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 36-37). / Fu Zhong Ying wen zhai yao. / 目錄 --- p.1 / 前言 --- p.3 / 提要 --- p.4 / Abstract --- p.5 / Chapter 第一章 --- 現代藝術的起始與界定 --- p.6 / 現代藝術是甚麼 --- p.6 / 現代藝術起始之歧見 --- p.7 / 現代藝術之本文界定 --- p.8 / Chapter 第二章 --- 藝術媒介的界定 --- p.11 / 傳統藝術品的功能指涉´ؤ´ؤ服務對象與之帶來的標準 --- p.11 / 藝術品的功能指涉之轉向與新媒體的出現´ؤ´ؤ媒介分劃的再界定 --- p.13 / Chapter 第三章 --- 圖像的承繼與流傳一攝影術 --- p.18 / 圖象的特質與文字的關係 --- p.18 / 攝影術中的原物與複本 --- p.24 / Chapter 第四章 --- 從一件藝術作品的完成：反思藝術媒介的本質 --- p.26 / Chapter 1. --- 社會文化 --- p.28 / Chapter 2. --- 作者 --- p.28 / Chapter 3. --- 意念 --- p.28 / Chapter 4. --- 製作 --- p.29 / Chapter 5. --- 成品 --- p.30 / Chapter 6. --- 命題 --- p.30 / Chapter 7. --- 觀眾 --- p.31 / Chapter 8. --- 觀賞 --- p.31 / Chapter 9. --- 討論 --- p.32 / Chapter 10. --- 紀錄 --- p.32 / Chapter 11. --- 流傳 --- p.32 / Chapter 12. --- 時間性 --- p.33 / Chapter 第五章 --- 總結 --- p.34 / 參考書目 --- p.36 / 附圖 --- p.38

科技在過去十多年的迅速發展，成就了電腦及互聯網絡的普及，將人類推向一個未知的新紀元。我們正處於一個影像數量前所未有地泛濫、流通的時代，更多影像媒體的出現，導致我們對於觀看的方式有了新的體驗。視覺媒介與及影像長久以來也在藝術創作、以至人類文明中佔據著主導地位，作為當代藝術家如何對應這個時代的科技與影像文化變遷？本文從三個章節去探討當代藝術創作在數位科技下對新媒體影像的探討與反思。一）影像的定義與科技發展的歷史脈絡：先探討當下數位影像跟觀看方式的轉變，透過檢視影像建構意義的過程去確立一個討論的環境前提；並追朔媒體與空間概念跟影像科技發展的歷史脈絡。二）新媒體與數位影像：界定新媒體的定義，及其發展對影像意義、角色定位所帶來的轉變；延伸至當下虛擬與真實的空間概念轉變。三）非物質的物質化呈現：以當代藝術創作為例子，去闡述新媒體影像及其媒介平台在當代生活中的各種面向。本章所論述的藝術創作集中在以傳統媒介為基礎去對應新媒體影像的藝術作品，而非以新媒體本身為作品媒介的「新媒體藝術創作」。在文末附以本人的藝術作品以供參考。 / The rapid development in technology caused the popularization of computers and internet over the past decades and it generated a new era to human beings. We are at the age of unprecedented number of image, the new visual media has led to a new way of looking. Images and visual media have long been a dominant position in art and human civilization, how to respond with this era of technology and visual culture change as a contemporary artist becomes an important issue. This thesis is divided into three chapters which aim at exploring contemporary artistic creation, discussion and reflection of images of the new media in the digital technology. 1) The definition of image through historical context and development of visual technology: The first phase discusses the change on the way of looking according to the present digital images, the process of constructing meaning through looking the image are introduced to establish a background for the discussion; and traced the historical context of media technology with image development. 2) Of the digital images and new media: The second phase defines the definition of new media, and its influence on the meaning and role of extends to the changes in the concept of virtuality and real space. 3) Representation of the non-material substance: Use contemporary artistic practices as examples to describe the various aspects of new media image in contemporary life. Discussions in this chapter of artistic creation is concentrated in the work of traditional media that use new media image as subject rather than works of new media art". At the end of the thesis, my artworks which relate to the topic are introduced for reference. / Detailed summary in vernacular field only. / 李天倫. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 77-79). / Abstract in Chinese and English. / Li Tianlun. / 引言 --- p.7 / Chapter 第一章 --- 影像的定義與科技發展的歷史脈絡 / Chapter 1.1 --- 當代生活的視覺經驗 --- p.8 / Chapter 1.2 --- 觀看與再現 --- p.9 / Chapter 1.3 --- 影像的意義構成 --- p.10 / Chapter 1.4 --- 數位影像的意義構成 --- p.11 / Chapter 1.5 --- 媒體與空間概念 --- p.15 / Chapter 1.6 --- 影像科技發展的歷史脈絡 --- p.17 / Chapter 第二章 --- 新媒體與數位影像 / Chapter 2.1 --- 新媒體的定義 --- p.23 / Chapter 2.2 --- 新媒體的特質 --- p.24 / Chapter 2.3 --- 觀看方式的轉變 --- p.28 / Chapter 2.4 --- 數位影像的複製、原真性與「靈光」 --- p.29 / Chapter 2.5 --- 虛擬與網絡－空間觀念的轉變 --- p.31 / Chapter 第三章 --- 非物質的物質化呈現－對應新媒體影像的藝術創作 / Chapter 3.1 --- 感知的回歸 --- p.34 / Chapter 3.2 --- 當代視覺語言的體現 --- p.37 / Chapter 3.3 --- 從無形到有形－資訊影像化 --- p.41 / Chapter 3.4 --- 網絡與影像流通 --- p.45 / Chapter 3.5 --- 數位影像與流行文化 --- p.49 / Chapter 3.6 --- 虛擬與真實的糾結 --- p.52 / 結語 --- p.55 / 附錄 / 我的作品 --- p.57 / 圖片來源 --- p.75 / 參考書目及資料 --- p.77