Still Moving Redrobe, Karen; Ma, Jean; Gunning, Tom ...
2008, 2008-09-17
eBook
In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical ...concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another. Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily inter disciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become. Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff, Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan, Jean Ma, Janet Sarbanes, Juan A. Suárez
Abstract
In this article, we examine the epistemology of the camera today. In order to answer this question, we concentrate on three social and technological forms: the camera obscura, the ...photographic camera, and the digital camera.
On the one hand, the camera extends our human sensibilities and helps us to obtain knowledge of the world. On the other hand, it works as a device for delusion, bodily vision and spectacle. Historically, these two functions are meshed together in complicated ways and this establishes the paradoxical epistemology of the camera.
We argue that, even if contemporary debates about the truthfulness of the photographic image have persistently been tied to the digitisation of the photographic process, the very origin of these debates actually lies in the camera itself and its contradictory epistemology. The camera has worked, and still works, as an apparatus that relentlessly produces irresolvable ambiguity, aporia, between true knowledge and illusory vision.
Visualising Old Age Christensen, Christa Lykke
Nordicom review,
12/2019, Letnik:
40, Številka:
2
Journal Article
Recenzirano
This article studies how the Danish advocacy group for older people, AEldre Sagen (the DaneAge Association, or DAA), of which around 46 per cent of all Danes over the age of 65 are members, visually ...represents older people. The study gains theoretical inspiration from media and cultural-gerontological theories concerning the cultural influence of media representations of older people, and the connected perceptions of what it means to be and to grow old. The study is based on an analysis of a sample of 59 photographs that appeared on DAA's website in the period 2016-2018. The results indicate a dominant visual representation of older people as happy, socially involved and extroverted, while representations of older people as weak, introverted and alone constitute a minority. In conclusion, the organisation visually promote a positive image of older people, at the same time as they represent them as excluded from other age groups and from culture and society in general.
Sammendrag Avisenes illustrasjoner eksisterer ikke i et visuelt tomrom, men er del av en større kontekst av visuell kultur og historie. Denne artikkelen ser særlig på bruken av rastrert fotografi i ...Stavanger 1893–1940. Hvordan utviklet bruken av illustrasjoner og avisenes visuelle uttrykk seg, og hvordan forholdt praksisen seg til nasjonale utviklingstrekk, og til utviklingen i annen visuell kultur i Stavanger i samme tidsrom? Med Stavanger Aftenblad som hovedcase peker artikkelen på hovedtrekk i bruken av illustrasjoner i det redaksjonelle stoffet og annonsestoffet, og hva dette kan si om menneskene og samfunnet som omga avisene.
In this volume, leading scholars of photography and media examine photography’s vital role in the evolution of media and communication in the nineteenth century.
In the first half of the ...nineteenth century, the introduction of telegraphy, the development of a cheaper and more reliable postal service, the rise of the mass-circulation press, and the emergence of the railway dramatically changed the way people communicated and experienced time and space. Concurrently, photography developed as a medium that changed how images were produced and circulated. Yet, for the most part, photography of the era is studied outside the field of media history. The contributors to this volume challenge those established disciplinary boundaries as they programmatically explore the intersections of photography and “new media” during a period of fast-paced change. Their essays look at the emergence and early history of photography in the context of broader changes in the history of communications; the role of the nascent photographic press in photography’s infancy; and the development of photographic techniques as part of a broader media culture that included the mass-consumed novel, sound recording, and cinema.
Featuring essays by noteworthy historians in photography and media history, this discipline-shifting examination of the communication revolution of the nineteenth century is an essential addition to the field of media studies.
In addition to the editors, contributors to this volume are Geoffrey Batchen, Geoffrey Belknap, Lynn Berger, Jan von Brevern, Anthony Enns, André Gaudreault, Lisa Gitelman, David Henkin, Erkki Huhtamo, Philippe Marion, Peppino Ortoleva, Steffen Siegel, Richard Taws, and Kim Timby.
Standard colorimetry Oleari, Claudio
2015., 2015, 2016, 2015-10-30, 2015-11-30
eBook
Colour is a sensation and as such it is a subjective and incommunicable quantity. Colour measurement is possible because we can create a correspondence between colour sensations and the light ...radiations that stimulate them. This correspondence concerns the physics of light radiation, the physiology of the visual process and the psychology of vision. Historically, in parallel to standard colorimetry, systems for colour ordering have been developed that allow colour specifications in a very practical and concrete way, based on the direct vision of material colour samples arranged in colour atlases. Colour-ordering systems are sources of knowledge of colour vision, which integrate standard colorimetry. Standard Colorimetry: Definitions, Algorithms and Software: * Describes physiology and psychophysics useful to understand colorimetry * Considers all the photometric and colorimetric systems standardized by CIE ( XYZ, CIELAB, CIELUV, LMS ) * Presents colorimetric instrumentation in order to guide the reader toward colorimetric practice * Discusses colorimetric computation to understand the meaning of numerical colour specification * Considers colorimetry in colour syntheses and in imaging colour reproduction * Includes ready-to-use, freely-available software, "Colorimetric eXercise", which has multiple toolboxes dedicated to * displaying CIE systems, atlases, any colour and its whole numerical specification * colour-vision phenomena and tests Standard Colorimetry: Definitions, Algorithms and Software is an accessible and valuable resource for students, lecturers, researchers and laboratory technicians in colour science and image technology. Follow this link to download the free software "Colorimetric eXercise":http://booksupport.wiley.com/ Standard Colorimetry: Definitions, Algorithms and Software is published in partnership with the Society of Dyers and Colourists (SDC). Find out more at www.wiley.com/go/sdc
Women's Camera Work explores how photographs have been and are used to construct versions of history and examines how photographic representations of otherness often tell stories about the self. In ...the process, Judith Fryer Davidov focuses on the lives and work of a particular network of artists linked by time, interaction, influence, and friendship—one that included Gertrude Käsebier, Imogen Cunningham, Dorothea Lange, and Laura Gilpin. Women's Camera Work ranges from American women's photographic practices during the nineteenth and early twentieth centuries to a study of landscape photography. Using contemporary cultural studies discourse to critique influential male-centered historiography and the male-dominated art world, Davidov exhibits the work of these women; tells their absorbing stories; and discusses representations of North American Indians, African Americans, Asian Americans, and the migrant poor. Evaluating these photographers' distinct contributions to constructions of Americanness and otherness, she helps us to discover the power of reading images closely, and to learn to see through these women's eyes. In presenting one of the most important strands of American photography, this richly illustrated book will interest students of American visual culture, women's studies, and general readers alike.
Working Images Alfonso, Ana Isabel; Kurti, Laszlo; Pink, Sarah
2004, 20040802, 2004-08-02
eBook
Visual methods such as drawing, painting, video, photography and hypermedia offer increasingly accessible and popular resources for ethnographic research. In Working Images , prominent visual ...anthropologists and artists explore how old and new visual media can be integrated into contemporary forms of research and representation. Drawing upon projects undertaken both 'at home' in their native countries and abroad in locations such as Ethopia and Venezuela, the book's contributors demonstrate how visual methods are used in the field, and how these methods can produce and communicate knowledge about our own and other cultures. As well as focusing on key issues such as ethics and the relationship between word and image, they emphasize the huge range of visual methods currently opening up new possibilities for field research, from cartoons and graphic art to new media such as digital video and online technologies.
1. Introduction: Situating Visual Research Section 1: Visual Fieldwork Methods 2. Video and Ethnographic Knowledge: Skilled Vision in the Practice of Breeding 3. Photography in the Field: Word and Image in Ethnographic Research 4. Picture Perfect: Community and Commemoration in Photographs 5. New Graphics for Old Stories Representation of Local Memories Through Drawings 6. Imagework in Ethnographic Research Section 2: Representing Visual Knowledge 7. Putting Film to Work: Observational Cinema as Practical Ethnography 8. Revealing the Hidden: Making Anthropological Documentaries 9. Drawing the Lines: The Limitations of Intercultural Ekphrasis 10. In the Net: Ethnographic Photography 11. Conversing with Anthropology: Words, Images and Hypermedia Text 12. The Representation of Cultures in Digital Media Epilogue 13. Working Images
How do photographs compel belief and endow knowledge? To understand the impact of photography in a given era, we must study the adjacent forms of visual persuasion with which photographs compete and ...collaborate. In photography’s early days, magic shows, scientific demonstrations, and philosophical games repeatedly put the visual credulity of the modern public to the test in ways that shaped, and were shaped by, the reality claims of photography. These venues invited viewers to judge the reliability of their own visual experiences. Photography resided at the center of a constellation of places and practices in which the task of visual discernment—of telling the real from the constructed—became an increasingly crucial element of one’s location in cultural, political, and social relations. In Disillusioned: Victorian Photography and the Discerning Subject , Jordan Bear tells the story of how photographic trickery in the 1850s and 1860s participated in the fashioning of the modern subject. By locating specific mechanisms of photographic deception employed by the leading mid-century photographers within this capacious culture of discernment, Disillusioned integrates some of the most striking—and puzzling—images of the Victorian period into a new and expansive interpretive framework.
This article explores the pioneering potential of communal visual-optic histories which are recorded, painted, documented, or otherwise expressed. These materials provide collective meanings of an ...image or visual material within a specific cultural group. They potentially provide a new method for monitoring and documenting changes to ecosystem health and species distribution, which can effectively inform society and decision makers of Arctic change. These visual histories can be positioned in a continuum that extends from rock art to digital photography. They find their expressions in forms ranging from images to the oral recording of knowledge and operate on a given cultural context. For monitoring efforts in the changing boreal zone and Arctic, a respectful engagement with visual histories can reveal emerging aspects of change. The examples from North America and case studies from Eurasia in this article include Inuit sea ice observations, Yu'pik visual traditions of masks, fish die-offs in a sub-boreal catchment area, permafrost melt in the Siberian tundra and early, first detection of a scarabaeid beetle outbreak, a Southern species in the Skolt Sámi area. The pros and cons of using these histories and their reliability are reviewed.
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