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7-1-1987
Society bits
Jose Enrique Lorca
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Recommended Citation
SOCIETY
BITS
by
Jos~
Henrique Ferreira Lorca
Subm
itted
in Partial Fulfillment of the
Requirement
s
for the Degree
MASTER OF FINE ARTS
MFA PHOTOGRAPHY PROGRAM
SCHOOL OF PHOTOGRAPHIC ARTS AND SCIENCES
ROCHESTER INSTITUTE OF TECHNOLOGY
ROCHESTER, NEW YORK
July,
1987
Dr. Richard D
.
Zakia
,
Chairperson
Profess
or
Sc
hoo l
o
f Ph
otographic
Art
s a
n d
Sc
i e nce s
Roche
ster
In
st itute
of Te
chnology
Hr
.
Andrew Davidhazy
Pr
ofes sor
S
c hoo l
of Phot
ographi c
Arts and
Scie
nces
R
o chester
Institute of Te
chnol ogy
Mr
.
Murray S. Patton
I,
Jos
e Henr
ique Fe
r r e i r a
Lo
r
ca
, pr
ef er
t
o be
co
n
t
ac te d
ea
ch
time
a
request f
or
repr
odu c tion is
mad
e .
I can
b
e
reached at the f
ollowing
addr
e s s.
Rua Gr
e gori o S
e r rao.
2
18
S
ao Pau
l o,
SP 041
0
6
DEDICATION
I
dedicate
this
thesis
to
my
wifeMariana
andmy
daughter Andrea
whoselove,
company,
andfriendship
were
extremely
valuableproviding
methe
necessary
support
throughout
this
process.3-This
project was realizedthanks
to
ascholarship
grantprovided
by:
-CAPES
-Coodemacao
de
Aperf
eicoamentode
Pessoal
de
Nivel
Superior,
Minister!
da
Educacao,
Brazil
-LASPAU
-Latin
American
Scholarship
Program
ofAmerican
Universities,
USA
INDEX
I
.Introduction
7
II.
The
Subject
9
III.
The
Photographic
Images
14
IV.
The
Computer
Images
19
V
.The
Photomontage
22
VI
.The
Exhibition
26
VII
.Discussion
27
VIII.
Conclusion
29
IX.
Bibliography
31
Apendix
A
Thesis
Proposal
Apendix
B
Aknowledgements
andStatement
Copy
slides ofthe
images
atthe
end ofthe
LIST
OF
FIGURES
1
-Photomontage
Layout
13
2
-Normal
Perspective
17
3
-Altered
Perspective
18
4
-Gears
21
5
-Rubylith Mask
24
6
J-
IIS1M0HQN
Being
the
son of a photographerI
have
been
involved
withphotography
sinceI
was akid.
In
1977,
I
graduatedin
Civil
Engineering.
From
1978
to
1985
I
workedin
Sao
Paulo,
Brazil,
as a commercial photographerdoing
advertising
and corporate
work,
and wheneverI
had
time
photographing
doing
my
own work.Going
back
to
school after seven years wasboth
difficult
andfruitful.
Difficult
because
ofthe
readaptation
to
schoolrules,
andfruitful
because
the
school
is
still one ofthe
best
environmentsfor
study
and research.
Until
1985
most ofmy
personal photographicwork
followed
the
tradition
of straightphotography
being
focused
mainly
onthe
urbanlandscape.
I
felt
the
need of
experimenting
withsomething
elsebesides
straight photography,
but
I
neededthe
time
to
researchand a greater exposure
to
non-commercialphotography
and photographers as well.
The
time
I
have
spent atRIT
has
provided methe
opportunity
for
this.
This
thesis
is
the
result of along
processthat
started as soon asI
was acceptedto
the
MFA
Early
in
the
process,
I
decided
that
the
images
ofmy
thesis
should not address or reflectany
particular
culture,
that
they
shouldbe
asworldly
aspossible and
function
almostthe
sameway
here
in
the
United
States,
in
Brazil,
or elsewhere.1Since
I
amfrom Brazil
and afterconcluding
this
work
in
the
United
States
I
willbe
returning
to
my
country.
I
think
it
wouldbe
morefruitful
to
meto
have
abody
of workthat
canbe
presented eitherhere
orthere
and notbe
considered asaddressing
any
specific culture.I
was also careful onselecting
the
technical
methods and equipmentused,
n.
THi^sjSJjgi
The
predominant subjectin
my
previousphotographic work
is
the
Urban
Landscape
and uponanalyzing
it
closer,
I
feel
that
it
deals
with asomewhat negative aspect within
the
urban environment.A
further
reflection onthis
made medecide
to
use as subjectthe
relationship
between
man,
environment,
andtechnology,
andin
my
mindthis
relationship
is
somewhatdetrimental
in
that
it
forms
avicious cycle: man creates
technology
which pollutesthe
environment which pollutes man who createstechnology
which pollutesthe
environment...Despite
this
subjectbeing
a polemicone,
I
did
not wantto
portray
the
immediate
reality
orto
make an apparent social or political statement.
I
wasnot
going
to
do
any
documentary
work atall,
but
createa
fictional
workbased
onthis.
It
wouldbe
product ofmy
imagination
deriving
from
fantasy
visions or evendreams
.What
makesit
even morefictional
is
that
these
fantasies
anddreams
are not relatedto
the
present
time,
but
to
afuture
time
where man andThis
approach gave methe
freedom
I
neededin
the
creative process anddid
not restrainmy
workto
show evidence or
testimony
ofthis
relationship.There
was also anotherfactor
that
influenced
me on
the
choice ofthis
subject andthat
wasthe
technical
procedureI
wantedto
use.After
experimenting
with varioustechniques
and approaches
to
photography,
andreviewing
the
worksof some renowned
photographers,
I
wasspecially
attractedto
color,
asI
have
alwaysbeen,
andto
photomontage,
concluding
that
they
would constitutethe
basis
for
my
thesis.
Through
photomontage we can manipulatephotographs
physically
making
them
carry
and embedmeaning
beneath
the
surface.What
we see mightbe
neither real nor an apparent orimmediate
reality.This
had
a greatinfluence
in
my
decision.
Having
chosen a subject andmy
approachto
exploring
it,
and alsohaving
decided
to
use photomontage and color was abeginning.
I
stillhad
to
decide
whatkind
ofimages
and photographic processto
use
in
the
photomontage.I
wasintroduced
to
Computer
Graphics
andI
found
it
avery
powerful andexciting
mediumfor
dealing
withimages.
The
fact
that
anyone candraw
withphotographic camera
it
is
just
anothertool
for
the
artist.
In
terms
of shape andcolor,
the
images
that
can
be
created with a computer arelimited
only
by
the
artist's
imagination.
So
I
finally
decided
to
incorporate
Computer
Graphics
to
my
workdoing
a colorphotomontage,
in
the
darkroom^
, with photographicimages
and computerimages^
.
Therefore
the
title,
"SOCIETY
BITS"* .My
idea
for
the
final
images
wasthat
each ofthem
wouldbe
a photomontage wereI
would assemble acomputer
image
and one or more photographicimages
to
form
a composite photographicimage.
The
computerimage
would
take
the
full
size ofthe
final
image
and wouldfunction
as abackground.
It
would encapsulatethe
photographic
images,
which,
in
a smallersize,
wouldbe
used
like
asif
displays
orbillboards.
I
wantedto
give
them
a connotation ofsomething
that
is
being
2
This
couldbe
alsodone
in
the
computerby
digitizing
the
photographicimages
into
the
computer with a special camera connectedto
it,
but
this
wouldcertainly
causethe
photographicimages
to
loose
qualitiesthat
areinherent
to
them,
andthe
wholeimage
would endup
being
a computerimage.
3
I
referto
these
images
as computerimages
because
they
were created onthe
computerbut
in
their
final
form
they
are photographicimages
as wellsince
I
transferred
them
to
film
by
photographing
the
screen ofthe
computerdisplay.
4
BIT,
noun,
1
a small piece orquantity
2
shorttime
3
the
starndard measure of computerinformation.
displayed,
arecorded
image.
Figure
1
shows a photcIII.
THE
=SPJpJRAPlICIMAGES
I
startedphotographing
as soon asI
decided
I
would create a series of photomontagesdealing
withman and environment.
For
approximately
seven months, whereverI
went
I
carriedmy
camera with me5.
I
was notlooking
for
particular situations or great shotsI
wasjust
shooting
whateverI
found
interesting.
I
shot urban andrural
landscapes,
peoplein
various situations andenvironments.
I
especially
made use oflow
shutterspeeds,
out offocus
settings,
and mixedlighting
to
obtain
blurred
andunsharp
images
to
suggestmotion,
dynamism,
and unbalance.All
ofthese
I
thought
wouldcontribute
to
the
meaning
ofthe
final
images
and wouldtranslate
to
a processthat
is
unstable and not yetfinished.
After
seven monthsI
had
enoughimages
approximately
2,000
-to
continueto
the
next step.6I
then
wentthrough
allthese
images
andcarefully
selectedthe
onesthat
I
thought
wouldfit
my
purposes.
In
afirst
selectionI
chose about120
ofthem,
and againI
wentthrough
these
120
images
more5
All
the
photographicimages
were shot afterJuly
1985,
and about90%
ofthem
were shotfrom
May
1986
to
December
1986.
6
I
shot on colortransparency
and negativefilm
andcarefully
and with atighter
criteria,
selecting
60
ofthem.
In
the
final
images
I
wantedto
givethe
photographic
images
a connotation ofsomething
that
is
being
displayed.
If
I
usedthem
straightin
the
photomontage
I
would not achievethis
because
they
would
be
seenjust
asif
they
were cut and pasted onthe
computerimages.
I
neededto
do
something
else withthem
and whatI
did
wasto
changethe
perspective ofthem
sothe
viewer would notlook
atthe
scenefrom
the
same angle of view as
the
cameradid
whenthe
photograph was taken7 .
In
orderto
changethe
perspective of
the
photographsI
would make a print ofthem
andthen
reproducethis
print with a camera not ata right angle
(Figures
2
and3).
The
resulting
photograph would not
be
an original representation ofthe
sceneanymore,
but
adistorted
reproduction of aphotograph.
I
made a11x14"
color print of each of
the
sixty
photographsI
had
previously
selected.I
then
7
"... The
perspective representation correspondsexactly
to
the
opticalimpression
givenby
the
object
for
a certain position ofthe
eyein
front
ofthe
plane of projection(picture).
When
one viewsthe
picture onits
own,
but
from
adifferent
centre,
then
one receives visualimpressions
whichthe
objectitself
would not give...".'Albert
Einstein',
from
Pirenne,
M.
Optics,
Painting
andPhotography.
Cambridge;
Cambridge
University
Press,
1970,
p.99.
went
through
them
making
anotherselection,
but
this
time
taking
in
consideration which photographs would gowell
together
in
the
same photomontage.I
selected34
of
the
images
groupedthem
in
17
pairs.So,
atthis
point
I
knew
whichtwo
photographs wouldbe
usedtogether
in
combination with a computer-image.My
nextstep
wasto
makethe
reproduction ofthe
prints and changethe
perspective ofthe
images.
Here
I
couldbegin
playing
withthe
proportionthat
the
photographic
images
wouldhave
in
the
final
image.
In
order
to
minimizethe
darkroom
workI
decided
that
I
would make
these
reproductions on4x5"
color
transparencies
trying
to
givethem
the
exactly
proportion
they
wouldhave
in
the
final
compositeimage.
I
reproducedthe
17
pairs of printsgiving
them
different
perspectives anddistortion;
changing
the
camera angle and sometimes
changing
the
cameralens,
using
a wide-anglelens
to
greatly
distort
the
images.
The
fact
that
my
original photographs werereproduced resulted also
in
anincrease
of contrast andcolor saturation which contributed
to
the
intention
ofthe
final
images.
Now
having
these
pairs of photographicimages,
my
nextstep
wasto
createthe
computerimage
that
wouldbe
assembled with each ofthem
to
form
the
IV
.THE COMPUTER IMAGES
As
I
saidbefore,
the
computerimages
wouldtake
the
full
size ofthe
final
image
functioning
as abackground
andencapsulating
the
photographicimages.
They
would symbolizetechnology
andthe
technological
environment.
I
wantedto
create asymbol,
anicon,
that
would
be
presentin
every
image,
and would somehowcreate a
link
between
them.
After
somethinking
I
cameup
withthe
form
of a"gear"
(Figure
4).
Then
I
sat onthe
computerdefining
anddrawing
its
form,
andstoring
it
to
be
used on allthe
images.
To
create each computer image8I
selectedthe
photographic
images
that
wouldbe
assembledtogether
with
the
computerimage.
These
photographicimages
werenot
the
original onesbut
the
reproductionsI
made.Next,
sincethese
images
werealready
in
the
approximately proportion
they
wouldhave
in
the
final
image,
I
transferred
this
proportionto
the
computer soI
couldhave
anidea
ofthe
areathey
wouldoccupy
in
relation
to
the
computerimage.
After
analyzing
the
photographic
images
for
a whileI
thought
aboutthe
8
For
creatingthe
computerimages
I
used aPersonal
Computer,
three
different
Software
Paint
Systems
and some programs
I
developed
myself(this
mainly
to
do
color manipulationsthat
were not possiblewith
the
paint systems).shape and color of
the
computerimage,
coming
up
with arough
idea
for
it.
Finally,
I
startedtransferring
this
idea
to
the
computer,
experimenting
variations ofit,
and while
playing
in
the
computer newideas
cameup
andfor
many
times
the
final
computerimage
wasvery
different
from
my
originalidea
for
it.
Each
computerimage
took
mefrom
three
to
sixdays
to
complete.I
lived
with and worked on eachimage
untilit
satisfiedme.
Then
I
transferred
the
computerimage
to
film
by
photographing
the
screen ofthe
computerdisplay
on8x10"
V.
TJE,
PiOIQMQNTAGE
Having
the
photographicimages
andthe
computer
images
that
wereto
be
assembledtogether
in
afinal
compositeimage,
I
began
working
onthe
photomontage.
First,
I
had
to
makedrop-out
anddrop-in
masks.
Using
a pin-registered systemI
cut a mask onrubylith.
Then
by
contactI
exposed,
through
this
rubylith
mask,
two
sheets oflitho
film
thus
obtaining
two
drop-in
masks.One
ofthe
drop-in
masks wasgoing
to
be
usedfor
the
photo-montage.I
modifiedthe
contour of
the
otherdrop-in
mask alittle,
so whenexposing
through
it
I
obtained adrop-out
maskthat
did
not matchperfectly
the
drop-in
maskthat
wasgoing
to
be
used withit
in
the
photomontage.Therefore,
this
resulted,
in
the
final
compositeimage,
in
an area ofoverlap
between
the
photographicimages
andthe
computer
image.
(Figures
5
and6)
With
the
masksready
andusing
an8x10"
enlarger with a pin-registered negative carrier
I
printed
the
images
on16x20"
color reversal paper.
The
paper received a
double
exposure,
in
the
first
oneI
exposed
the
8x10"
transparency
ofthe
computerimage
using
the
drop-out
mask sothe
area reservedfor
the
Next,
using
the
drop-in
mask sothe
area previouslyexposed would not
be
exposedagain,
I
exposedthe
photographic
images
assembledtogether
in
a plate ofclear
film.
Using
this
procedureI
made allthe
printing(eleven
different
final
images)
on16x10"
color
reversal paper.
DROP-IN
MASK
(used
with
photographic
images)
Litho
Film
Black
Area
Clear
Areas
DROF=OUT MASK
(used
with
computer
image)
Litho
Film
Clear
Area
Black
_
Arc*
*
Image
is
exposed
only through
the
clear
areas
of
the
masks.
VI
.THE
;
EffllllTIpN
I
made atotal
of eleven16x20"
images.
These
images
were matted on20x24"
black
matboard.
I
used a matboard
which wasblack
on one sideand white on
the
other sothat
whenI
cutthe
mats,
I
got a
thin
white stripecontouring
the
images.
Then
I
framed
them
withblack
anodized aluminumframes.
The
images
were exhibited atthe
Photo
Gallery
ofthe
Rochester
Institute
ofTechnology,
Rochester,
New
York,
from
March
28
to
April
3,
1987,
and a
Thesis
Sharing
took
place onApril
2,
1987.
The
sequence ofthe
images
in
the
gallery
wasthe
same asthe
sequence ofthe
slides atthe
end ofVII.
piSCUSSIpN
Although
it
seemsthat
the
work went straightand
smoothly,
it
did
not.When
I
began
working
withthe
computerimages
I
had
seventeen pairs of photographicimages.
As
workprogressed
these
pairs were changed.Images
that
weresupposed
to
be
together
endup
in
different
compositesand some
"selected"
images
were not used at all.I
alsohad
to
goback
to
my
archives and pull outimages
that
were not
in
my
previous selection and evenhad
to
shoottwo
newimages
whichI
felt
were needed.Some
ofthe
images
had.
to
be
reproduced againbecause
asI
changedmy
mind whenthe
previous reproductiondid
notfulfill
my
intention
anymore.I
did
almost allthe
shooting
ofthe
photographic
images
first
andthen
I
began
working
in
the
computerimages,
but
I
did
notdo
allthe
computerimages
before
doing
the
photomontage.When
I
finished
the
first
computerimage
I
alsodid
the
first
photomontage
(slide
1).
This
gave me a goodidea
ofhow
the
images
wouldlook
whentransferred
to
a print.Then
I
wentalong
doing
two
orthree
computerimages
at atime
andthe
respective photomontages.There
werethree
main stepsin
my
work:the
shooting
ofthe
photographs,the
selection andreproduction of
them,
andthe
creation ofthe
computerimages.
In
the
first
step
I
hardly
perceivedthe
effortI
wasgiving
to
it,
but
I
can still rememberthe
hours
of work
I
spent onthe
second andthird
steps.Sometimes
I
would stare atmy
photographs and atthe
computer
display
for
hours
thinking
about whatI
waslooking
for.
This
was avery
delicate
process.For
many
times
it
really
seemedthat
I
wasdreaming
awakebeing
mentally
andspiritually
in
a placedifferent
than
the
one
I
wasin
physically.This
oftenhappens
with mewhen
I
get sodeeply
involved
in
my
thoughts
that
I
kind
ofdisconnect
from
the
worldthat
surrounds me.(Many
times
my
wife getsangry
at mebecause
ofthis,
people would
talk
to
me andI
would not noticeit,
but
VIII.
CONCLUSION
Each
ofthe
final
images
has
its
ownmeaning
tied
together
aroundthe
subject.The
computerimages,
asI
mentionedbefore,
served as a
background
which encapsulatesthe
photographic
images.
Together
they
representtechnology
and
the
technological
environment.Their
form
is
very
geometric and
they
are richin
color.Although
being
pleasant
they
have
nocontent,
they
do
nothave
alife
of
their
own,
they
do
nottransmit
the
tension
anddynamism
that
most ofthe
photographicimages
do,
andthey
are meantto
be
this
way.On
the
otherhand,
the
photographicimages
address man and
nature,
life
anddeath,
purity
anddegradation.
There
is
always arelationship
between
the
photographic
images
in
the
samecomposite,
they
arein
agreement or
dissonance,
but
they
are related.The
photographicimages
arejust
ordinary
photographs
that
would nothave
any
greatersignificance
if
displayed
oneby
one.The
sameis
true
of
the
computerimages.
But,
whenthe
images
arebrought
together
in
the
same composite,they
allcontribute
to
the
content ofthe
final
image.
The
images
canbe
appreciatedjust
for
their
richness of
color,
form,
orintrinsic
meaning.However,
I
let
the
viewer
establish,
or notestablish,
the
link
between
the
images
and
the
realBIBLIQGRjyPHY
-Capers,
Roberta M.
andMaddox,
Jerrold,
Images
andImagination
-an
introduction
to
art,
The
Ronald
Press,
NY,
1965.
-Enyeart,
James
L.
,Jerry
N.
Uelsmann
-Twenty-five
Years:
A
Retrospective,
New York Graphic
Society,
NY,
1982.
-Enyeart,
James
L.
,Jerry
N.
Uelsmann:
Photographs
from
1975-79,
Chicago
Center
for
Contemporary Photography,
IL,
1980.
-Euclaire,
Sally,
The
New Color
Photography,
Abbeville
Press,
NY,
1981.
-Haas,
Ernst,
The
Creation,
Viking Press,
NY,
1971.
-Halsman,
Philippe,
Halsman
onthe
Creation
ofPhotographic
Ideas,
Ziff-Davis
Publishing Co,
NY,
1961.
-Jankel,
Annabel
andMorton,
Rocky,
Creative
Computer
Graphics,
Cambridge
University Press,
MA,
1984.
-Kerlow,
Isaac
V.
andRosebush,
Judson,
Computer
Graphics
for
Designers
andArtists,
Van
Nostrand
Reinhold
Co.
,NY,
1986.
-Eastman
Kodak
Co.
,Copying
andDuplicating
in
Black-and-White and
Color,
Publication
M-l,
Rochester,
NY,
1985.
-Lewell,
John,
Computer
Graphics
-A
Survey
ofCurrent
Techniques
andApplications,
Van
Nostrand
Reinhold,
NY,
1985.
Pirenne,
M.
,Optics,
Painting
andPhotography,
Cambridge
University
Press,
MA,
1970.
-Prueitt,
Melvin
L.,
Art
andThe
Computer,
McGraw-Hill,
Inc.
,NY,
1984.
-Rosenblum,
Naomi,
A World
History
ofPhotography,
Abbeville
Press,
NY,
1981.
-Rothschild,
Norman,
The Metaphorical
Eye,
Amphoto,
NY,
1976.
-Scott,
Joan
(editor)
andThe
Third
Coast
Computer
Graphics
Group,
Computergraphia
-New Visions
ofForm,
Fantasy,
andFunction,
Gulf
Publishing
Co.,
TX,
1984.
-Stangos,
Nikos,
Concepts
ofModern
Art,
Harper
andRow,
NY,
1981.
-Stein,
Sally,
Harry
Callaham:
Photographs
in
Color,
1946
-1978,
Center
for
Creative
Photography,
University
ofArizona,
AR,
1980.
-Stroebel,
Leslie,
Todd,
Hollis,
andZakia,
Richard
D.
,Visual
Concepts
for
Photographers,
Focal
Press
Inc.
,NY,
1980.
Szarkowski,
John,
Mirrors
andWindows:
American
Photography
Since
1960,
Museum
ofModern
Art
ofNew
-Tausk,
Petr,
Photography
in
the
Twentieth
Century,
Focal
Press,
London,
1981.
-White,
Minor,
Mirrors Messages
andManifestations,
Aperture,
Inc.,
NY,
1982.
APENDIX
A
Thesis
Proposal
SOCIETY
BITS
by
Jose
Henrique
Ferreira
Lorca
Submitted
in Partial Fulfillment
ofthe
Requirements
for
the
Degree
MASTER OF FINE ARTS
MFA PHOTOGRAPHY PROGRAM
SCHOOL
OF PHOTOGRAPHIC
ARTS AND SCIENCES
ROCHESTER
INSTITUTE
OF
TECHNOLOGY
ROCHESTER,
NEW
YORK
THESIS.
BOARD
Dr
Richard
D.,._J5ajkj.<3
. chairmanProfessor
School
ofPhotographic
Arts
andSciences
Rochester
Institute
ofTechnology
Rochester,
NY
Mr:.,...._
Andrew.JDa.yId.hazy
Professor
School
ofPhotographic
Arts
andSciences
Rochester
Institute
ofTechnology
Rochester,
NY
Mr,
Murray
_._
Patton
Coordinator,
Dye
Transfer
Eastman
Kodak
Company
STATEMENT,,
OF
PURPOSE
To
portray
my
dreamy
visions andfantasies
about
the
detrimental
interrelation
of
man,
environment,
andtechnology,
andthe
effects of oneupon
the
other.I
have
always enjoyedthe
manipulation ofphotographs, and
the
embededmeaning
that
a photographcarries
beneath
its
surface.The
fact
that
a photograph canbe
manipulatedphysically
-what we often see
is
neither real nor animmediate
or apparentreality
-and
that
it
canbe
usedas a
methaphor,
had
a greatinfluence
in
my
decision
onchoosing
the
pathI
willfollow
in
my
thesis.
Most
ofthe
final
images
willbe
constitutedby
three
primary
images,
each ofthem
within a certaincontext.
First
the
symbolic portrayal ofthe
human
being
representinghis
effects onthe
environment andor
the
effects ofthe
environment onhim,
secondly
the
social environment, and
finally
the
presence oftechnology
and or"machine" .
I
was somehowinfluenced
by
the
works ofWhite,
the
use ofthe
photograph as ametaphor,
andErnst
Haas,
the
use ofcolor,
andthe
works of some ofRIT's
faculty.
At
this
point,
trhoughout
the
life
experienceI
had
before
coming
to
RIT,
andthe
experienceI
achieved
here,
a new andfresh
environment whereI
wasexposed
to
a culturedifferent
than
mine,
I
considermyself prepared
to
set sail andtake
this
projectforward.
Pj|QEpjRE
The
mostimportant
composition elements ofmy
final
images
willbe
Multiple
Imagery
andthe
use ofColor.
Some
images
may
notbe
crisply
sharp
or evensharp,
color renditionmay
be
poor orexagerated,
the
composition of
the
elementsin
the
image
may
be
pleasant or unpleasant, and
the
size ofthe
images
may
vary.
These
elements willbe
the
onesthat
willbuild
up
the
reasoning,the
interpretation
ofmy
visionembeded
in
the
image.
Among
the
techniques
I
intend
to
use are:strip
photography,blurr,
montage,
and computer
m|EF,JIlLipjRAPH:Y
-Enyeart,
James
L.
,Jerry
N.
Uelsmann
-Twenty-five
Years:
A
Retrospective,
New
York:
New York Graphic
Society,
1982.
-Enyeart,
James
L.
,Jerry
N.
Uelsmann:
Photographs
from
1975-79,
Illinois:
Chicago
Center
for
Contemporary
Photography,
1980.
-Szarkowski,
John,
Mirrors
andWindows:
American
Photography
Since
1960,
New
York:
Museum
ofModern
Art,
1978.
-Haas,
Ernst,
The
Creation,
New
York:
Viking Press,
1971.
-Rosenblum,
Naomi,
A
World
History
ofPhotography,
New
York:
Abbeville
Press,
1984.
-Stangos,
Nikos,
Concepts
ofModern
Art,
New
York:
Harper
andRow,
1981.
-Euclaire,
Sally,
The
New Color
Photography,
New
York:
Abbeville
Press,
1981.
-Rothschild,
Norman,
The Metaphorical
Eye,
New
York:
APENDIX
B
ACKNOWLEDGEMENTS
AND
STATEMENT
Thesis
Title:
Society
Bits
Thesis
Board:
-Dr.Richard
D.
Zakia,
chairperson-Professor
Andrew
Davidhazy
-Mr.
Murray
Patton
I
wouldlike this
opportunity
to
thank:
-my
wife,
my
daughter,
andmy
parentsfor
their
greatsupport
;
-the members of
my
board
for
their
great contributionto
my
work;
-Professor
Tim
Callaham,
Professor Robert
Keough,
andMr.
AlanBernard
alsofor
their
contributionto
my
work.
Societ,y
Bi-fcs
representsmy
"dreams
andfantasies"
about
the
detrimental
interaction between
man,
environment,
andtechnology.
Some
years agoI
startedfocusing
my
photographic work on urban and rural
landscapes
andI
noticed
that
what most attractedmy
attention wasn'tthe
landscape
itself
but
marks manhad
left
onit.
So,
I
startedconsidering
this
interaction
of man(of
whomtechnology
is
aproduct)
and environment as a subjectfor
my
thesis
project.Later
I
wasintroduced
to
Computer
Craphics
and
found
onit
a powerfultool
for
image
creationdeciding
then
to
combinethese
two
media,
through
the
use of photomontage,
to
develop
my
project.Here
I
am portrayingtechnology
and man(as
cause)
through
the
computer graphicsimages
which
although colorful
in
most casesthey
carry
nosubstance, what
for
mehas
the
significance of absence
of
life
and makes meworry
about our
future.
Environment and man
(as
effect) are portrayedthrough
the
strippedin
photographicimages,
and
the
idea
of athe
flat
planeis
sothat
these
images
function
as adisplay
ofthe
processthat
man andenvironment are
going
through or willhave
gonethrough
in
afuture
time,
or as adisplay
of somethingthat
will existonly
It
is
important
to
noticethe
wordsdreams
and
fantasies
sincemy
workis
neither adocumentary
nor an apparent
reality,
but
a product ofmy
imagination
based
on some reality.