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Ni vu, ni connu. Le camouflage face à l’objectif est une anthropologie historique et artistique du concept de « camouflage ». Si certains dispositifs de camouflage sont bien connus (les militaires reprenant les stratégies visuelles des animaux pour mieux se fondre dans l’environnement), cet ouvrage se propose d’étudier le concept en adoptant une approche large de son sujet : qu’il s’agisse de militaires, de photographies truquées (aujourd’hui passées aux filtres de Photoshop), d’animaux prenant la forme de leur environnement, d’artistes jouant sur les codes de la dissimulation, de taxidermistes étudiant la peau ou encore d’objectifs optiques destinés à la surveillance… « Le camouflage désigne aussi bien ce qui se fond dans le décor que ce qui s’en détache », écrit Hanna Rose Shell à juste titre : c’est dans cet aller-retour entre fond et forme que se dissimulent les structures profondes du maquillage. Le camouflage se déploie dans le temps et dans l’espace, à travers les disciplines et les discours, sous la forme d’une logique adaptative d’esquive de la représentation photographique. Ni vu ni connu explore les principes structurants des pédagogies visuelles et des pratiques matérielles liées à la dissimulation stratégique, de la premire parution de L’Origine des espces de Darwin de Charles Darwin à la fin de la Seconde Guerre mondiale, et dévoile les conditions de production et de diffusion en masse des techniques de camouflage dont l’histoire est consubstantielle de celle de l’un des arts majeurs de la modernité : la photographie.
Photography --- Art and camouflage --- Photographie --- Art et camouflage --- Special effects --- Effets spéciaux --- Photographic reconnaissance systems --- Hidden camera photography --- Effets spéciaux --- Art et camouflage. --- Homotypie. --- Effets spéciaux. --- Photography - Special effects
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Aerial photography in geography --- Photographic interpretation --- Remote sensing --- Aerial photography in geography. --- Photographic interpretation. --- Remote sensing. --- Geografie --- Sociale en economische geografie --- Algemene handboeken en reeksen. --- Remote-sensing imagery --- Remote sensing systems --- Remote terrain sensing --- Sensing, Remote --- Terrain sensing, Remote --- Aerial photogrammetry --- Aerospace telemetry --- Detectors --- Space optics --- Geography, Aerial --- Geography --- Aerial photograph reading --- Interpretation, Photographic --- Photo interpretation --- Aerial photography --- Photogrammetric pictures --- Photographic reconnaissance systems --- Photographic surveying --- Photography --- Scientific applications --- Photographie aerienne --- Photointerpretation et teledetection
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Photographic interpretation. --- Aerial photography. --- Remote sensing. --- Photo-interprétation --- Photographie aérienne --- Télédétection --- Photographic interpretation --- Aerial photography --- Remote sensing --- 528.5 --- Remote-sensing imagery --- Remote sensing systems --- Remote terrain sensing --- Sensing, Remote --- Terrain sensing, Remote --- Aerial photogrammetry --- Aerospace telemetry --- Detectors --- Space optics --- Aerophotography --- Air photography --- Airborne photography --- Balloon photography --- Photography, Aerial --- Photography --- Aerial photograph reading --- Interpretation, Photographic --- Photo interpretation --- Photogrammetric pictures --- Photographic reconnaissance systems --- Photographic surveying --- Geodetic instruments and equipment --- Scientific applications --- Environmental Sciences and Forestry. Remote Sensing and Geographical Information Systems --- Remote Sensing --- Remote Sensing. --- 528.5 Geodetic instruments and equipment --- Photo-interprétation --- Photographie aérienne --- Télédétection
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Camouflage is an adaptive logic of escape from photographic representation. In Hide and Seek, Hanna Rose Shell traces the evolution of camouflage as it developed in counterpoint to technological advances in photography, innovations in warfare, and as-yet-unsolved mysteries of natural history. Today camouflage is commonly thought of as a textile pattern of interlocking greens and browns. But in Hide and Seek it reveals itself as much more a set of institutional structures, mixed-media art practices, and permutations of subjectivity, that emerged over the course of the twentieth century in environments increasingly mediated by photographic and cinematic intervention. Through a series of fascinating case studies, Shell uncovers three conceptually linked species of photographic camouflage - the static, the serial, and the dynamic - and shows how each not only reflects the type of photographic reconnaissance it was meant to counter, but also contains aspects of the previously developed species. Hide and Seek develops its argument from the material forms camouflage has left behind - photomontages, paper blankets, stuffed rabbits, ghillie suits, and instructional films.
Photography --- Photographic reconnaissance systems --- Hidden camera photography --- Art and camouflage --- Photographie --- Reconnaissance photographique --- Photographie caméra cachée --- Art et camouflage --- Special effects. --- Effets spéciaux --- 77.01 --- fotografie --- kunst --- camouflage --- film --- projecties --- mimesis --- onzichtbaarheid --- speciale effecten --- Thayer Abbott --- natuurkunde --- zoölogie --- ornithologie --- militaire technologie --- wereldoorlog I --- twintigste eeuw --- 7.01 --- Fotografie--Semiotiek van de fotografie. Theorie --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- Photographie caméra cachée --- Effets spéciaux --- Trick photography --- Photoreconnaissance systems --- Reconnaissance, Photographic --- Aerial photography --- Aerial reconnaissance --- Military reconnaissance --- Space photography --- Camouflage and art --- Camouflage (Biology) --- Camouflage (Military science) --- Special effects --- Masque --- Histoire de la photographie --- Rapport culture-nature
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