Education Reform as Moral Disengagement- the Racist Subtext of th
➤ Gửi thông báo lỗi ⚠️ Báo cáo tài liệu vi phạmNội dung chi tiết: Education Reform as Moral Disengagement- the Racist Subtext of th
Education Reform as Moral Disengagement- the Racist Subtext of th
Digital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of th a comparative analysis(Jim Cummins)(Waterford Institute of Technology)Digital photography versus analogue photography2Table of ContentIntroduction3Historical Context18Methodology22Investigation23Analysis and recommendations40Conclusion45Digital photography versus analogue photography3In this presen Education Reform as Moral Disengagement- the Racist Subtext of tht age we are constantly being bombarded with new representational electronic information and digital tools. These have dramatically altered the way inEducation Reform as Moral Disengagement- the Racist Subtext of th
which we perceive art. photography and society, and call into question the way we aquire knowledge and how we represent it. The development in new teDigital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of thgh history we can see that any major changes in the arts have been brought about cultural changes happening at that period. “ The history of even- art form shows critical epochs in which certain art forms aspire to effects which could be fully obtained only with a changed technical standards, that i Education Reform as Moral Disengagement- the Racist Subtext of ths to say. in new art forms.1” (Waller Benjamin. 1936) By the midnineteenth century, an artist could choose from among charcoal, ink wash, watercolour,Education Reform as Moral Disengagement- the Racist Subtext of th
oil paint and etching for example, all media available to previous generations, but he or she could also choose to make a daguerreotype or calotype, Digital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of thd to it beliefs, practices and conventions that affect our understanding and reading of the images produced, and that the artist employs to achieve his or her desired effects. The development of a new medium can change the way we see. and can thus change our readings of works produced in those older Education Reform as Moral Disengagement- the Racist Subtext of th media. Once beliefs and practices have altered, artists may find that certain types of effects can no longer be obtained.To illustrate this point I wEducation Reform as Moral Disengagement- the Racist Subtext of th
ill look at the most recent developments of photography, production of digital imagery. I will show that while the technologies of digital imagery areDigital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of thy versus analogue photography4are also bringing with them an altered attitude. This change in attitude may ultimately diminish some of the powers to which photography traditionally laid claim.The Pow ers and Limitations of PhotographyBefore we consider the impact of digital photography, we must unde Education Reform as Moral Disengagement- the Racist Subtext of thrstand the ways in which photography functioned before this new technology was introduced. More specifically, we must look al the features that have dEducation Reform as Moral Disengagement- the Racist Subtext of th
istinguished photography’s use in the production of images. Towards this end. it is helpful to consider the way in which photography has traditionallyDigital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of the of production, a new-standard of precision and accuracy, and a more informal and experimental approach to composition and subject matter. But perhaps more distinctive was the perceived status of the photographic image, a status derived from its mechanical nature of its production. ’A photograph ha Education Reform as Moral Disengagement- the Racist Subtext of ths a special connection with reality and an independence from the Photographer's intentions, l or example, if there is an object or a person in a photoEducation Reform as Moral Disengagement- the Racist Subtext of th
graph, we assume that they must have been in front of the camera, since the object or person cannot just be a product of the photographer’s imaginatioDigital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of thesence of the subject for its production, while a panning could depend wholly on the artist’s imagination. This close connection between what the photograph shows and what exists make a photograph of a subject more pleasing or upsetting than a painting or drawing of the• William J. Mitchell (1992), Education Reform as Moral Disengagement- the Racist Subtext of thThe Reconstructed Eye, Cambridge, Mass.. MIT Press, 13.Digital photography versus analogue photography5same subject.Most photography is categorised asEducation Reform as Moral Disengagement- the Racist Subtext of th
documentation or duplication and these can sometimes be at odds with each other. For example a photographer when taking a photograph of a landscape cDigital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of thres and this is thought to damage its documentary status. Despite this intervention our faith in the documentary character of the photograph is not lost. Not only do we believe that the photograph of the scene or object is ev idcncc of its existence . but we also believe that is what it looked like. Education Reform as Moral Disengagement- the Racist Subtext of th However this intervention could have taken days to produce, and needed great darkroom skill to create a believable image. With the introduction of diEducation Reform as Moral Disengagement- the Racist Subtext of th
gital imaging software and digital cameras this process can be achieved effortlessly and seamlessly making it impossible to detect.In my photograph. SDigital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of thboy is transparent, but because we arc so used to accepting photographs as guides to the way things appear it is hard to disbelieve it. The way in which we perceive the distortions of a photograph play’s an important role in its aesthetic impact. We can sec this by considering some examples of photo Education Reform as Moral Disengagement- the Racist Subtext of thgraphic transformations, and comparing them with corresponding examples from painting.Tn Imogen Cunningham’s Leaf Partem (1929). (Fig 2). the croppingEducation Reform as Moral Disengagement- the Racist Subtext of th
, lighting, two dimensionality of the photograph, and the use of black and white lead to the defamiliarisation of a common object - a houseplant. The Digital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of thand the shadows themselves, thrown against the wall, create a confusion of positive and negative space. The close-up nature of the image prevents US from getting our bearings, or obtaining a frame of reference. We are shown a house plant in a way that we would never see it in real life.Painting has Education Reform as Moral Disengagement- the Racist Subtext of thalso engaged in the defamiliarisalion of common objects. 1 he difference between its use in painting and photography is not just in terms of the materEducation Reform as Moral Disengagement- the Racist Subtext of th
ials or processes used, but in the impact itself. If one looks at a Picasso painting, or a nude by Matisse for example, these effects arc attributed tDigital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Education Reform as Moral Disengagement- the Racist Subtext of th 1 hey can analyse an object into different planes, or show it simultaneously from different perspectives. The strangeness is seen as resulting from the artist's imaginative rendering. The resulting image is seen as diverging from what we would sec in the real world. “The dclarailiarisation of photo Education Reform as Moral Disengagement- the Racist Subtext of thgraphy is read otherwise. for despite our knowledge of the ways in which photographs can mislead and distort, we nevertheless irresistibly sec the phoEducation Reform as Moral Disengagement- the Racist Subtext of th
tograph as faithfully recording for US the appearances of the world.”' A photograph is seen as a means of objective recording, the photographer is notDigital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography: Digital photography versus analogue photography1Running heading: DIGITAL PHOTOGRAPHY VERSUS ANALOGUE PHOTOGRAPHY.Digital versus Analogue Photography:Gọi ngay
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