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ホワイトヘッドの抱握理論の写真への適用 : 命題的感受としての被写体とシャッターチャンスと写真
https://kougei.repo.nii.ac.jp/records/1904
https://kougei.repo.nii.ac.jp/records/19041fd614b9-ab2d-4d89-9457-76e532dc7456
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
Vol.23 5 (1.2 MB)
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| Item type | [ELS]紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2017-06-30 | |||||
| タイトル | ||||||
| タイトル | ホワイトヘッドの抱握理論の写真への適用 : 命題的感受としての被写体とシャッターチャンスと写真 | |||||
| タイトル | ||||||
| タイトル | Applying the Theory of Prehensions by Whitehead to Photography : Subjects and Good Opportunities and Photographs as Propositional Feelings | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 写真 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | ホワイトヘッド | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 抱握 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 命題 | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 雑誌書誌ID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN10507753 | |||||
| ページ属性 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | P | |||||
| 論文名よみ | ||||||
| タイトル | ホワイトヘッド ノ ホウアク リロン ノ シャシン エノ テキヨウ メイダイテキ カンジュ ト シテ ノ ヒシャタイ ト シャッター チャンス ト シャシン | |||||
| 著者 |
圓井, 義典
× 圓井, 義典× MARUI, Yoshinori |
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| 著者所属(日) | ||||||
| 東京工芸大学芸術学部写真学科 | ||||||
| 著者所属(英) | ||||||
| en | ||||||
| Department of Photography, Faculty of Arts, Tokyo Polytechnic University | ||||||
| 記事種別(日) | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 論文 | |||||
| 記事種別(英) | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | Paper | |||||
| 抄録(英) | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | This paper aims to clarify the meaning of “photography” using the theory of prehensions by Alfred North Whitehead. It could be said that “photography” was generalized and became a theoretical matter in the field of art theory or media theory in the 1960s. However, the goal of discussing photography in this context has not been achieved. Thus, the author attempts to reconsider “photography” on the basis of individual experience as a person who takes or views photographs. When a person expects to photograph an event, he or she considers two aspects: “subjects (that are photographed)” and “good opportunities (for the photo shoot)”. These aspects mean that the subject aims to prehend some data, as propositional feelings, with the datum “photography”. If a subject similarly prehends as the datum “a photo” from another datum, which may be prehended as “a pattern” on a paper or monitor, this datum is connected with the datum “photography” as a potentiality. Moreover, any datum felt by a subject is never primarily the same in the theory of prehensions. Although the technology of making still pictures has completely shifted from analog to digital, the datum “photography” continues to exist even today. Thus, it could be said that the datum “photography” comprises multiple discontinuous data – and not merely the experiences of technology – prehended as a single continuous datum by a subject. | |||||
| 書誌情報 |
東京工芸大学芸術学部紀要 en : Bulletin, Faculty of Arts, Tokyo Institute of Polytechnics 巻 23, p. 1-10, 発行日 2017 |
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| 表示順 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 5 | |||||
| アクセション番号 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | Vol.23 5 | |||||
