Through a comparison of the literature produced by general archival theorists with that published by photographic archivists, it becomes clear that archival principles are not routinely applied to records in photographic form. Since reflecting knowledge about records creators and circumstances of creation is a basic archival responsibility, this thesis will begin with a discussion of a variety of past and present purposes of photographers in general. The ways in which both purposes and methods can influence photographic information will also be studied. The obligation of photographic archivists to examine records and creators in terms of administrative (including legal), scholarly and other user values will then be examined. The thesis will conclude with a survey of the literature produced by North American photographic archivists to determine whether their responsibilities are fully recognized. / Arts, Faculty of / History, Department of / Graduate

Until recent years, archivists have been reluctant to consider photographs as being archival in nature. The evidential value possessed by some photographs was ignored and archivists also failed to see where the informational value of a photographic image could be enhanced when viewed within the context in which it was created. Instead, archivists preferred to arrange and describe photographs as discrete items. For assistance in this endeavor, archivists turned to members of the library profession. Librarians, for their part, found that photographs were not amenable to standard bibliographic formats or classification schemes devised for printed monographs. The result was the creation by members of both the library and archival professions of numerous and often idiosyncratic methods for the physical and intellectual control of photographs. The volume of photographic images acquired by libraries and archival repositories now makes it virtually impossible to continue dealing with photographs as discrete items. The research needs and methodologies of users have also changed; photographs are increasingly being sought as historical documents in their own right and not just as illustrations to accompany the written word. In response to these two factors, librarians began organizing and describing photographs as "lots" and archivists moved slowly toward the arrangement and description of photographs as archival fonds. This evolution, far from complete with regard to photographs, resembles an earlier evolution affecting the arrangement and description of textual archives, particularly manuscripts. Today archivists in many Western countries are seeking to establish standard formats in the description of archival materials. This goal has become particularly urgent in the face of computer technology and the desire to form automated archival networks. It remains to be seen whether the final standards adopted in Canada, for instance, will encompass photographs or whether photographs will retain a "special" status. Without question, photographs have and will continue to present members of the library and archival professions with problems In arrangement and description. This is demonstrated in the body of this thesis through a survey of the professional literature and through field work undertaken in six libraries and archival repositories in the Vancouver area and in Victoria, British Columbia. However, the existence of problems should not mean that the approach to photographic archives should be any different, in essence, from the approach and principles applied to textual archives. / Arts, Faculty of / Library, Archival and Information Studies (SLAIS), School of / Graduate

Anthony Cohen, in The Symbolic Construction of Community, writes: "the symbolic expression of community and its boundaries increases in importance as the actual geo-social boundaries of the community are undermined, blurred or otherwise weakened." As Japanese-Canadians were uprooted from familiar communities throughout British Columbia and overwhelmed with the loss of those closest to them, photography was employed to recentre themselves within a stable, yet somewhat imaginative, network of relations. Looking became an act of imaginative exchange with the subject - conflating the act of seeing with the act of knowing. Photographs became "the most cherished possession" at a time when all else familiar had been lost. It is my contention that domestic photographs and albums produced at this time worked to construct, preserve and contain the visual and imaginative narrative of cohesive family stability and communal belonging, despite divisive political differences, disparate geographical living situations, and elapsed family traditions. While acknowledging that photographs construct and embody a multiplicity of meanings, I am interested in the ways Japanese- Canadian albums were employed during the internment to foster a sense of place while internees existed in a liminal or transitional, marginal space. These representations attempt (and of course sometimes fail) to authenticate a seemingly cohesive biography. Declarations of positive experiences abound throughout the seven family albums I address in this project. Yet there is a double nature to these affirmations. Inscribing "happy times" or "joy" alludes to the silent binary of sadness that is effaced from the images. Representations of state surveillance and poor living conditions are virtually never included but did nonetheless exist. It is not my intention, however, to suggest that photographs are entirely deceptive anymore than they are undeniable truths. Rather, I want to argue that the production, organization and narration of photographs enabled internees to resist being subsumed by fears of persecution and obliteration. The intersection of the photographic image with the viewer constructs a narrative of stability, potentially resulting in a positive experience. Inscribing a positive identity onto images of one's body plays a role in the production of contentment: it is an act which simultaneously elides present troubles and safeguards fond memories for the future, it is a conscious and unconscious maneuver constituting one's personal history. Thus the images not only reinforce a positive experience, but also participate in creating one. It is only when anxieties cannot be contained that representation breaks down. "Intimate Archives" seeks to situate domestic photographs of Japanese-Canadians during the 1942- 1949 exile as intersecting with historical crisis and subjective narrative, tracing the possibilities of meaning for both the depicted subjects and the possessor of the images. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

With their cumbersome equipment and refractory technology, professional photographers recorded pioneering development in British Columbia almost from the beginning of white settlement. This study examines landscape photographs taken during the thirty year period between the beginning of the Fraser River gold rush and the completion of the Canadian Pacific Railway. It comments on the nature and meaning of the photographs and suggests their relevance to an understanding of land and life in early British Columbia. Photography in early British Columbia was almost exclusively the work of professionals whose success rested upon their sensitivity to the market. For this reason, their work is to some extent a mirror of early British Columbians' sense of themselves in a new place. Nineteenth century landscape photographers focused on the wagon road and later the railroad, on gold mining and on settlement. The early forest industry attracted far less attention than the gold rush and though fishing and farming had begun, they were seldom photographed. Picnics, regattas and other leisure activities were recorded, particular in Victoria and New Westminster and more frequently in the 1880's. Spectacular physical landscapes dominate the photographic record of wilderness; microscale nature studies are singularly absent. The attention to extreme symbols of progress in the photographic record of early British Columbia is understandable. The recency and rapidity of development had made material advance a common and concrete reality, and British Columbians wanted a record of their achievement. Some colonials brought with them conservative ideas of home and society based upon British traditions and Victorian taste. Photographs of elegant surroundings and genteel pastimes confirmed that they had created a civilized society and an ordered landscape in an isolated corner of Empire. In the wider context, the photographic record of early British Columbia shares elements with other areas of frontier development and British colonization. However, it exhibits a distinctiveness which is attributable as much to the mix of landscape images in the British Columbia setting as to the images themselves. / Arts, Faculty of / Geography, Department of / Graduate

Orientador: Luise Weiss / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T13:13:53Z (GMT). No. of bitstreams: 1 Castro_Dayande_M.pdf: 254244803 bytes, checksum: 290efbe27bd577bebcb934caa43871e2 (MD5) Previous issue date: 2014 / Resumo: O presente volume é um indagar descritivo de imagens em processo. Expõe um amalgama de referências teórico-práticas que influenciaram o caminho na produção das imagens. Estão aqui as partes fundamentais dessa busca, inquietações que relacionam-se com o contemporâneo, a fotografia e o retrato. Fundamentalmente um caminho, um paradoxo / Abstract: The purpose of this volume is a descriptive inquiring of images in progress. It exposes an amalgam of theoretical and practical issues that influenced the way the images were developed. The key parts of this quest are here along with concerns that relate to the contemporary, photography and portrait. Fundamentally a path, a paradox / Mestrado

Bibliography: pages 109-111. / Dispossession, aspects of conflict and the breakdown of the relationship between people and their environment is the subject of this thesis. The body of work presented consists of twenty-four photographs and sixteen screen-printed off-set lithographs (referred to as the prints). The photographs are largely intended to introduce and contextualize the prints which act as the main body and conclusion of the thesis. In the series of prints I have manipulated certain photographic imagery in order to explore the ways in which meaning can shift with changes in context, and reveal associations not apparent in the original photographs. This book is divided into four sections: 1. Sources and context: This section contains a brief outline of the historical tradition of apocalyptic literature and its relevance to our times, as well as a discussion of some of the literary texts to which I have referred. All the visual source material for my prints was derived from my own photographs. As a result, I have not looked to other artist's works for reference, or for the development of my theme. Of great importance, however, were the texts I read during the course of my study, which included a wide and diverse range of literature and poetry. I have also looked to film as a source, including popular cinema such as George Miller's "Mad Max" series, as well as the more serious aspects of cinema, for example, the films of Francis Ford Coppola, Werner Herzog and Wim Wenders. While my prints do not necessarily fall within the mainstream of apocalyptic, they have in common with it, a particular attitude towards the present. It is the vision of imminent chaos and the desire for a return to a restored natural order that has informed my work. 2. My working methods and their implications: This section contains an explication of the processes involved in the making of the prints, and the manner in which these processes contributed to the meaning of the images. Also included is a discussion of the relationship between my photography and my printmaking. 3. Introduction to the work: This section introduces my theme. In my photographs I have documented those aspects of southern African urban and rural landscape which reveal evidence of the erosion of the natural environment, as well as the physical manifestations of displacement. In my prints, I have disintegrated, translated and recontextualised these images. While the theme of my work lies within the broad context of apocalyptic, it is the individual's conflicts and sense of displacement within that context that has been of particular interest to me. As the apocalypticist expressed the tensions and conflicts of his time in a language of symbols, so I have similarly presented a response to my environment. It is not my intention in this section to present an interpretation of my work, but rather to highlight those aspects important to an understanding of the motives I had in making the images. In addition, this book includes documentation of the photographs and prints, preparatory sketches and collages, reproductions of source photographs, and a selection of literary texts which informed the work.

This study forms part of the discourse that critiques the current state of colonial museums in a post-colonial, post-apartheid city. The project focuses on a proposed urban vision for the precinct of Joubert Park in Johannesburg and responds to themes of memory, identity, reflection, art and public space. In the process, strategies are investigated to enhance identity in the area using the Johannesburg Art Gallery as a starting point. The gallery is integrated into the public realm, making it more accessible and transparent to its context by introducing pavilions and art installations to the park. These pavilions perform a variety of functions with the main design taking the form of a photographic urban archive. The pavilion archives the city and the people of the park by harnessing one of the current skill sets of the park photographers who are present on site. The project takes the form of a working camera using the principals of pinhole and wet plate photography to tangibly capture and display the happenings and changes of the site and the people who frequent it, over time. Once the pavilion has archived the desired changes in the city it will be dismantled and relocated to a new site to begin its life cycle once more. The movability of the structure acts as a critique on the static nature of buildings situated in cities that are always in flux. By introducing an architecture that allows and facilitates public activity while using people as the subjects for the creation of art by documenting a changing city, the scheme hopes to enhance the public realm by encouraging a collective identity to form. / Hierdie werkstuk is gebaseer op deurlopende gesprekke wat kritiek lewer oor die huidige stand waarin koloniale museums (na die Apartheid era) hulself bevind. Die intrinsieke waarde van hierdie museums het oor tyd verlore gegaan. Die projek het ten doel om op hierdie verwaarlosing te fokus en terselfdertyd die publieke omgewing met betrekking tot identiteit, kuns en sosiale aktiwiteite, op te hef. Voorstelle word gedoen om die vervalle Joubert Park in Johannesburg op te gradeer in n buurt waarop inwonders trots kan wees en sosiaal kan verkeer, terwyl die geskiedkundige verlede terselfdertyd bewaar word. Die Johannesburg Kunsgallery is geidentifiseer as die belangrike spilpunt vir hierdie projek. Hierdie Gallery is sentraal gelee wat dit maklik toeganklik maak vir die publiek. Die oogmerk is om n verskeidenheid kunswerke te installeer asook kamera/beeld-strukture. Hierdie kamerabeelde kan dien as n stedelike fotografiese vertoning van die stad en sy mense. Veranderinge in die stad oor n tydsvlak kan vervolgens so geargiveer word. Die projek se eind doel is om met argitektoniese toepassings, die ou verlede, die hede, en die mense en sy sosiale omgewing, tot voordeel van almal, te integreer. Die sukses van die projek sal bepaal word deur die kollektiewe indentitiet en sosiale integrasie wat bereik gaan word. / Mini Dissertation (MArch (Prof))--University of Pretoria, 2016. / Architecture / MArch (Prof) / Unrestricted

Magister Artium - MA / There is the growing recognition that literary works are not independent, but have often been impacted on by various other media. Complex intersections arise between printed text and other media such as photography, film, music and visual arts. The central theoretical concept underpinning this thesis is a study of intermediality, which interrogates the various ways non-literary media are used as a resource or reference. This analysis will be explored in the novels of Lauren Beukes, and will focus on the intermedial meaning-making and influences of both analogue photography and digital visuality in the dystopian society of Moxyland (2008). Furthermore, it will examine visual art in Broken Monsters (2014) and delineate visuality in terms of “bodies”, as is evident in the depiction of ruin porn and contemporary art.

Philosophiae Doctor - PhD / ‘A Visual Struggle for Mozambique. Revisiting narratives, interpreting photographs (1850 – 1930)’ is a study that requires an engagement with the historiography of the Portuguese empire, with reference to Mozambique. This is initially to provide some context for the East African situation in which photography began to feature in the mid- to late 19th century. But the other purpose is to see what impact the inclusion of visual archives has on the existing debates concerning Portuguese colonialism in Mozambique, and elsewhere. The rationale for this study, therefore, is to see what difference photographs will make to our interpretation and understanding of this past. The central issue is the ‘visual struggle’ undertaken to explore and dominate the territory of Mozambique. Deprived of their ‘historical rights’ by the requirements of the Berlin Treaties that insisted on ‘effective occupation’, the Portuguese started to employ a complex of knowledge-producing activities in which photography was crucially involved. Constituting part of the Pacification Campaigns that led to the territorial occupation, photographic translations of action taken to control the different regions in fact define the southern, central and northern regions of the country. The chapters propose ways to analyze photographs that cover issues related to different forms of knowledge construction. The resulting detail sometimes diverges from expectations associated with their archival history, such as the name of the photographers and exact dates, which are often unavailable.1 In discussing processes of memorialization, the thesis argues that memory is fragile. The notion of ellipsis is applied to enrich the potential narratives of the photographs. The thesis reads them against the grain in search of counter-narratives, underpinned by the concept of ‘visual dissonances’, which challenges the official history or stories attached to the photographs. Besides a participation in the general debates about the work of photography in particular, this research is driven by the need to find new ways to access the history of Mozambique. Ultimately the project will facilitate these photographic archives to re-enter public awareness, and help to promote critical approaches in the arts and humanities in this part of southern Africa.

High Dynamic Range (HDR) image acquisition from a single image capture, also known as snapshot HDR imaging, is challenging because the bit depths of camera sensors are far from sufficient to cover the full dynamic range of the scene. Existing HDR techniques focus either on algorithmic reconstruction or hardware modification to extend the dynamic range. In this thesis, we propose a joint design for snapshot HDR imaging by devising a spatially varying modulation mask in the hardware combined with a deep learning algorithm to reconstruct the HDR image. In this approach, we achieve a reconfigurable HDR camera design that does not require custom sensors, and instead can be reconfigured between HDR and conventional mode with very simple calibration steps. We demonstrate that the proposed hardware-software solution offers a flexible, yet robust, way to modulate per-pixel exposures, and the network requires little knowledge of the hardware to faithfully reconstruct the HDR image. Comparative analysis demonstrated that our method outperforms the state-of-the-art in terms of visual perception quality. We leverage transfer learning to overcome the lack of sufficiently large HDR datasets available. We show how transferring from a different large scale task (image classification on ImageNet) leads to considerable improvements in HDR reconstruction