Anotation: The subjekt of the diploma thesis is a creation bound to natural environment and to processes, phenomenons and materials in it. The theoretical part maps a simile isme in the art history and it also explains the term landscape. Practical pictorial part of the thesis follows the theoretical part and it contains series of paintings in which natural processes partake. The research part of the work, in the form of interview with Mgr.A. Lenka Klodová PhD. And Mgr.A. Lukáš Gavlovský, complements the information about present interferences to the nature. Didactical part contains elaboration of the topic for the high school students, whose work takes place directly in the country. Key words: landscape, painting, esthetics, concept, natural processes, ecology, landscape painting

No description available.

Orientador: Roberto Berton de Angelo / Acompanha 1 CD-ROM: acervo Moholy Nagy / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T13:18:59Z (GMT). No. of bitstreams: 1 Castral_PauloCesar_D.pdf: 28061578 bytes, checksum: c96d8994b2af4fc5919d0c0ce28e4924 (MD5) Previous issue date: 2007 / Resumo: Pretende-se discutir através das formulações dos conceitos de criação ótica absoluta e criação ótica representativa elaborados por László Moholy-Nagy, tendo como recorte de análise sua produção de imagens fotográficas, o desenho dos contornos das relações de reciprocidade entre os meios de expressão fotográfica e os meios de expressão espacial, estabelecidas na primeira metade do século XX. Dessa maneira, procura-se resgatar a contribuição do campo específico da linguagem fotográfica no debate e definição do espaço dito moderno. Busca-se redirecionar as abordagens antes focadas nos diferentes níveis de figuração empregados na elaboração dos discursos sobre o espaço, para a discussão então do processo de constituição das possíveis proposições de novas configurações espaco-temporais, elaboradas através da própria imagem fotográfica. / Abstract: Through the concept formulation of 'absolute optical creation' and 'representative optical creation' created by László Moholy-Nagy, It Intend to discuss, having as a cutting out of analysis his production of photographic images, the sketch contours of the reciprocities relations between photographic expression media and espacial expression media, estabilished in the first half of twentieth century. In this way, it intend to rescue the contribution of the specific field of photographic language in the debate and definitions of the modern space. One searchs to redirect the approach previously focus on different levels of figuration used to elaborate space's speeches, for the discussion of the constitution process of possible proposals of new configurations space-time, elaborated through photographic image. / Doutorado / Doutor em Multimeios

"At Face Value: Investigating Perception through Portraiture" is a body of work that examines how people process their perception in imagery. The Deadpan Aesthetic, photographic truth and American identity are discussed, as well as the amount of influence a photographer has in his work. Since perception is defined as an understanding of setting via the senses, I hope to challenge viewers by employing strategies to destabilize the viewer's reception of my photographs.

Thesis (M. Tech.) -- Central University of Technology, Free State, 2007 / The lack of a standardized lighting instrument to be used in conjunction with existing photographic methods to document rock art, is a problem experienced in archaeological circles. Through interviews with archaeologists and an investigation into existing photographic methods concerning the photographing of rock art, a demand for a portable and modular lighting instrument was confirmed. The aim of this study, then, was to develop a prototype lighting instrument to fill this void. The design and manufacture of the modular lighting instrument entailed the harnessing of the technological advances made in the field of rapid prototyping. A brief overview of the San/Bushmen of Southern Africa is given to stress the importance of this study and to emphasise the importance of the art of the Bushman in our collective art heritage. An overview of the documenting of rock art and therewith an investigation into documented works of rock art and rock engravings by the San/Bushmen serves as a point of departure for the present inquiry. Tests undertaken with the modular lighting instrument, and a comparison of the results so obtained with existing photographic methods, showed that with the use of the modular lighting instrument, an improvement in illumination, rock-face texture and colour contrast in the images was obtained. The modular lighting instrument helps to create and regulate a suitable lighting environment irrespective of natural lighting circumstances and environments. It produces better results when it comes to documenting rock art in comparison to existing methods of documentation. Continued study for the development of the modular lighting instrument is recommended in order to produce more constant results.

This practice-based thesis presents the results of experimental research devoted to ethnic tourism among the Kayan minority and has involved the interconnection of artistic and anthropological languages. Known worldwide for the traditional female custom of wearing a long coiled brass necklace aimed at causing a considerable extension to the neck, the Kayan are a Tibeto-Burman ethnic group originally from Burma. Due to the prolonged civil war in their own homeland, a large number of Kayan recently fled from Burma to refuge in neighbouring Thailand. Here, over the past years, in response to the “incisive” tourism policy promoted by the Thai government in the northern areas of the country, some families, abandoning the refugee camps where they were hosted, have been resettled in several new villages open to tourists, on payment of a modest entrance fee. Here the Kayan, their culture and their daily life, have been transformed into an authentic tourist attraction capable of drawing about 10,000 visitors a year. Founded on a strictly “visual media primitivist” approach and inspired by its peculiar aesthetics – as systematically presented in the first, theoretical, section of the thesis –, the enquiry involves a multimedia perspective. In such a context, analogue photography and filmmaking, creative writing and sound composition have been combined to give concrete shape to an original artwork firmly grounded in ethnographic practice. The choice, far from being a solely arbitrary and subjective option, has indeed been motivated by the critical employment of specific theoretical assumptions of some of the most recent streams of anthropology and epistemology of the human sciences. The multidisciplinary methodology adopted to develop the research, as well as the multifaceted language employed to display its results, represent an innovative and experimental way of approaching the complex theme of cultural identity in present-day Asian contexts, as well as of highlighting the most aesthetic and philosophic implications connected to the revival of analogue vintage media in contemporary artistic practice.

The master thesis is focused on recent inosculation of photography and modern information technologies and also on a daptation of photography to current trends in communication. Special emphasis is set on fine-art photography. Besides delimitation of problem the first part of the text is dedicated to foundation and history of photography where the author refers to dramatic changes that had taken place in the early beginnings. The second part is dealing with contemporary phenomenon - social networks and their moving into the virtual space of the Internet during last decade. The author aims on key aspects of social networks which have a significant influence when in combination with photography. The next part shortly deals with problems of copyright that show up in relation to digital photography. Part of text is devoted analysis of several selected systems specialized in fine-art photography publishing and eventually their selling. The author describes their significant attributes, principles on which they are based and mentions differences among each other. The fundamental part of the document is focused on practical view of interconnection between fine-art photography and digital information technologies whereas the ideas relates to pieces of knowledge gained from several selected and interviewed...