Categorization of photographic images by rats using shape-based image dimensions.

2013 ◽  
Vol 39 (1) ◽  
pp. 85-92 ◽  
Author(s):  
Daniel I. Brooks ◽  
Ka H. Ng ◽  
Eric W. Buss ◽  
Andrew T. Marshall ◽  
John H. Freeman ◽  
...  
Keyword(s):  
Photographic Images

Every Olive Tree in the Garden of Gethsemane

2013 ◽  
Vol 3 (2) ◽  
pp. 111-115 ◽  
Author(s):  
Wendy Babcox
Keyword(s):  
Olive Tree ◽  
Photographic Images ◽  
The Future ◽  
Olive Trees ◽  
The Many ◽  
Radical Transformation

Every Olive Tree in the Garden of Gethsemane is a suite of photographic images of each of the twenty-three olive trees in the garden. Situated at the foot of the Mount of Olives in Jerusalem, the Garden of Gethsemane is known to many as the site where Jesus and his disciples prayed the night before his crucifixion. The oldest trees in the garden date to 1092 and are recognized as some of the oldest olive trees in existence. The older trees are a living and symbolic connection to the distant past, while younger trees serve as a link to the future. The gnarled trunks seem written with the many conflicts that have been waged in an effort to control this most-contested city; a city constantly on the threshold of radical transformation.

Facts Between Pictographs and Photographs in Lester Beall's Rural Electrification Posters, 1937-1941

2015 ◽  
Vol 60 (1) ◽  
pp. 17-38
Author(s):  
Michael J. Golec
Keyword(s):  
Social Reality ◽  
Rural Electrification ◽  
Art And Design ◽  
Photographic Images ◽  
Governmental Agencies ◽  
Works Of Art ◽  
The Future ◽  
The U.S

In analysing Lester Beall's posters for the U.S. government between 1937-1941, Michael Golec demonstrates the twofold character of facts in art and design appearing even when they are applied to guarantee distinct messages. Commissioned by the governmental agencies to develop a series of posters to increase the electrification of rural farms, Beall introduces pictograms in his first series to represent electrification as “facts of the future.” Its simple forms facilitate the travelling of this facts without loss of their integrity. The same holds true for the use of photographic images for the second campaign of 1939. Following the revaluation of photography as a means for the documentation of social reality, as represented by the FSA photographers under the guidance of Roy Stryker, the medium served here as the authentication of facts. Golec holds, that Beall by reducing the complexity of the photographic images, to create a pictorial integrity of his posters, even despite of the use of a seemingly documentary medium, reinforces the ambivalent factual character of the pictures. So, paradoxically by heightening the communicative character of the design and hence stressing the idea of facts as integral realities outside of artworks, Beall's posters reveal the ambiguous character of pictorial facts creating their own specific qualities. Golec concludes, that facts in works of art and design have a twofold character resulting from their belonging to different spaces, which although meant to accomplish and address different facts, inevitably travel, overlap and bleed into each other. Thus oddly these facts refer or represent reality and simultaneously are a thing made (factum) that present and hold their own pictorial reality.

Science and Fiction: James Nasmyth's Photographic Images of the Moon

2006 ◽  
Vol 48 (4) ◽  
pp. 595-623 ◽  
Author(s):  
Frances Robertson
Keyword(s):  
The Moon ◽  
Photographic Images

THE ATTRIBUTION OF SOME SIBERIAN BELLS ON THE EXAMPLE OF COMPARISON OF SEPARATE DECORATIVE ELEMENTS

Cultural code ◽  
2020 ◽  
pp. 23-29
Author(s):  
ALEXEY VLADIMIROVICH TALASHKIN ◽  
Keyword(s):  
Chemical Analysis ◽  
Topical Problem ◽  
Photographic Images ◽  
The Creation

The issues of attribution of the bells of Siberian casting when there isn't enough information about the manufacturers themselves and their products is a topical problem. The article tells about similarities of some decorative elements of the bells cast supposedly in the plant of the Ghilevs, the merchants from Tumen. The suppositions based on comparison of the icons are supplemented by the data of chemical analysis of the bells. The creation of a database of photographic images of the bells of Siberian casting is being considered, which will enable to attribute the works of unknown craftsmen.

New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne

2020 ◽  
Vol 2 ◽  
pp. 1-18
Author(s):  
Tuncay Şur ◽  
Betül Yarar
Keyword(s):  
Social Media ◽  
Visual Representation ◽  
Human Beings ◽  
The Public ◽  
Photographic Images ◽  
War Photography ◽  
New Wars ◽  
The Social ◽  
History Of ◽  
The Impact

This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence.  Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.

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