Public spaces play essential roles in urban life for the city, the public and individuals, by setting strong relations between urban space and social and cultural values. Public spaces and their essential components have multi-dimensional impacts on people. Public art, as a constituent of public space, includes a wide range of artworks, activities and outcomes, contributing to the significance of the places in a variety of ways. However, each culture, country and city, has diverse policies and outcomes of public art based on different perspectives. Focusing on the public art policies in Ankara over the last two decades, this thesis seeks to examine how far the recent policies have contributed to the city. By carrying out in-depth investigation on the public art work interventions and policies of the Ankara Metropolitan Municipality, the thesis assesses the multi-dimensional contributions of these policies and interventions. It seeks to discuss how far the public artwork policies of localities are crucial for creating genuine public spaces of cities.

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. [54]-55. Document électronique également accessible en format PDF. CaQCU

Most of the work on photography is about image and trying to understand photography as an image. Contrary to this approach, this paper deals with the experience of the photographer at the time of taking the picture, and also the influence of photography, understood as a medium, on our perception. The main topic is the photography of movement, where we can best demonstrate how photography changes both our perception and our understanding of (objective) reality. The beginning of the work is devoted to one of the greatest Czech photographers, Josef Sudek, who describes the method of his work. Sudek's definition of the moment involved in taking the picture is "when everything fits together"; the impossibility of returning to the same moment is a central feature of photography as presented in this work. Consequently, the basis for the thesis is that (1) photography and camera change the way we perceive, and that (2) photography is an actualization of the possibility of how we see what we see. The actualization of the possibility is discussed mainly in the context of Barbara Probst, whose work "Exposures" fundamentally enters the history of photography, and who - once again - does not put emphasis on the image but rather on the photographer as the creator of the image.