Some of them coexist today in different forms so they are not complete的繁体中文翻译

Some of them coexist today in diffe

Some of them coexist today in different forms so they are not completely excluded from each other. This exercise will help to show the relationship between technologies of image creation and visual regimes made up of practices, objects, and the possibilities of image creation. In this framework, the socio-technical history of photography could be seen as a pendulum constantly moving and swinging through cyclic changes between the know-how necessary to create images, and the artifacts used for that purpose. Throughout these cycles, there are also ongoing trends that persist, for example the miniaturization of equipment to support mobility and increasing ease of access to a wider set of technical features; these trends also shape visual images and social uses. Changes in technology, professional practices, and public uses are continually converging and diverging over time. But ultimately, the combination of all those elements with socio-historical conditions shapes what is understood as “photography” in different times and contexts. This seems especially relevant in the digital era since, following, Lister, we have to
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结果 (繁体中文) 1: [复制]
复制成功!
今天,它們中的一些以不同的形式共存,因此彼此之間並沒有被完全排斥。該練習將有助於顯示圖像創建技術與由實踐,對象和圖像創建可能性組成的視覺系統之間的關係。在這種框架下,攝影的社會技術歷史可以看作是一個鐘擺,它在創建圖像所需的專門知識和用於此目的的人工製品之間不斷循環變化。在這些週期中,還存在持續不斷的趨勢,例如支持移動性的設備的小型化和增加獲得更廣泛的技術功能的便利性;這些趨勢也影響著視覺圖像和社會用途。技術的變化,專業慣例,隨著時間的流逝,公共用途不斷融合和分化。但是最終,所有這些元素與社會歷史條件的結合形成了在不同時期和環境下被理解為“攝影”的事物。在數字時代,這似乎特別重要,因為緊隨Lister之後,我們必須
正在翻译中..
结果 (繁体中文) 2:[复制]
复制成功!
Some of them coexist today in different forms so they are not completely excluded from each other. This exercise will help to show the relationship between technologies of image creation and visual regimes made up of practices, objects, and the possibilities of image creation. In this framework, the socio-technical history of photography could be seen as a pendulum constantly moving and swinging through cyclic changes between the know-how necessary to create images, and the artifacts used for that purpose. Throughout these cycles, there are also ongoing trends that persist, for example the miniaturization of equipment to support mobility and increasing ease of access to a wider set of technical features; these trends also shape visual images and social uses. Changes in technology, professional practices, and public uses are continually converging and diverging over time. But ultimately, the combination of all those elements with socio-historical conditions shapes what is understood as “photography” in different times and contexts. This seems especially relevant in the digital era since, following, Lister, we have to
正在翻译中..
结果 (繁体中文) 3:[复制]
复制成功!
它們中的一些今天以不同的形式共存,囙此它們並沒有被完全排斥在一起。這項練習將有助於展示影像創建科技與由實踐、對象和影像創建可能性組成的視覺機制之間的關係。在這個框架中,攝影的社會技術史可以被看作是一個鐘擺,在創造影像所必需的科技訣竅和用於此目的的人工製品之間不斷地移動和擺動。在這些週期中,也有持續的趨勢,例如支持移動性的設備小型化和更容易獲得更廣泛的科技特性;這些趨勢也塑造了視覺影像和社會用途。隨著時間的推移,科技、專業實踐和公共用途的變化不斷趨同和分化。但歸根結底,所有這些因素與社會歷史條件的結合形成了在不同時代和背景下被理解為“攝影”的東西。這在數位時代顯得尤為重要,因為,李斯特,我們必須
正在翻译中..
 
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