5 resultados para moire
em Deakin Research Online - Australia
Resumo:
Relaxing the assumption of internationally identical factor intensity techniques in the HOV model creates two challenges. First, computing actual factor intensity techniques of different countries requires detailed input-output tables and factor usage data, which are not always available. Second, determinants of the factor intensity technique differences across countries need to be identified. This paper explores the role of relative factor price differences in the determination of factor intensity technique differences across countries and proposes an inferring method that infers factor intensity techniques of different countries based on relative factor price differences. The HOV model is then modified accordingly.
Commerce mondial des facteurs de production quand les prix des facteurs sont différenciés et les intensités dans l'intensité d'utilisation des facteurs différentes. Relaxer le postulat de techniques à intensité identique de facteurs de production d'un pays à l'autre dans un modèle Heckscher-Ohlin-Vanek (HOV) pose deux défis. D'abord, mesurer les intensités en facteurs des techniques en place dans les divers pays réclame des tableaux interindustriels détaillés et des données sur l'utilisation des facteurs qui ne sont pas toujours disponibles. Ensuite, il faut identifier les déterminants des différences d'intensités en facteurs des techniques d'un pays à l'autre. Ce mémoire explore le rôle des différences dans les prix relatifs des facteurs dans la détermination des différences d'intensité en facteurs d'un pays à l'autre, et propose une méthode qui permet d'inférer les différences d'intensité en facteurs des techniques des divers pays à partir des différences dans les prix relatifs des facteurs. Le modèle HOV est alors modifié en conséquence.
Resumo:
This paper outlines a practice as research investigation into the construction and representation of the figure and the ground in photography through overlapping multiple temporal and spatial renderings of the same subject within single photographic images.
This included a critical investigation of the representation of time, perspective, and location in historical and contemporary photography with particular attention to the synthesis, imitation, and distinction of characteristics of human vision in this medium especially where they are indicative of consciousness and attention.
This investigation informed a re-evaluation of the premises of the genre of the photographic portrait and it’s setting, especially within the unstructured environment of the Central Victorian ironbark forests and goldfields. Analogue and digital photographic experiments were conducted in superimposed shifts in camera position and their convergence on significant points of focus through repeated exposures across different time scales. The images correspond to a stage in human stereo perception before fusion, to represent the attention of the viewer, where, in these images, the ‘portrait’ is located.
The findings were applied to the large format camera production of high-definition images that extended the range and effectiveness of selected pictorial structures such as selective focus, relative scale, superimposition, multiple exposures and interference patterns.
The outcome was an exhibition at Smrynios Gallery in Melbourne in April 2004. This presentation includes a discussion of relevant work by Australian practitioners Daniel Crooks and David Stephenson.
Resumo:
Contribution of a mural scale work from the Vortex series. In these images of the binocular (as opposed to ‘binocular images’) the vortex effect arises from convergence; two views of the landscape, photographed from separate viewpoints are superimposed in-camera through superimposition on a particular point.
Resumo:
Exploring a series of fraudulent Holocaust memoirs-Herman Rosenblat's Angel at the Fence, Misha Defonseca's Misha: A Mémoire of the Holocaust, Binjamin Wilkomirski's Fragments and Helen Demidenko's The Hand That Signed the Paper-, this paper argues that fakes are not some 'bogus Other' (Ruthven 3) of 'genuine' literature but in fact parodic works that reflect on the tenuous nature of both the past and the notion of self. Indeed, the revelation of a fraudulent memoir exposes the investments of a public culture in notions of the real-firstly, in terms of an authentic identity and secondly, in relation to a genuine literary experience. The Holocaust frauds perpetuated by Rosenblat, Defonseca, Demidenko and Wilkomirski, in exploiting an historical phenomena regarded as sacrosanct, highlight and utilise the commodification of trauma in both public and literary arenas, manipulating discourses of victimhood and authenticity in order to interrogate the boundaries of the real and the unreal and, indeed, to reveal the faultlines in literary culture per se. Less interested in literary classifications, however, than in notions of history and identity, this paper contends that the scandals surrounding fakes are fundamental to understanding anxieties about the connection between word and world, and the strange expectation that literature is able to provide access to something 'true'.
