臺灣博碩士論文加值系統

Abstract
In recent decades, technology has revolutionized the ways of producing images and in particular it has make a revolutionized the ways of photography. We have arguably enter a new ''post-photographic'' era. Some say digital technology has brought an ''end'' to photo-graphy as we have known it: we are experiencing an ''image revolution'' of profound histori-cal importance and a crisis for photographic truth. Debates about these ideas continue. In this paper, I will include a brief history of photography and the development of digital tech-nology. It will also discuss the relationship of photography these changing image technolo-gies. I will consider retaining some of the history of critical responses to photography. By cross - referencing new and old material, sometimes in text itself and sometime in marginal notes, how nature and space, as well as time and motion can be captured through pho-tography and where photography stands in relation to the society we live in today.
In addition, I will discuss my photography and my previous experimental artworks during my studies in Taipei National University of the Arts in the department of New Media Art, here in Taipei Taiwan.

Abstract
In recent decades, technology has revolutionized the ways of producing images and in particular it has make a revolutionized the ways of photography. We have arguably enter a new ''post-photographic'' era. Some say digital technology has brought an ''end'' to photo-graphy as we have known it: we are experiencing an ''image revolution'' of profound histori-cal importance and a crisis for photographic truth. Debates about these ideas continue. In this paper, I will include a brief history of photography and the development of digital tech-nology. It will also discuss the relationship of photography these changing image technolo-gies. I will consider retaining some of the history of critical responses to photography. By cross - referencing new and old material, sometimes in text itself and sometime in marginal notes, how nature and space, as well as time and motion can be captured through pho-tography and where photography stands in relation to the society we live in today.
In addition, I will discuss my photography and my previous experimental artworks during my studies in Taipei National University of the Arts in the department of New Media Art, here in Taipei Taiwan.

CONTENT PAGES
Abstract ……………………………………………………………………………… I
Acknowledgements ………………………………………………………………… II
Chapter One
Back-ground ………………………………………………………………………………………….. 1
Literature Review …………………………………………………………………..... 1
I - Brief review of Photography History …………………………………………….... 1
II - Abstract Photography …………………………………………………………....... 16
Chapter Two
Previews of Previous Artworks …………………………………………………...... 17
I - Invisible Force (Single Channel Video) ………………………………………….......17
II - Absence (Three Channel Video Installation)…………………………………….... 21
III - Gigian (Animation) ………………………………………………………………...23
Chapter Three
Statement – Around Us………………………………………………….................. 26
I - Nature and Space ………………………………………………………….................. 26
II - Time and Motion …………………………………………………………................ 28
III - Relationship Between Photography and Painting …………………………….... 31
IV - Relationship Between Human Eye and The Camera (Machine) ………………. 32
Chapter Four
Methodology ………………………………………………………………………. 35
I - Production. ……………………………………………………………………....... 35
II - Post-Production. ………………………………………………………………... .41
III - Sizing, Printing and Framing …………………………………………………... 41
IV - Exhibition Layout and Installation. ……………………………………………. 42
Chapter Five
Conclusion ………………………………………………………………………………… 50
References …………………………………………………………………………………… 52
Figures ……………………………………………………………………………………… 53- 54

References
1. Berger. J. Ways Of Seeing , British Broadcasting Corporation and Penguin Books, P17
2. Hansen M.B.N(2005), New philosophy for new media, the MIT press, Cambridge, Massachusetts, London, England
3. Jeffrey. I.(1981) Photography A Concise History.136 illustration, 8 in colour, Thames and Hudson.
4. Misha Gordin. Conceptual Photography. Idea, Process, truth.
5. Newhall Beaumont.(1999), The history of photography. The Museum of modern art, New York ,Bulfinch Press/little, Brown and Company Boston. New York. (p.13)
6. Robins Kevin, The photographic Image in Digital Culture, Retrieved from http://www.johnvalentino.com/Teaching/Readings/Robins/Robins.html
7. Szakowaki John. Photography Until Now. The Museum of Modern Art, New York
8. Stewart Todd, 1997, photography in the age of electronic imaging, p 297
9. Todd stewart, 1997, photography in the age of electronic imaging ,p298
10. Townsend. C. Magazine Article From Art Monthly. No. 343, Retrieved from http://www.questia.com/library/1G1-268405311/time-motion-the-evolution-of-filmmaking-into-cinema
11. Witcombe .C. Prof. Water In Art, A Sweet Briar College Learning Resource - Spring Semester 1999, Retrieved from http://witcombe.sbc.edu/water/artleonardo.html
12. Worobiec Tony and Spence Ray(2005), Digital photo artist, creative techniques and ideas for Digital Image-making first edition, printed in Malaysia, p7.

Figures
Fig. 1. Image Jpeg. Aslicaglar. History Of Visual Communication Design, Alsi.va312, Novem-ber, 30, 2010. Retrieved from http://va312aslicaglar.wordpress.com/2010/11/30/camera-obscura/
Fig. 2. Image Jpeg. Atelier (1837). Daguerreotype Daguerre. Wikipedia, Free Wikipedia. Re-trieved From http://en.wikipedia.org/wiki/File:Daguerreotype_Daguerre_Atelier_1837.jpg
Fig. 3. Image Jpeg. Rebecca A. M, Coordinator Of Visual Resources and Digital Content Library, Via Email. College Of Liberal Art Office Of Information Technology. University Of Minnesota. http://www.dcl.umn.edu
Fig. 4. Image Jpeg. Guy. L. Library Of Congress. Information Bulletin, December, 1999. Re-trieved From http://www.loc.gov/loc/lcib/9912/gifts.html
Fig. 5. Mcdowell. C. Photography-Bodleian Seeks Funds To Secure Talbot Archive. The Culture Concept Circle. Retrieved from http://www.thecultureconcept.com/circle/photography-bodleian-seeks-funds-to-secure-talbot-archive
Fig. 6. Azlein14, Word Press .com , April, 14 2011. Retrieved From http://azlein14.wordpress.com/2011/04/04/salted-paper-and-photogenic-drawings-ii/
Fig. 7. Still Image Capture from Invisible Force Video (1mins. 25 Sec.) - Showing motion in nature (leaves of Trees).
Fig. 8. Still Image Capture From Invisible Force Video (1mins. 14 Sec.)- showing Motion and speed
Fig. 9. Still Image Capture From Invisible Force Video ( 1mins. 47 Sec.) - Showing Culture

Fig. 10. Still Image Capture From Invisible Force Video ( 1mins. 25 Sec.)- Showing Culture
Fig. 11. Mamat Sallah (2013)Three Channel Video Installation Sketch layout of the absence Project.
Fig. 12. Mamat Sallah (2011), Painting Portraying importance of women in wollof community
Fig. 13 Mamat Sallah (2013), Gigain Project.
Fig 14. Jpeg. Retrieved from http://tommysawkins.wordpress.com/2010/10/23/tate-britan-eadweard-muybridge-exhibition-22nd-oct/
Fig. 15 Jpeg. Retrieved from http://www.icube.com.tw/news-detail.php?c=4&p=104
Figure 16. Mamat Sallah (2014) Arounds Us Exhibition Photos Installation at 1839 Little Gal-lery, Taipei, Taiwan.
Figure 17. Mamat Sallah (2014) Arounds Us Exhibition Photos Installation at 1839 Little Gal-lery, Taipei, Taiwan.
Figure 18. Mamat Sallah (2014) Arounds Us Exhibition Photos Installation at 1839 Little Gal-lery, Taipei, Taiwan