In Projecting Citizenship , Gabrielle Moser gives a comprehensive account of an unusual project produced by the British government’s Colonial Office Visual Instruction Committee at the ...beginning of the twentieth century—a series of lantern slide lectures that combined geography education and photography to teach schoolchildren around the world what it meant to look and to feel like an imperial citizen.
Through detailed archival research and close readings, Moser elucidates the impact of this vast collection of photographs documenting the land and peoples of the British Empire, circulated between 1902 and 1945 in classrooms from Canada to Hong Kong, from the West Indies to Australia. Moser argues that these photographs played a central role in the invention and representation of imperial citizenship. She shows how citizenship became a photographable and teachable subject by tracing the intended readings of the images that the committee hoped to impart to viewers and analyzing how spectators may have used their encounters with these photographs for protest and resistance. Moser shows how the Visual Instruction Committee pictured citizenship within an everyday context and decenters the preoccupation with trauma, violence, atrocity, and conflict that characterizes much of the theoretical literature on visual citizenship and demonstrates that the relationship between photography and citizenship emerged not in the dismantling of modern colonialism but in its consolidation.
Interweaving political and economic history, history of pedagogy, and theories of citizenship with a consideration of the aesthetic and affective dimensions of viewing the lectures, Projecting Citizenship offers important insights into the social inequalities and visual language of colonial rule.
Digital Synesthesia Gsöllpointner, Katharina; Schnell, Ruth; Schuler, Romana Karla
2016, 2016-05-10
eBook
Die Publikation versammelt die Ergebnisse des künstlerischen Forschungsprojekts DIGITAL SYNESTHESIA und stellt erstmals ein umfassendes Kompendium zu diesem Begriff vor. "Digitale Synästhesie" ...umfasst ein völlig neues Konzept der digitalen Künste im 21. Jahrhundert, das die multimediale, auf dem binären Code basierende Ästhetik der digitalen Kunst mit der Multimodalität von Synästhesie als Wahrnehmungsform verbindet.
Over the past twenty-five years, photography has moved to centre-stage in the study of visual culture and has established itself in numerous disciplines. This trend has brought with it a ...diversification in approaches to the study of the photographic image.
Photography: Theoretical Snapshots offers exciting perspectives on photography theory today from some of the world’s leading critics and theorists. It introduces new means of looking at photographs, with topics including:
a community-based understanding of Spencer Tunick’s controversial installations
the tactile and auditory dimensions of photographic viewing
snapshot photography
the use of photography in human rights discourse.
Photography: Theoretical Snapshots also addresses the question of photography history, revisiting the work of some of the most influential theorists such as Roland Barthes, Walter Benjamin, and the October group, re-evaluating the neglected genre of the carte-de-visite photograph, and addressing photography’s wider role within the ideologies of modernity. The collection opens with an introduction by the editors, analyzing the trajectory of photography studies and theory over the past three decades and the ways in which the discipline has been constituted.
Ranging from the most personal to the most dehumanized uses of photography, from the nineteenth century to the present day, from Latin America to Northern Europe, Photography: Theoretical Snapshots will be of value to all those interested in photography, visual culture, and cultural history.
J. J. Long is Professor of German at Durham University. He is the author of The Novels of Thomas Bernhard and of W. G. Sebald: Image, Archive, Modernity , and has published widely on German literature and photography. He was awarded a Philip Leverhulme Prize in 2005.
Andrea Noble is Professor of Latin American Studies at Durham University, author of Mexican National Cinema and co-editor of Phototextualities: Intersections of Photography and Narrative .
Edward Welch is Senior Lecturer in French at Durham University, and author of François Mauriac: The Making of an Intellectual . His research interests include post-war French visual culture and documentary photography, and he is a regular contributor to Source photography journal.
List of Figures Introduction A Small History of Photography Studies Edward Welch and J. J. Long 1. Mindless Photography John Tagg 2. Thinking Photography beyond the Visual? Elizabeth Edwards 3. On Snapshot Photography: Rethinking Photographic Power In Public And Private Spheres Catherine Zuromskis 4. Family Photography and the Global Drama of Human Rights Andrea Noble 5. Dreams of Ordinary Life: Cartes-De-Visite and the Bourgeois Imagination Geoffrey Batchen 6. Race and Reproduction in Camera Lucida Shawn Michelle Smith 7. Benjamin, Atget, and the ‘Readymade’ Politics of Postmodern Photography Studies Kelly Dennis 8. Being Exposed: Thinking Photography and Community in Spencer Tunick’s Naked World Through the Lens of Jean-Luc Nancy Louis Kaplan 9. ‘And in This Fairy World of Labour See A Type Of What The Actual World Should Be’: Plato’s Dilemma Donald Preziosi Notes on Contributors Bibliography Index
Početak i povijest fotografije u Hrvatskoj počinje paralelno s drugim europskim gradovima. Prvih nekoliko desetljeća od pojave fotografije promjene i otkrića na tom području pridonijeli su velikom ...interesu, porastu popularnosti i brzom širenju fotografije među građanima. U tim počecima popularizaciji fotografije osobito su pridonijeli tzv. putujući fotografi koji se nisu nigdje trajno nastanjivali već su putovali od mjesta do mjesta, zadržavajući se nekoliko dana ili tjedana po potrebi. No uskoro se javlja potražnja za stalnim fotografima i fotografija tada doživljava svoj uspon. Bjelovar nije bio iznimka. Od petnaest zasada zabilježenih – što putujućih, što stalnih fotografa – nekolicina njih ostavila je velik pečat i ovjekovječila jedan period grada Bjelovara. Među njima bio je Hinko Anhalzer, koji je u svojem dugogodišnjem radu bio dijelom svih važnijih društvenih i kulturnih događanja, više kao sudionik nego samo fotograf. Iz analize periodike i dostupnih fotografija te intervjua s Hinkovom kćeri Leom i fotografskom pomoćnicom Jelkom vidljiv je utjecaj i opus koji je ostao iza bjelovarskoga najdugovječnijeg fotografa koji je više od četrdeset godina bilježio povijest jednoga grada.
The tradition of using qualitative interviews in the study of everyday life, place and identity in geography, housing studies and related disciplines is a long and sound one. Recently there has been ...increasing interest in using visual methods as part of qualitative methodological approaches. Through our own empirical work, this article explores one position in visual methodology, which suggests visual methods as a way of in a sense getting closer to the lived life. Drawing inspiration from qualitative methodology and performative perspectives in geography, this article argues that this position overlooks the ways in which the visual - here photography - can also be seen as performed. Based on the authors' experiences with visual methods in fieldwork in housing areas in greater Copenhagen, and using both informants' and researchers' photographic work, the article shows how a performative perspective on photography can be used in qualitative research in geography.
During the 1930s, the world of photography was unsettled, exciting, and boisterous. John Raeburn's A Staggering Revolution recreates the energy of the era by surveying photography's rich variety of ...innovation, exploring the aesthetic and cultural achievements of its leading figures, and mapping the paths their pictures blazed public's imagination. _x000B_While other studies of thirties photography have concentrated on the documentary work of the Farm Security Administration (FSA), no previous book has considered it alongside so many of the decade's other important photographic projects. A Staggering Revolution includes individual chapters on Edward Steichen's celebrity portraiture; Berenice Abbott's Changing New York project; the Photo League's ethnography of Harlem; and Edward Weston's western landscapes, made under the auspices of the first Guggenheim Fellowship awarded to a photographer. It also examines Margaret Bourke_White's industrial and documentary pictures, the collective undertakings by California's Group f.64, and the fashion magazine specialists, as well as the activities of the FSA and the Photo League. _x000B_Raeburn's expansive study explains how the democratic atmosphere of thirties photography nourished innovation and encouraged new heights of artistic achievement. It also produced the circumstances that permitted artful photography to become such a thriving public enterprise during the decade. A Staggering Revolution offers an illuminating analysis of the sociology of photography's art world and its galleries and exhibitions, but also demonstrates the importance of the novel venues created by impresarios and others that proved essential to photography's extraordinary dissemination. These new channels, including camera magazines and annuals, volumes of pictures enhanced by text, and omnibus exhibitions in unconventional spaces, greatly expanded photography's cultural visibility. They also made its enthusiastic audience larger and more heterogeneous than ever before - or since.
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