Provider: - Institution: - Data provided by Europeana Collections- Klasicistički stup na livadi pred šumom. Na stupu tušem manipuliranafigura u stavu legionara. Četiri osobe oko stupa. Montaža iz dva ...negativa.Fotografija nalijepljena na list kartona u autorskom albumu Stjepana Erdödyja.Pod fotografijom naistom kartonu na- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Photomontage: view of the Eurotower office complex at the intersection of Lučić Street and Vukovar Avenue. This is one of the first ...single-building proposals.- Foto-montaža: pogled na poslovni kompleks Eurotower na križanju Lučićeve ulice i Vukovarske avenije. Riječ je o jednom od prvih prijedloga s jednom zgradom.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Photomontage: simulation of the views from the building of FSB on Eurotower business complex at the intersection of Lučić Street and ...Vukovar Avenue. This is one of the first proposals with one tower and a lower building next to it.- Foto-montaža: simulacija pogleda sa zgrade FSB-a na poslovni kompleks Eurotower na križanju Lučićeve ulice i Vukovarske avenije. Riječ je o jednom od prvih prijedloga s jednim tornjem i nižom zgradom pored.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Photomontage: Eurotower business complex at the intersection of Lučić Street and Vukovar Avenue. This is one of the first proposals ...with one tower and a lower building next to it.- Foto-montaža: poslovni kompleks Eurotower na križanju Lučićeve ulice i Vukovarske avenije. Riječ je o jednom od prvih prijedloga s jednim tornjem i nižom zgradom pored.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Disertacija „Fotografija kao dokaz“ zadire u skepticizme i relativizme koje uvode teorije
medija po pitanju statusa dokazivosti ...digitalne fotografije, dokazujući; kako je isti ili sličan
materijal, a koji nije imao kapacitet dokazivosti, postojao i prethodno, u analognoj fotografiji,
te kako stoga nije došlo do supstancijalne ili revolucionarne promjene. Ona analizira
sklopove misli nazvane diskursima realizma, locirajući tri dominantna realistička sustava u
koja se pojavljuju simultano izumu fotografije; pragmatičkog, pozitivističkog, te povijesnog
realizma. Svi oni redom definiraju i/ili koriste fotografiju u svrhe dokaza. Te teorije
dislociraju diskusiju o fotografiji u različita područja misli; prirodnih znanosti, humanističkih
pa i društvenih disciplina. One tvrde kako: (1) fotografija može donijeti znanje ili mu barem
služiti kao dodatno sredstvo (na način „filozofskog stroja“), nadalje kako je (2) fotografski
referent nužno, a ne moguće postojeći (ili; ako nešto postoji to se mora moći fotografirati), te
naposljetku kako (3) fotografija jedino može govoriti o nestalom vremenu. Ipak, dok svaki od
pristupa afirmira sebi bliske, on redovno isključuje iz definicije druge primjene fotografije
(vrlo često to su apstraktne, no i znanstvene fotografije…). Očigledno, obzirom polaze od
sebi najbliže definicije takozvane. Vernakularne (lokalne, obične) fotografije, odnosno
„normalnih“ ili „prosječnih“ fotografija, većina pristupa ima problema s nepotpunošću
nabrajanja ili indukcije. Uvodi se, stoga, nova definicija koja radije deducira moguću
fotografiju iz kapaciteta samoga medija, odnosno njenih tehnoloških pretpostavki. Obraćajući
pažnju na sam početak fotografskog procesa, banalne parametre poput posebnih tehničkih
odlika specijalizirane i komercijalne fotografske opreme, te odabira i namjera koje odlučuju o
njihovim primjenama, disertacija otvara nove mogućnosti interpretacije, a time i širenja
područja istraživanja o fotografiji. Naime, redefiniranjem se otvara pristup etici fotografske slike, odnosno šire; filozofiji politike, pregledajući motive predstavljanja fotografije u svrhe
dokaza. Pod temom moralne odgovornosti, koja postaje osnova definicije fotografije kao
dokaza; namjesto teze kako fotografski referent nužno postoji, zaključuje se na često
previđenu činjenicu kako je - fotograf bio „tamo,“ bitnu za kritike represivne (vojne,
političke) primjene fotografije, koje uglavnom i rabe fotografiju u svrhe dokaza.- The dissertation Photography as the Evidence deals with scepticism and relativism introduced
by media theories regarding evidentiary status of digital photography. It proves that similar or
even the same type of material, having no capacity of being an evidence, existed previously,
in the era of analogue photography, so no substantial or revolutionary change occurred with
new, digital, technologies. This analysis is undertaken inside discourses of three realisms that
emerged simultaneously with the invention of photography. These discourses are;
pragmatism, positivism and historical realism. All of them are defining photography in terms
of its evidence. These discourses allocate discussion on photography in different domains as;
science, philosophy and political theory or political history. They claim that: (1) the
photography can bring the knowledge or can at least serve as its tool (in terms of
philosophical machine), (2) that photographic referent is necessary, not only possibly existing
(thus; if something exists can be photographed), and that (3) the photograph can only serve to
illustrate the vanished time. Still, each of these perspectives is partial, as excluding some
other practical usage of photography as the medium. Obviously, as all of them are starting
with the nearest definition of vernacular photography, or what is depicted as “normal” or
“average” photography, they are producing a fallacy of incomplete induction. A new
definition deriving possible photographs from the capacity of its medium, is introduced.
Returning to the very start of the photographic process, to seemingly banal parameters as
technological specificities, as well as to photographer’s choices made upon it, the dissertation
is introducing new domains of interpretation. Introduction of the photographic agent into the
discourse, namely, allows proceeding to the domain of photographic ethics, or even into wider domain of philosophy of politics, giving an overview of critical issues when
photography is presented as evidence, in moral sense. Primary author is distinguished from
the secondary one in regard to rules given in commission, bringing up notions of
responsibility, as the only fact being provable, and that is – the photographer „has been
there,“ which is coming important for repressive (political, military..) exploitations of
photography, predominantly using photography as the evidence.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Photo of the photomontage - department store in the environment. Preliminary design. Below note about the building and authors.- ...Fotografija fotomontaže - objekta robne kuće u okruženju. Idejni projekt. Sa strane bilješka strojopisom o objektu i autorima.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Photomontage: Photograph of the main MUO facade taken from the direction of the Rectorate building. On the northern part mounted ...another segment of the facade with the main and lateral projection.- Fotomontaža: fotografija glavnog pročelja MUO snimljena iz smjera zgrade Rektorata. Na sjeverni dio montiran još jedan segment fasade s glavnim i bočnim rizalitom.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: Kaunas Ninth Fort Museum - Data provided by Europeana Collections- Fotoatvirukas. Karininkas Antanas Juozapavičius. Pirmasis karininkas žuvęs už Lietuvos Nepriklausomybę 1919 ...m. vasario 13 d. ant Nemuno tilto prie Alytaus.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
