No description available.

No description available.

No description available.

No description available.

This thesis is about emerging changes in photography and imaging related to digitization and how we might approach and understand them, particularly in terms of their impact upon how narratives are constructed. By focusing on the accounts of Queen’s University students this thesis examines the new ways of making, storing, distributing, and viewing images that have emerged with digital photography. Additionally, it looks at the cultural conventions of photography (particularly in relation to the documenting and organization of memory) that remain intact and have important implications for the reception of use of new digital technologies and how these are used to construct narratives. This thesis also looks at the digitization of photography in relation to broader theoretical debates about the dynamics and shifts associated with modernity, postmodernity and ‘global information culture’. Contemporary society is often seen as more capitalist, and in many ways, this is an era of increasing uncertainty, fluidity, and fragmentation. This thesis examines the affinity between the supposed ‘death of narrative’ in social theory and the ‘death of photography’ in terms of how they relate to the ordinary practices of amateur digital photographers. Specific focus is given to Bauman’s (2000) theory of ‘liquid modernity’ and how it offers a compelling account of contemporary society, specifically in terms of changes in narrative and how many individuals are faced with developing ‘biographical solutions’ to systemic problems of increasing uncertainty and fragmentation in the context of globalization and informationalization. In doing so, this thesis aims to address gaps in existing research on digitization that fails to capture the subtleties encountered in the everyday experiences of those engaged in taking the digital turn. / Thesis (Master, Sociology) -- Queen's University, 2008-12-09 11:01:58.955

Photography has been exposed as an infinitely complex series of intersecting technologies, industries, discourses and socio-cultural desires. Figured as an image-making medium that bears the direct trace (light) of reality, it has become a fundamental method through which we construct identity, capture memories, communicate knowledge and reflect and shape reality. Its resulting conceptualization as a discourse-laden visual language, that enables the (co)articulation of subject (self), object (device) and truth, has located it as a central locus of ethical consequence. While there has been a significant amount of research into an ethics of photographic representation, there has been very little consideration of the importance of reconsidering the intersection of photography (in and of itself) and ethics in light of digitization. While this thesis will function to map out a number of theoretical and practical trajectories, its central purpose will be to draw upon a rich understanding of analogue and digital photography in order to critically re-imagine ethics in light of digitization. This thesis begins by mapping out a series of continuities and discontinuities in the technological, sociological and practical engagements of photography as a result of digitization. Following in this vein, it will engage in a comparative review of past and present (analogue and digital) photographic practices and theories in an effort to expand the conceptual frames of these trajectories further through an inter-disciplinary and sociological lens. Following this review, and in response to a number of proposed digital novelties, this thesis will revisit past conceptualization of photographic ethics, demonstrate and legitimize their short-comings in the digital age, and begin to imagine alternative means of tackling the ‘impossible possibility’ of digital ethics. / Thesis (Master, Sociology) -- Queen's University, 2010-09-29 15:12:36.414

No description available.

No description available.

No description available.

This study was composed of several large detailed drawings of forms from nature. The drawings were total abstractions of organic forms that had been photographed. The basic composition was structures-of ovals, rectangles and circles with various combinations of the three. With in the basic structures the writer subdivided the areas manipulating organic free forms with reliefs of white special areas.