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1
Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, no. 5 (December 2, 2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.
Анотація:
When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two photographic projects by photographers/mothers that document their ill and dying daughters – Lesley McIntyre’s photographic essay The Time of Her Life (2004) and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light (2009). Illness in these projects is not experienced in isolation. Instead, the photographs and accompanying texts provide a space to engage in a dialogue which is built on the interdependency of all the participants of the photographic act – the photographer, the subject of the photograph and the viewer. My aim is to question how these projects construct experiences and articulate private expressions of illness and how the photographs enhance and/or challenge the mother–daughter bond. Alan Radley’s critical analysis of representations of illness, Emmanuel Lévinas’s and Maurice Blanchot’s perspectives on ethical philosophy and visual social semiotics approach developed by Kress and Van Leeuwen provide a guiding framework for this study.
2
Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.
Анотація:
This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.
3
Tee, Sim-Hui. "Transparency, Photography, and the A-Theory of Time." Problemos 93 (October 22, 2018): 177–92. http://dx.doi.org/10.15388/problemos.2018.93.11761.
Анотація:
[full article, abstract in English; only abstract in Lithuanian]
Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the depicted object situated from the space in which the viewer of the photograph resides that renders the photograph spatially agnostic. It is the timeless photographic world rather than the photographic object that renders egocentric spatial information inert. With this new formulation of spatial agnosticism, I propose that spatial agnosticism needs to be coupled with the temporal dimension (the A-theory of time) in the efforts to refute the thesis of transparency of photographs.
4
Cronin, Anne M. "Researching Urban Space, Reflecting on Advertising." Space and Culture 14, no. 4 (September 19, 2011): 356–66. http://dx.doi.org/10.1177/1206331211412278.
Анотація:
This photo essay places into dialogue practices of photographing urban space and the market research practices of the U.K. outdoor advertising industry. It explores photography as a method for accessing understandings of cities, and it examines ways of analyzing the interplay between photographic practices and data gathered through ethnography. Through personal reflections on the research process, the essay considers the spatial practices of the outdoor advertising industry and how its billboards and panels act to space out cities and city imaginaries.
5
Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (October 2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.
Анотація:
This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory theory, the article shifts these debates forward by adopting the concept of ‘assemblage’. The article concentrates on the aesthetics of photographs produced by Armenian photographic studios in Istanbul during the late nineteenth century and their relationship to the present through the work of contemporary artists Klitsa Antoniou, Joanna Hadjithomas, Khalil Joreige and Etel Adnan as well as photographic exhibitions organised by the Centre for Asia Minor Studies, Athens, Greece.
6
Sile, Agnese. "Mental illness within family context: Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty." Arts and Humanities in Higher Education 17, no. 1 (January 12, 2018): 84–103. http://dx.doi.org/10.1177/1474022216684635.
Анотація:
The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the process how it challenges representation itself, on which it is dependent. The focus of the analysis is on identifying and illuminating the intimate space that opens between the photographer and the photographed person and that provides new forms of communication as well as uncovers existing forms of knowledge that is shared between them. This paper will also assess the political and cultural significance of such representation.
7
Watanabe, Toshio. "Geometrical Structures of Photographic and Stereoscopic Spaces." Spanish Journal of Psychology 9, no. 2 (November 2006): 263–72. http://dx.doi.org/10.1017/s1138741600006168.
Анотація:
Two experiments were conducted to investigate the geometrical structures of photographic and stereoscopic spaces. In Experiment 1, it was investigated how accurately photographic space reproduces real physical space, and the geometrical structure of photographic space was compared with that of visual space. As a result, the mapping function of distance between photographic and physical spaces (δ = adb) shows that a and b range from 0.96–1.1 and 0.69–0.78. The mapping function of angle between photographic and physical spaces (Φ = gϕh) shows that g and h range from 2.37–5.29 and 0.74–0.97. Further, photographic space has larger anisotropic property than visual space and photographic space may be hyperbolic. In Experiment 2, the geometrical structure of stereoscopic space was compared with that of visual space. It was found that stereoscopic space was almost the same as visual space.
8
Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.
Анотація:
In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing
9
Kanicki, Witold. "Wundercamera Obscura." Cabinet, Vol. 2, no. 2 (2017): 70–73. http://dx.doi.org/10.47659/m3.070.art.
Анотація:
Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in mind, this article confronts the popular habits of photographing peculiarities in the 19th century, with museum practice and the Wunderkammers tradition. The space of a photograph may substitute exhibition space, while a desire to watch all kinds of abnormalities and the culture of curiosity determines the connection between former museum visitors and recipients of photographs. Keywords: 19ct museum, collecting, curios, photographic archive, wundecamera
10
Tavakol, Reza. "The time(s) of the photographed." Philosophy of Photography 10, no. 2 (October 1, 2019): 195–206. http://dx.doi.org/10.1386/pop_00015_1.
Анотація:
The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver, whether mechanical (the camera), biological (the eye‐brain as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe, concerning space and time, impact on the way we perceive photographic and optical images. Viewed from this perspective, photographs can be treated as light projections of sections of the four-dimensional observable world onto two-dimensional spatial photographic or viewing surfaces. I shall show that despite the severe reduction that such projections imply, these modern considerations have the important consequence of bestowing a complex temporality upon optical images, including photographs. This realization dramatically changes the way we view photographs. I give examples of this rich temporality through considerations of terrestrial images ‐ and more significantly images of the Sky, where these temporal effects are far more pronounced.
11
Chervonik, Olena, and Geoffrey Batchen. "Negative Thinking - A History of the Photographic Negative as a Repressed Other: Conversation with Geoffrey Batchen." Master, Vol. 5, no. 2 (2020): 106–10. http://dx.doi.org/10.47659/m9.106.int.
Анотація:
Olena Chervonik talks with Geoffrey Batchen about his two most recent publications: Apparitions: Photography and Dissemination, that reached bookshelves in 2018, and Negative/Positive: A History of Photography, slated for release later in 2020. The conversation revolves around the photographic condition of reproducibility, repetition and difference, embedded in the medium from the time of its inception. While Apparitions explores photography’s relation to various newsprint outlets of the nineteenth century, Negative/Positive traces a comprehensive history of the medium’s propensity for multiplication, predicated on the dependence of photographs on the function of a negative, which, according to Batchen, seems to be a repressed Other in photographic history. A vehicle that enables reproducibility, a photographic negative is rarely discussed in critical literature and even more rarely reproduced or featured in the exhibition space. Batchen ponders this occlusion of a medium’s critical component, suggesting that a negative is linked to photography’s operation as capitalist mode of production. By omitting to profile a negative, we naturalize capitalism’s operational logic – a condition that clearly needs to be upset by directing a critical, revelatory, and thus politically engaged spotlight on photography’s predilection for image massification. Keywords: photography, negative, reproducibility, commodification, massification, capitalism, politics of resistance
12
O'Brien, Kevin, Benjamin Beberness, Steve Chrisman, Frances E. Mount, and Gary Seloff. "Interface Evaluation and Enhancements to the Image Access and Management System for Space Shuttle Earth-Looking Photography: NASA/Johnson Space Center Houston, TX." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 37, no. 15 (October 1993): 1036. http://dx.doi.org/10.1177/154193129303701508.
Анотація:
The Image Access and Management System (IAMS) is being developed to provide easy access to photographic images taken by Space Shuttle astronauts. The photographs, coupled with a textual catalogue of descriptive characteristics, forms a significant database of information about the Earth's surface. The IAMS incorporates a video laser disc containing digitized images, an electronic database containing descriptive information about each photo, and software allowing the database to be searched and the images to be viewed. The demonstration presents the IAMS and the unique interface development issues involved with a photographic image/database system.
13
Duncan, Margaret Carlisle. "Sports Photographs and Sexual Difference: Images of Women and Men in the 1984 and 1988 Olympic Games." Sociology of Sport Journal 7, no. 1 (March 1990): 22–43. http://dx.doi.org/10.1123/ssj.7.1.22.
Анотація:
This paper develops a theoretical framework for understanding how and what sports photographs mean. In particular, it identifies two categories of photographic features as conveyors of meanings. The first category is the content or discourse within the photograph, which includes physical appearances, poses and body positions, facial expressions, emotional displays, and camera angles. The second category is the context, which contributes to the discursive text of the photograph. The context includes the visual space in which the photograph appears, its caption, the surrounding written text, and the title and the substantive nature of the article in which the photograph appears. Using 1984 and 1988 Olympic Games photographs appearing in popular North American magazines, I show how these various features of photographs may enable patriarchal readings that emphasize sexual difference.
14
Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.
Анотація:
This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
15
Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.
Анотація:
Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research
16
Coronado, Jorge. "Instances of Agency: Julio Cordero’s Archive and Photographic Portraits." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 24–45. http://dx.doi.org/10.5195/bsj.2018.195.
Анотація:
In this article, I discuss the notion of agency in relationship to Julio Cordero’s photographs. Julio Cordero (1879-1961) owned a photography studio in La Paz in the first half of the twentieth century and produced an array of images both inside and outside of the studio. I also offer a sense of the rich documentation that exists in the complete Cordero archive as well as the insights that it opens up concerning the interventions in self-representation made possible by photographic portraiture. Essentially, these interventions lead us to conceptualize image culture as a prime space for enacting agency in Bolivia and Latin American more broadly.
17
Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe, and Jeannine Tang. "Residues of a Dream World." Theory, Culture & Society 28, no. 7-8 (December 2011): 358–89. http://dx.doi.org/10.1177/0263276411425834.
Анотація:
The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines the public and public sphere of the High Line. However, these imaging practices have also taken increasingly regulated form, and endorse conservative forms of community, personhood and publicness. The new park’s imaging practices may be understood as supplementary to neoliberal forms of property accumulation, in fact diminishing public space even as they purport to represent it. Drawing from the historical avant-garde, feminist critiques of representation and anti-capitalist urban theory, the following photographic series critiques the High Line’s photographic apparatus, from within a practice of photography, and from a position within the field of contemporary art.
18
Aleksey, Glushaev. "Catch a Sight of "Church": Amateur Photographs as a Window into the Life of Evangelical Christians of the USSR." TECHNOLOGOS, no. 1 (2021): 66–75. http://dx.doi.org/10.15593/perm.kipf/2021.1.06.
Анотація:
It is known that the documents from the State archives concerning the history of religious life in the USSR had the primary importance and they are remained the same. However, a significant part of historical documents are kept by believers. Film and photo documents are of particular interest. The “visual turn” in the historiography of the beginning of 2000s opened up new opportunities for studying film sources and photographic documents. The attention of historians has focused on the symbolic and linguistic systems of transmission of film and photographic messages, on the visualization of ethnic, confessional identities or cultural characteristics of various population groups. Thus, turn to the film and photo documents helps better understanding the collective self-perception of Soviet believers and finding the ways to present themselves to the surrounding world. The purpose of this study is to study the informational possibilities of photographic documents on the history of Evangelical Christian-Baptists in the USSR in the 1970s. The main historical sources in the study are two photographs from the mid-1970s. They are kept in the church of evangelistic Christians-Baptists in the city of Perm. Archival documents of the State Archives of Perm Krai and confessional literature helped to reconstruct the historical context of photography. Conversations with a presbyter of the Perm community of Evangelical Christians-Baptists helped in attribution of photographs. The author believes that these photographs formed the iconographic image of the ECB church in the space of the Soviet city. The active use of these photographs in the post-Soviet period testifies the high “symbolic efficiency” (P. Bourdieu) of photographic communication from the past.
19
Samarkina, Mariia. "Ekphrasis in Photography Lyrics: Methods of Representation." Slavic World in the Third Millennium 14, no. 1-2 (2019): 206–18. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.13.
Анотація:
The article deals with ekphrasis (verbal description of visual artworks) in lyrics about photography. The purpose of this article is to clarify the possibility of using the term “ekphrasis” in relation to photographic lyrics and to divide the phenomena of photopoetics and photoekphrasis. The difference becomes obvious as we analyze the following texts: “Photograph from September 11” and “Hitler’s First Photograph” by Polish poet Wislawa Szymborska, “A Snapshot” by Russian poet Bella Akhmadulina and “From the Album” by Russian poet Genrikh Sapgir. The four texts are characterized by a special timing structure: past, present and future, with some regularity, exist within the description of the same photographs. In addition, the space of all four texts is open. This is a feature not only of photoekphrasis, but also of photopoetics as a type of visual poetry, which does not depend on the type of description. In all four texts, the author's position is inevitably present and recognized. In the first three cases, we know the picture or the person to which the subject refers. In the fourth one, the poet refers to his personal archives or memories. But “Hitler’s First Photograph” refers to the well-known historical personality only in the title and some mentions in the text. Thus, in our opinion, only “Photograph from September 11” by Wislawa Szymborska and “A Snapshot” by Bella Akhmadulina can be considered as ekphrasis. However, “From the Album” by Genrikh Sapgir and “Hitler’s First Photograph” by Szymborska features photographic discourse and fragmentary descriptions to create a photopoetic text, but not an ekphrasis. Apparently, the ekphrasis of a photograph is not only a description of one specific and existing in common culture photograph, but also a restoration of its poetics in a lyrical text.
20
MacLochlainn, Gráinne. "Moving pictures: the National Photographic Archive." Art Libraries Journal 25, no. 3 (2000): 33–36. http://dx.doi.org/10.1017/s0307472200011755.
Анотація:
The large and varied collection of Irish historical photographs previously housed in the National Library of Ireland has recently been relocated to Dublin’s Temple Bar. A purpose-built archive provides storage vaults, reading room facilities and an exhibition space for this important aspect of the Irish cultural heritage, thus balancing the preservation of the photographs with access to the images. This paper provides a candid look at the development of a National Photographic Archive.
21
Peraica, Ana. "Selfies and the World Behind Our Back." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 48–53. http://dx.doi.org/10.47659/m4.048.art.
Анотація:
(an excerpt from the upcoming book Postdigital Arcadia) Selfie photography serves not only a traditional role of photographic (self)recording, but also for manoeuvring the space behind one’s own back. Unfortunately, as two realities, the unmediated and mediated, human and machine vision, are not matching, there are many accidents of selfie-makers due to the crabwalk. By this, the photographic technology based on the rear-view mirror – in which objects (may) appear closer than they are – finally resolves one of the largest tragedies of human self-perception; the inability to see and control the world behind one’s back. Keywords: background, mobile photography, optical devices, photography, selfie
22
Korab, Balthazar. "PHOTOGRAPHIC ESSAY: IMAGES IN FORM AND SPACE." Architectural Theory Review 2, no. 1 (November 1996): 186–201. http://dx.doi.org/10.1080/13264829609478310.
23
Christenson, Mike. "On the architectural structure of photographic space." Architectural Science Review 54, no. 2 (May 2011): 93–100. http://dx.doi.org/10.1080/00038628.2011.582365.
24
McNally, D. "Impact of Space Debris and Space Reflectors on Ground-Based Astronomy." Symposium - International Astronomical Union 196 (2001): 188–92. http://dx.doi.org/10.1017/s0074180900164095.
Анотація:
Astronomical fields under observation are being increasingly crossed by satellites. Such crossings either leave a “trail” on a photographic or CCD image, or corrupt a photographic observation. Such trailing/corruption may render an observation useless for scientific analysis. There is also the much more serious problem posed by suggestions to put solar reflectors in space for Earth illumination, artistic, celebratory or advertising purposes and, by extension, to longer term suggestions of ways to utilise dark time rather than twilight time. It is only a matter of time until the solar reflector becomes proven technology. The time left for decisive action may be very short.
25
Gliese, Wilhelm, Arthur R. Upgren, T. E. Corbin, H. K. Eichhorn, G. Gatewood, I. I. Kanaev, T. E. Lutz, J. D. Stock, and W. F. Van Altena. "24. Photographic Astrometry." Transactions of the International Astronomical Union 19, no. 1 (1985): 253–58. http://dx.doi.org/10.1017/s0251107x00006350.
Анотація:
The question of the title of Commission 24, obviously, offers a difficult problem as already mentioned in recent reports. Photographic Astrometry no longer describes the whole scope of the commission. This problem has continued during the last three years especially in view of the preparations for the astrometric tasks of the NASA Space Telescope and of the ESA satellite HIPPARCOS.
26
Ulmer, Jasmine B. "Writing Urban Space: Street Art, Democracy, and Photographic Cartography." Cultural Studies ↔ Critical Methodologies 17, no. 6 (June 22, 2016): 491–502. http://dx.doi.org/10.1177/1532708616655818.
Анотація:
In this article, the street is both a place of travel and a space for critical discourse. As tensions between public and private spaces play out in the streets, street artists claim visible space through multiple forms of art. Through a critical performance geography and a qualitative inquiry of the street, I photograph the movement of art across walls, doorways, windows, sidewalks, lampposts, alleyways, gutters, and dumpsters over a 7-month period in the Eastern Market neighborhood of Detroit ( N = 806). After describing street art as a fluid genre that has developed into a diverse spectrum of post-graffiti, I explore how street art contributes to a changing visual terrain through discussions of racism, decolonization, gentrification, and the role of art in spatial justice. Photographic cartography is introduced as (a) a visual method of performance geography that illustrates material-discursive “fault lines” and (b) a critical means of analyzing conversations in contested public space. Significantly, street artists simultaneously work within and against urban renewal policies in “creative cities” such as Detroit. Given that the arts are at the center of sophisticated visual discourse regarding neoliberalism, democracy, and the battle over public space, researchers might continue to examine how street artists inscribe social justice in, on, and around the streets.
27
Wall, Gina. "Writing the world: photographing the text of the landscape." Excursions Journal 1, no. 1 (September 12, 2019): 123–42. http://dx.doi.org/10.20919/exs.1.2010.131.
Анотація:
I am engaged in a practice led thesis, which has been challenged and shaped by thinkers in the fields of critical theory and philosophy. Although I work in dialogue with these theorists, I am principally a visual practitioner who is most at home with traditional, wet process photography.I began with a general concern regarding my own resistance to landscape photography as the depiction of the view, which has led me to question the persistence of the (illusion of) the unified photographic moment. My visual process, which began quite simply as a reaction against the pervasiveness of the view in photography, has, in dialogue with writers such as Ferdinand de Saussure, Roland Barthes, Jacques Derrida and Rosalind Krauss, enabled me to theorise my own photographic practice as a form of writing. Central to this has been the investigation of different theoretical configurations of the semiotic sign.I contend that Rosalind Krauss’ conception of Surrealist photography as a practice of écriture, in fact accounts for photographic practice more broadly speaking. The spacing of the photographic sign, which Krauss describes as an ‘invagination of presence,’ defers the confluence of the signified and the signifier thus rupturing the illusion of presence in the photographic moment: the shutter differences the image from the world and the practice of photography reconfigures the world as a form of writing. However, not simply in the sense of a surface inscribed by light, but writing as a space in which the possibility for meaning is realised.
28
Whitlock, Richard. "Perspective and Memory in Photographic Images." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 81–85. http://dx.doi.org/10.47659/m4.081.art.
Анотація:
Digital imaging may have tied us to the computer keyboard, but it allows us to recuperate for photography the freedom and control that painters and draughtsmen have always had when reconstructing space on a flat surface. Angles of vision can be explored beyond the normal reach of the human eye or the camera lens. For the last few years I have concentrated in particular on the application of orthographic projection to photographic images, both moving and still. I have found that removing the conventional perspective has the effect of defamiliarising and enriching what we see: objects seem to pass directly into memory not as images but as realities. Keywords: augmentation, augmented photography, de-perspective, expanded view, moving picture, photography
29
Schiller, Devon, and Cedric Kiefer. "Augumenting The Physiognomic Gaze Across Space and Time: A Conversation with onformative." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 54–65. http://dx.doi.org/10.47659/m4.054.art.
Анотація:
Augmented photography can be used in the digital arts to over-code upon real-world environments with computer-generated data, in order to translate stimuli across sensory modalities, and thereby extent or increase our faculties for perceiving spatial and temporal relations. Because of this media-specific affordance, the augmentation of the photographic medium may have especial application for the “physiognomic gaze,” a way of doing “form interpretation” or “nature knowing” based on the physical behaviors and psychological phenomena of the human face, head and body. The innovativeness of such technological prosthetics becomes manifest how new ways are generated to both perceive and to know those experiences that were previously unseeable or otherwise unsensable. Here, I converse with Cedric Kiefer (co-founder and creative lead) of the onformative studio for digital art and design in Germany about their works Meandering River (2017), Pathfinder (2014) and Google Faces (2013). And we explore how onformative uses the augmented photograph in their digital artworks to extend the physiognomic gaze, bringing data not visible to the naked eye into the senseable sphere, to offer the audience different perspectives about space and time. Keywords: augmented photography, computer-generated data, digital art and science, onformative, physiognomic gaze
30
Eshaghi, Peyman. "To Capture a Cherished Past." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 282–306. http://dx.doi.org/10.1163/18739865-00802007.
Анотація:
This essay focuses on the genre of pilgrimage photography as it developed over the course of the twentieth century in the holy city of Mashhad, Iran. Photographs made during pilgrimages to the shrine of Imam Riza count among the most popular vernacular genres of Iranian photography. Pilgrimage photographs should be understood as sacred photo-objects, at once signifiers and carriers of piety. Once framed and taken home by pilgrims, they not only capture and memorialize the sacred encounter, but also carry the aura of the divine into the mundane space and time of the everyday. I focus on the particular visual language of these sacred photographic objects; a visual language achieved through costumes, gestures and body language, through painted backgrounds with symbolic themes. Second, I consider the kind of cultural work and pious affect they elicit as image-objects when placed in pilgrim’s homes. I end by briefly considering the recent changes and continuities brought about by digital imaging technologies.
31
Cruzeiro, Cristina Pratas. "The image of the dictatorship in perspective: the photographs from Fernando Lemos between 1949 and 1954." PORTO ARTE: Revista de Artes Visuais 22, no. 36 (December 30, 2017): 63. http://dx.doi.org/10.22456/2179-8001.80110.
Анотація:
From the photographic productions from Fernando Lemos between 1949 and 1952 in Portugal and between 1953 and 1954 in Brazil, this article aims to reflect on the imagery carried out by the artist when he left Portugal in face of the one produced in Brazil in the years immediately posthumous to his arrival. Fernando Lemos left for Brazil in 1953, exhibiting his work at the Museum of Modern Art of São Paulo and, in 1954, at the Museum of Modern Art of Rio de Janeiro – where he showcased part of the extensive photographic production he produced in Portugal. The imagery language of these photographs – the construction of space, luminosity, overlays, etc. – demonstrates a harmony with surrealism and the artistic use of photography. But in them are also imprinted the different rhythms of life and quotidian. The fact that the artist focuses his production on the portrait, makes it the best referent to allows us to understand the impact that the migration caused in his life and in his artistic work.
32
LUKE, MEGAN R. "The photographic reproduction of space: Wölfflin, Panofsky, Kracauer." Res: Anthropology and aesthetics 57-58 (March 2010): 339–43. http://dx.doi.org/10.1086/resvn1ms25769987.
33
du S. Read, Leslie. "Social Space in Ancient Theatres." New Theatre Quarterly 9, no. 36 (November 1993): 316–28. http://dx.doi.org/10.1017/s0266464x00008228.
Анотація:
How do modern archeological discoveries mesh with and affect present views of ancient theatrical techniques – specifically, of the interrelationship between performers and audience? Looking especially at the ways in which the audience itself was able to interact through the construction of the areas devoted to its own accommodation and circulation, Leslie du S. Read here blends narrative comment and photographic illustration to create a picture of the essential sociability of ancient theatre spaces – an aspect usually ignored by scholars primarily concerned with dramaturgical techniques. Leslie du S. Read, who is presently Head of the Drama Department at the University of Exeter, has for a number of years been researching both visible and known remains of classical theatres, and writing on the social context of stagecraft. He has at present a collection of over 4,000 slides of some 300 theatres, and is in the final stage of completing a history and guide to ancient theatre sites. All photographs in the present article were also taken by the author.
34
Vollgraff, Matthew. "The Archive and the Labyrinth: On the Contemporary Bilderatlas." October 149 (July 2014): 143–58. http://dx.doi.org/10.1162/octo_a_00187.
Анотація:
The indexicality of photography has by now become a theoretical common-place: The photographic image presents us with the punctual index of a given “scene” at a specific moment. That scene is situated in an irretrievable past, its referents irrevocably displaced in time and space; indeed, the indexical image points ineluctably to something no longer extant.
35
Hoelscher, Steven. "The Photographic Construction of Tourist Space in Victorian America." Geographical Review 88, no. 4 (October 1998): 548. http://dx.doi.org/10.2307/215712.
36
Hoelscher, Steven. "The Photographic Construction of Tourist Space in Victorian America." Geographical Review 88, no. 4 (October 1, 1998): 548–70. http://dx.doi.org/10.1111/j.1931-0846.1998.tb00126.x.
37
Imada, Adria L. "Promiscuous Signification." Representations 138, no. 1 (2017): 1–36. http://dx.doi.org/10.1525/rep.2017.138.1.1.
Анотація:
This essay assesses clinical photographs of leprosy patients created by the Hawai‘i Board of Health in the late nineteenth and early twentieth centuries, or what may be the most extensive visual cataloging of indigenous, Asian, and immigrant bodies in America’s Pacific empire. Building on theoretical and methodological approaches to archives as a process rather than a source, I follow the trail of these clinical images through time and space, from their emergence within a photographic practice of medical management and segregation in Hawai‘i to their prolific circulation in transnational political and medical arenas. Offering spectacular evidence of the racialized and sexualized pathology of colonial peoples, these photographs were tightly regulated but increasingly viewed as clinical erotica after the United States incorporated Hawai‘i as a territory in 1900. The essay further suggests the “affective excess” that can disrupt the photograph’s medical surveillance, as social intimacies and care between Hawaiian patients bloom within the frame.
38
Smith, Olga. "The Spaces of Containment: Valérie Jouve's Urban Portraits." Nottingham French Studies 53, no. 2 (July 2014): 155–68. http://dx.doi.org/10.3366/nfs.2014.0083.
Анотація:
This article analyses the complex dynamics between the human body and the urban environment in the work of French photographer Valérie Jouve. Focussing on a number of works drawn from the series Les Personnages and Les Façades, I propose the notion of containment to be crucial to the study of Jouve's urban portraits. I first approach it as a matter of containment of the human body by the civic and architectural structures of the city, arguing that Jouve renders visible the usually hidden mechanisms of such containment. This leads me to consider the question of boundaries and the relationship of the urban centre to its periphery, which, in the context of France, is bound up with narratives of social stratification. In the final part of the article I consider Jouve's photography as the space of representation, contained by the photographic frame, with theoretical discourse on the tableau providing the main analytical framework.
39
Banerjee, Sandeep. "“NOT ALTOGETHER UNPICTURESQUE”: SAMUEL BOURNE AND THE LANDSCAPING OF THE VICTORIAN HIMALAYA." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 351–68. http://dx.doi.org/10.1017/s1060150314000035.
Анотація:
During his third expedition into the higher Himalaya in 1866, the most ambitious of his three journeys into the mountains, Samuel Bourne trekked to the Gangotri glacier, the source of the Ganges. At that site he took “two or three negatives of this holy and not altogether unpicturesque object,” the first photographs ever made of the glacier and the ice cave called Gomukh, meaning the cow's mouth, from which the river emerges (Bourne 96). These words of Victorian India's pre-eminent landscape photographer, importantly, highlight the coming together of the picturesque mode and the landscape form through the medium of photography. In this essay, I focus on Samuel Bourne's images of the Himalaya, produced between 1863 and 1870, to query the ideological power of this triangulation to produce a specific image of the mountains in late nineteenth-century Victorian India. Situating Bourne's images in relation to contemporaneous material practices of the British within the space of the Himalaya, namely, the establishment of hill stations as picturesque locales in the higher altitudes of the Indian subcontinent, I argue that the landscape form, the picturesque mode, and the photographic medium, inflect each other to tame the sublimity of the mountains by representing them as similar to the Alps.
40
Makiewicz, Małgorzata. "Mathematical Cognition in Metaphors Expressed Through Photography / Matematyczne Poznanie Poprzez Metafory Wyrażone Fotografią." Chemistry-Didactics-Ecology-Metrology 17, no. 1-2 (December 1, 2012): 27–39. http://dx.doi.org/10.2478/cdem-2013-0002.
Анотація:
Abstract The paper signals the foundations of the new method of teaching mathematics that is currently emerging from the concept of human cognition and the constructivist paradigm. The presented examples of the hermeneutic research conducted for 17 years are concerned with an analysis of the formulated mathematical problems in the language of photographic metaphors. Thoughts expressed through the photographic image and text consisting of the caption and the description (dual coding) reveal the structure of cognitive networks of authors of photographs, which has a special significance in creation of the new didactics that will fulfil the needs of the contemporary photosociety. Mathematical photoeducation free transition between art and mathematics lies on the student’s artistic sensitivity and on enlivening the student’s cognitive expression in a space distant from the classroom (at a lake, in the playground, on the skating ring or during a field excursion to a mineral museum). It utilizes the student’s natural interest in observable natural phenomena and in man-made objects. This kind of creativity, which relies on independent uncovering or constructing of knowledge with the help of a photographic camera, opens the gates to an entirely new space of mathematical didactics, as it brings to students’ awareness specific ways of association leading to accomplishment cognitive processes in relation to abstract mathematical objects.
41
A. I., Tapol. "CRISIS OF MODERN VISUAL PRACTICES." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 41–47. http://dx.doi.org/10.17721/ucs.2019.2(5).08.
Анотація:
The article focuses on the analysis of the liquefaction of basic settings of the modernity's visual practises, specifically of signification regime and mode. The general dynamics of historical types of visual practices and the role of the Modern vision regime in it are described. The visual parameters of the signifying modes of realism and modernism are defined. The crisis of modern visual practices is specified through the logic of their transformation. The status of photography as the basic visual practice of the modernism signifying mode is proved. From the beginning of the era of "technical production" the pathos of the position of the artist as the producer of the image requires not only the act of creation, but also the aim of commercialization, which entails the act of "exhibiting", a certain way of presentation. An important aspect of the artist's mission is to move the image from the everyday and profane (if we resort to aesthetic categorical apparatus) spheres to the space of the artistic field. A striking example of the dilution of the visual parameters of high Modernity is photography. The lens becomes the mediator of the act of see- ing the person, and subject-object relations with the world break because of the mediocrity of the photographic image, which promotes its reality. Photo documentation creates a new form of perception of time – fragments in which some events are identified as important and some remain peripheral. If an artist thinks of painting (Cézanne's thought) and has creative thinking, then a photographer who thinks of frames only reduces being to the individual. A photo does not simply reflect reality, it reproduces reality, that is, it transfers it from thing to reproduction of things, pho- tography carries the existence of a photographed object. And as a result, we recognize that the photographic image is the object itself. Photography as an image begins to organize not only high culture, but also everyday life, being the basis of visuality and the basis of everyday social practices. The transformations that photo-images make to the parameters of Modernity's visuals form the basis for visual postmodernism.
42
Kozyatincky, R. S. "BACKGROUND AND LINEAR PERSPECTIVE: SPACE IN SELFY." Aspirantskiy Vestnik Povolzhiya 19, no. 3-4 (June 15, 2019): 67–73. http://dx.doi.org/10.17816/2072-2354.2019.19.2.67-73.
Анотація:
The article is devoted to the changes in the space representing the background in the selfie through the historical experience of the self-portrait in the visual culture. The digital photographic self-portrait (selfie), which has become one of the most striking phenomena of the visual culture of our time in the context of historical experience of visual representation in the context of a rapidly changing cultural situation (transition from “linguistic” to “iconic turn”) in the context of historical experience of visual representation allows the author to focus on those changes which occur between the viewer and the model, the selfi-maker. The author also pays attention to the role of linear perspective in the issue under consideration, techniques and ways of reflecting Euclidean and non-Euclidean spaces on the pictorial plane using examples of contemporary photography, paintings by Jan van Eyck (“Portrait of Arnolfini couple”) and Parmigianino (“Self portrait in a convex mirror”).
43
Welch, Edward. "La Carte et le territoire: Mapping, Photography and the Visualization of Contemporary France." Nottingham French Studies 53, no. 2 (July 2014): 186–200. http://dx.doi.org/10.3366/nfs.2014.0085.
Анотація:
Drawing on recent work by novelist Michel Houellebecq and photographer Raymond Depardon, this article examines the relationship between visual culture, spatial change and modernization in contemporary France. Investigating how Houellebecq foregrounds the visual representation of space in his novel La Carte et le territoire (2010), the article goes on to align the questions it raises with the six-year photographic tour of France undertaken by Raymond Depardon during the first decade of the twenty-first century. It considers Depardon's portrait of contemporary France in the context of his previous engagement with spatial change and state-led planning as part of the Mission photographique de la DATAR of the 1980s. It explores the vision of spatial layering and heterogeneity which emerges from the project, and discusses how it reasserts the importance of photography for capturing and articulating territorial identity and spatial change.
44
Durden, Mark. "Light Catcher." Sophia Journal 5, no. 1 (December 1, 2020): 90–95. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_09.
Анотація:
Among his remarkable performance-based short films made in the garden of his family home, two films show the artist holding a mirror to both catch and reflect sunlight back to the camera and viewer. Such performances provide a fitting allegory for his relationship to the medium of photography. As a photographer Peter Finnemore is someone who catches and plays with light. Light is key to the pictures made in his home place in rural mid Wales, Gwendraeth House. The photographs relay the intimacy he has with his childhood home, which has been in his family for generations. Finnemore has been photographing his home for thirty years and his pictures are full of hints and suggestions, traces of those who live and lived there. With people’s passing, he is now its sole occupant and the house has become more and more a portrait of his own imagining, his dream space. Finnemore photographs feelingly and describes his home as “a dreaming centre to divine and survey the spaces between darkness and stars”. Working with black and white film and the chemical-based printing process his richly toned prints explore the opposition and gradations between non-light and light, negative and positive, with all their symbolic implications. Like film, the house and its rooms are seen as receptive and responsive spaces. In Dream Traces a partly decorated wall above a bed is animated both by the gestural traces of darker paint upon it and lighter rectangular areas where posters and pictures were once attached. The wall is not blank but a field of different energy forces, the slow photographic effect of the darkening of the wall around the absent pictures against the more immediate brushmarks of house paint at its edges. The wall is also suggestive of an awakening state, the sense of something not fully coming into consciousness. This is in contrast to the relative order and geometry introduced by the wooden bars of the bedstead and the clarity of the singing and piercing detail of the white dot at the centre of an eye, painted on glass. This Greek mati, used to ward off evil, becomes the focal point of this picture and cue to many objects and elements in his pictures that are felt to be imbued with energies and powers beyond their material form. [...]
45
Miranda, Diana, and Helena Machado. "Photographing prisoners: The unworthy, unpleasant and unchanging criminal body." Criminology & Criminal Justice 19, no. 5 (September 20, 2018): 591–604. http://dx.doi.org/10.1177/1748895818800747.
Анотація:
The use of photography in representing the criminal body has long been a focus of interest in the social sciences, especially so when exploring the historical evolution of criminal identification practices. By contributing to the emerging field of visual criminology, this article explores current practices around photography of prisoners in the everyday contexts of the prison space. Drawing on a qualitative study conducted with prisoners, prison guards and probation officers in three Portuguese prisons, we analyse how different social actors construct the criminal body. This construction is explored through the meanings attributed to prisoners’ photographic portraits used for their identification. In particular, we discuss how their photographic documentation acts as a classification device and a visual representation of the criminal. We argue that this representation, by portraying elements of unworthiness, unpleasantness and immutability, plays a significant role in the parole board’s decisions and produce an embodied sense of identity and perpetuation of stigma.
46
Spurn�, Pavel. "EN photographic Perseids." Earth, Moon, and Planets 68, no. 1-3 (1995): 529–37. http://dx.doi.org/10.1007/bf00671549.
47
Anikeeva, I. A. "Method and algorithm of automatic color rendition quality assessment of digital aerial and space photos." Geodesy and Cartography 937, no. 7 (August 20, 2018): 45–56. http://dx.doi.org/10.22389/0016-7126-2018-937-7-45-56.
Анотація:
Today the photographic quality assessment of aerial and space images is made visually, with a big deal of subjectivity. The main problems are the lack of parameters characterizing the photographic quality of images and the lack of methods for determining these parameters. The correctness of color rendition is one of the most important indicators of the photographic aerial and space images’ quality. Research problems included the developing methods for determining the color imbalance of digital images; developing the assessment criterion of color imbalance and a method of its calculation; as well as the experimental verification of the suggested method by correcting the color balance of an image. The article describes the algorithm for automatic color imbalance detection of a digital image that enables searching pixels as parts of gray field areas of an image; the value of a color imbalance is estimated by selected gray pixels. One of the most important indicators of the photographic quality of aerial and space images was determined, it is the color imbalance expressed numerically. The method of automatic assessment of color rendition correctness is offered, the criterion of estimation of color imbalance of the photographic image and a method of its calculation is specified, results of the experimental check of the offered method of assessment of color rendition correctness are given.
48
Pascu, D., and R. E. Schmidt. "Photographic positional observations of Saturn." Astronomical Journal 99 (June 1990): 1974. http://dx.doi.org/10.1086/115480.
49
Debehogne, H., M. Scardia, and D. Ghiringhelli. "Photographic positions of Minor Planets." Astronomische Nachrichten 315, no. 4 (1994): 319–22. http://dx.doi.org/10.1002/asna.2103150409.
50
Debehogne, H., M. Scardia, and D. Ghiringhelli. "Photographic positions of Minor Planets." Astronomische Nachrichten 316, no. 2 (1995): 121–24. http://dx.doi.org/10.1002/asna.2103160209.