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Journal articles on the topic 'Photographed moment'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Wicky, Érika. "L’imaginaire pictural de la matière photographique (1850–1860) : la cuisine de l’art, du peintre au photographe." RACAR : Revue d'art canadienne 40, no. 1 (August 27, 2015): 85–94. http://dx.doi.org/10.7202/1032758ar.

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The writings on photography published in the 1850s reveal the emergence of a pictorial imaginary of photographic matter that grew in the margins of the amazement at a medium completely dominated by nature and the precise developments of the photographic technique. In some of these texts, photographers were likened to painters because of the application, in both techniques, of multiple layers of varied and more or less opaque substances. Inasmuch as it concerned the process of fabrication more than the image itself, the understanding of the work performed by photographers, of their action on ma

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Ferenc, Tomasz. "Praca, robotnicy, archiwa, fotograﬁa — utrwalanie stereotypów i walka o emancypację". Kultura i Społeczeństwo 59, № 3 (11 серпня 2015): 203–21. http://dx.doi.org/10.35757/kis.2015.59.3.10.

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Work, workers, and workers’ living conditions quickly became a ﬁeld of interest for photographers. Already by the middle of the 19th century there were photographs showing working people. Nevertheless, the contexts in which such photographs were taken varied considerably. The ﬁrst part of this article presents, in the historical perspective, the different causes and strategies involved in making these types of documents, up to the moment when photographs began to appear that had been made by workers themselves. The movement to photograph workers, which developed in the ﬁrst decades of the 20th

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3

Side, Katherine. "Grimaldi’s iconic photograph: Bloody Sunday, Derry 1972." Irish Journal of Sociology 26, no. 1 (November 21, 2017): 71–93. http://dx.doi.org/10.1177/0791603517741072.

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This article examines the concept of photographic iconicity in relation to Italian press photographer, Fulvio Grimaldi’s photograph of the evacuation of Derry-born marcher, John [Jackie] Francis Duddy, at Bloody Sunday, 1972. This historical photograph continues to instigate remembering and forgetting among nationalists and unionists in the context of Northern Ireland. Its uses, in state-led government inquiries, among nationalist communities and in the form of artistic intersessions, are demonstrated to be consistent with the hallmarks of iconicity, particularly the ability to situate viewers

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Vanover, Charles. "The Magic of Theater: Photographing a Performative Academic Career." Cultural Studies ↔ Critical Methodologies 21, no. 1 (June 26, 2020): 41–55. http://dx.doi.org/10.1177/1532708620931136.

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I discuss my efforts as a “good enough” photographer and describe the role photographs play communicating important moments from a series of ethnodramas I built about the Chicago Public Schools. I discuss my early efforts to use photography to legitimize my arts-based research practice, describe how my goals changed, and explain how I created images to communicate the energy of live theater. Building on Eisner’s theoretical work, I discuss three tensions of my photographic practice: intention versus improvisation, action versus artifice, and safety versus possibility. These tensions emphasize

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Redmond, Eden. "Radiant Traces." Departures in Critical Qualitative Research 3, no. 4 (2014): 418–26. http://dx.doi.org/10.1525/dcqr.2014.3.4.418.

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Photography is a referent medium. While a photograph is a physical object with its own ontology, the image depicted references a moment that has already ended. The mobility of a photograph relies on the divide between presence and absence, the material and the ephemeral. This photographic essay considers the tensions and parallels of such divides in photographing and photographs of sadhus, holy men who wander throughout East Asia. Sadhus relinquish worldly possessions in the name of spiritual pursuits, surviving on whatever the divine provides. The following images illustrate both their radian

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Savisaar, Remo. "Animal behaviour // Comportamiento animal." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (March 9, 2015): 170–74. http://dx.doi.org/10.37536/ecozona.2015.6.1.646.

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Nature photography has many different categories: there’s no easy or hard one. One might think that taking photos of animals is harder than, for example, doing landscape photography. But all the best photography goes beyond mere documentation to overlay the moment with the artistic vision of the photographer. In the end, knowledge of subject, field craft, approach, patience (a lot of patience), composition and technical ability with the camera are all that matters. We nature photographers search for special moments which sometimes last only for brief seconds. These can be rarely seen moments o

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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.

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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds

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Lessard, Bruno. "The Refracted Moment: Photographing Chinese History in the Making." Journal of Chinese Humanities 1, no. 1 (April 24, 2014): 170–93. http://dx.doi.org/10.1163/23521341-01010009.

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Abstract This article examines the way in which both Western and Chinese photographers have documented Chinese history in the making by focusing on the photographic documentation of two key events in the formation of Chinese society: the 1911 Revolution that laid the foundation for the birth of the republic and the “energy revolution” that was the Three Gorges Dam project (1994-2012). The major difference between the two revolutions is that the latter was documented by the Chinese themselves. No longer relying upon images made by Westerners exclusively, as was the case in 1911, the Chinese app

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Steciąg, Magdalena, and Anna Karmowska. "Lingua Materna, Lingua Receptiva, Lingua Franca, Multilingua Franca? The Linguascape of the Polish-Czech Borderland from the Perspective of Sustainable Multilingualism." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 21–38. http://dx.doi.org/10.2478/sm-2020-0002.

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SummaryAs statistical surveys show, both Poland and the neighbouring Czech Republic are single-ethnic and highly monolingual countries. The observation of the linguistic landscape of the Polish-Czech borderland suggests, however, that the display of common natural heritage is conducive to weakening monolingualism and the development of multilingual practices instead. The hypothesis is being checked in a comparative analysis of the linguistic landscape of two picturesque locations - Czech Adršpach and Polish Karłów where a lot of natural sights in the form of rocks can be found. The case study

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Nestayko, Markiyan. "Photos of Levko Yanushevych on the pages of Ukrainian magazines." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 362–75. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-26.

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The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures

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Zuhdan Aziz. "Dramatization of Visual Communication Messages In Macro Photographic Genre." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (April 7, 2020): 154–73. http://dx.doi.org/10.33153/iicacs.v3i1.30.

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Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography work

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Jarmołowicz-Dziekońska, Małgorzata. "Exilic representation and the (dis)embodied self: memory and photography in Yoshiko Uchida’s , autobiography Desert Exile: The Uprooting of a Japanese-American Family." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 31 (2019): 148–71. http://dx.doi.org/10.15290/idea.2019.31.09.

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Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of articulation. Individual memory has enabled the author

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Chatterjee, Debangana. "Globalization and the Politics of Photographic Representation: Essentializing the Moments of Agony." Jadavpur Journal of International Relations 22, no. 2 (July 8, 2018): 167–88. http://dx.doi.org/10.1177/0973598418782745.

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Prima facie photographic representations are reproducing reality, though in most of the cases they are artificially created and subjectively interpreted. Focusing on photography as a form of visual representation, the article argues that globalization as a process accelerates this agenda of photography. This article aims at exploring the cultural penetration of globalization through contemporary visual bombardments. The modern capitalist intervention has made globalization even more pregnable to the grassroots of everyday life. In this way, globalization creates stereotypical visual and cultur

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Sanuki, Keisuke, and Taro Fujikawa. "Motion Analysis of Butterfly-Style Flapping Robot Using CFD Based on 3D-CAD Model and Experimental Flight Data." Journal of Robotics and Mechatronics 33, no. 2 (April 20, 2021): 216–22. http://dx.doi.org/10.20965/jrm.2021.p0216.

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In this paper, a computational fluid dynamics (CFD) analysis system based on a 3D-CAD model of a butterfly-style flapping robot using its experimental flight data is proposed. The butterfly-style flapping robot can control its attitude by changing its flapping and lead-lag angles; however, measuring the lift, thrust, and body pitch moment directly during flight is difficult. In the case of the flight motion analysis of insects, the state of flight has been photographed, and numerical analysis has been performed to obtain the flow field around the wings. However, when performing the motion anal

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Ferraris, Maurizio. "From Fountain to Moleskine." Brill Research Perspectives in Art and Law 2, no. 4 (April 23, 2019): 1–87. http://dx.doi.org/10.1163/24684309-12340006.

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AbstractPhotography was invented in the mid-nineteenth century, and ever since that moment painters have been asking what they are there for. Everyone has their own strategy. Some say they do not paint what is there, but their impressions. Others paint things that are not seen in the world, and therefore cannot be photographed, because they are abstractions. Others yet exhibit urinals in art galleries. This may look like the end of art but, instead, it is the dawn of a new day, not only for painting but – this is the novelty – for every form of art, as well as for the social world in general a

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Horta, Paula. "When the Landscape of the Face is Hidden from Us." Grimace, Vol. 2, no. 1 (2017): 68–71. http://dx.doi.org/10.47659/m2.068.art.

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How do we respond to the vulnerability of the Other when we do not see his face? How do photographer and viewers position themselves ethically in relation to the (hi)story of suffering they are called to witness? These are the questions that steer my reflection about Jillian Edelstein’s unpublished photograph of Archbishop Desmond Tutu. Taken shortly after the South African Truth and Reconciliation Commission (TRC) completed its work, the photograph evokes the moment during the TRC hearings when the Archbishop, Chairman of the commission, laid down his head and wept. Drawing on Emmanuel Levina

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Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (January 2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.

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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evo

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Lee, Anthony W. "In the Opium Den." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 172–76. http://dx.doi.org/10.1632/pmla.2010.125.1.172.

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Among other things, photographs are deposits of social relations. To put it another way, they are social relations temporarily hardened into images—figured, captured, frozen. The most obvious of those relations, that between the photographer and the sitter, has been a regular subject of inquiry for art history. Acknowledging but leaving that kind of interest aside for the moment, we may explore other sorts of relations in and around a photograph and pursue a line of inquiry more in keeping with visual culture. Here's a quick example.

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Desole, Angelo Pietro. "Conversazione illustrata in Sicilia (1953): una controversia fra Vittorini e Crocenzi." Rivista di studi di fotografia. Journal of Studies in Photography 5, no. 10 (December 14, 2020): 82–99. http://dx.doi.org/10.36253/rsf-12247.

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   Originally published in 1941, Elio Vittorini’s Conversazione in Sicilia – probably his most important novel – was republished in 1953 with the inclusion of 169 photographs commissioned to Luigi Crocenzi three years earlier. This new publication was followed by a harsh controversy between the writer and the photographer regarding the authorship of the book. This essay recontructs the dispute – a crucial moment in the definition of Italian photographic culture – through the correspondence held in Vittorini’s and Crocenzi’s personal archives and the ensuing comments published

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Socolovsky, Maya. "The Homelessness of Immigrant American Ghosts: Hauntings and Photographic Narrative in Oscar Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien." PMLA/Publications of the Modern Language Association of America 117, no. 2 (March 2002): 252–64. http://dx.doi.org/10.1632/003081202x61980.

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Cuban American literature and Oscar Hijuelos's texts in particular have generally been approached through a consideration of their material, multicultural aspects. This essay analyzes Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien, on which there is little critical work, by combining the novel's descriptions of photography and immigrant experiences with theories of photography. My reading considers the placing of ghosts and memory in the narrative and problematizes the undialectical presence of death in it. Referring to Hijuelos's text as an “imagetext” (photographs exist in it only

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Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced i

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Roychoudhuri, Ranu. "Documentary Photography, Decolonization, and the Making of “Secular Icons”: Reading Sunil Janah’s Photographs from the 1940s through the 1950s." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 46–80. http://dx.doi.org/10.1177/0974927617717898.

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Through historicizing photographs made by celebrated Indian photographer Sunil Janah (1918–2012), this paper will elucidate the ways in which Janah created “secular icons” of historical moments during India’s passage from the colonial to the postcolonial. I will primarily focus on two sets of Janah’s photographs: the first set is from the 1940s, and centers on the Bengal Famine of 1943, communal violence, and the displacement of population before and after the partition of 1947, while the second set is from the 1950s, and emphasizes in particular photo-documentations of independent India’s ind

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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.

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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

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Vågnes, Øyvind. "A day in history: Andrea Gjestvang’s 22 July photographs." Journal of European Studies 47, no. 4 (October 24, 2017): 359–71. http://dx.doi.org/10.1177/0047244117733911.

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Combining photographic portraits and testimony, Andrea Gjestvang’s En dag i historien: 22. juli concerns the experiences and thoughts of 43 young people who survived the terror attack at the Labour Party youth camp on Utøya Island, outside Oslo on 22 July 2011. Published the year after the events, the book captures a moment in time in which memories of what happened were still very raw, and the various attempts at commemoration in diverse cultural forms were yet to be conceived of, and subsequently contested. Drawing on recent writings on photography (by Ariella Azoulay, Robert Hariman and Joh

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Irala-Hortal, Pilar. "La imagen como terapia = Image as therapy." REVISTA ESPAÑOLA DE COMUNICACIÓN EN SALUD 9, no. 2 (December 18, 2018): 237. http://dx.doi.org/10.20318/recs.2018.4502.

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Resumen: Cuando hablamos de fotografía solemos pensar en la captación de un momento o acontecimiento, probablemente caracterizado por breves impases de clímax y con una trascendencia cultural, social, artística o política. Bien se trate de fotografía artística o documental, tanto fotógrafos como historiadores o teóricos hemos abordado la imagen desde el enfoque de la preservación de un momento. En este caso la fotografía es un conservador de la memoria. Pero la fotografía puede cumplir otras funciones como la de ahondar, profundizar, extraer y exorcizar conocimientos o sentimientos íntimos con

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Linden, Liz. "Women with Cameras." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 195–207. http://dx.doi.org/10.1215/02705346-7584964.

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The essay looks at photographs from American photographer Anne Collier’s ongoing series Woman with a Camera (2006–). The essay argues that Collier’s series anticipates and “invents” the selfie by using anachronistic found materials. A number of Collier’s works in Woman with a Camera depict printed matter from the postmodern period that include photographs of female models posed as if they are shooting playful selfportraits in a mirror, acting as if they are themselves the photographer. Taking Collier’s work as evidence, this essay asks questions about how and why the selfie is so specifically

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Shah, Chinar. "The Execution of Bin Laden in Images." Cabinet, Vol. 2, no. 2 (2017): 98–101. http://dx.doi.org/10.47659/m3.098.art.

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The photo essay illustrates the politics of missing visuals from the public domain and analysis of the artist’s book Bin Laden Situation Room. The book is a reaction to the photograph issued on 2 May 2011 by the American government at the time of Bin Laden’s execution. The image taken by the official White House photographer Pete Souza, depicts president Barack Obama and his national security team witnessing the execution of Osama Bin Laden, the leader of the Islamic militant organization, al-Qaeda. Apart from this the American government did not issue any other visual evidence of the event. T

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Raza, Syed Sami. "“Divine Violence” After the Kharotabad Killings." Review of Human Rights 1, no. 1 (December 15, 2015): 4–11. http://dx.doi.org/10.35994/rhr.v1i1.68.

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In 2011 the law enforcement agencies of Pakistan killed a group of foreigners traveling across Pakistan-Afghanistan border. The agencies then tried to cover up the incident by calling it a potential suicide-bombing attack. However, they could not succeed in the cover-up plan primarily due to a photograph of one of the killed aliens—a woman—that appeared on local media. In this photograph the alien woman is shown lying on the ground near a sandbag-covered check-post waving for mercy/justice. The photograph becomes viral on both electronic news and social media and impels the government to order

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París Romia, Gemma. "Arte como Simulacro de una Realidad Lejana en la Obra de Gerhard Richter." Barcelona Investigación Arte Creación 8, no. 2 (June 3, 2020): 101. http://dx.doi.org/10.17583/brac.2020.3580.

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This paper investigates the links that the artist Gerhard Richter establishes between photography and painting throughout his artistic career, initiated on 60ths. Since then, Richter's goal has been to build images, whether pictorial or photographic, whether blurry or sharp, geometric, abstract or figurative. The world that Richter paints is made up of banal situations, by anonymous people, by familiar landscapes, and that makes us feel comfortable as spectators, because it seems that Richter is creating a file of known places, moments with which we can connect from our subjectivity. Most part

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Lee, Gyeoungrok, Dongwann Kang, and Kyunghyun Yoon. "Human Emotional Care Purposed Automatic Remote Portrait Drawing Generation and Display System Using Wearable Heart Rate Sensor and Smartphone Camera with Depth Perception." Journal of Sensors 2018 (August 2, 2018): 1–14. http://dx.doi.org/10.1155/2018/6161978.

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We propose a system that automatically generates portrait drawings for the purpose of human emotional care. Our system comprises two parts: a smartphone application and a server. The smartphone application enables the user to take photographs throughout the day while acquiring heart rates from the smartwatch worn by the user. The server collects the photographs and heart rates and displays portrait drawings automatically stylized from the photograph for the most exciting moment of the day. In the system, the user can recall the exciting and happy moment of the day through admiring the drawings

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Soliman, Alia. "An Encounter with an Image: Humberto Rivas in Madrid, 2018–2019." CounterText 6, no. 1 (April 2020): 196–203. http://dx.doi.org/10.3366/count.2020.0188.

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Alia Soliman's piece is prompted by the shock of arrest before an image taken by the Argentinian photographer Humberto Rivas. That arrest yields to the keenly felt play of memory and association, both in the moment of the photograph's immediate impact and subsequently. The result is a memoiristic piece that also works as a personal essay on time, loss, and the feeling of saudade.

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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.

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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.

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Ahrens, Prue. "Henry Adams in Tahiti." Journal of New Zealand & Pacific Studies 8, no. 1 (May 1, 2020): 23–37. http://dx.doi.org/10.1386/nzps_00013_1.

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While touring Tahiti in 1891, the American historian Henry Adams compiled an album of large-scale photographic prints that he purchased from commercial studios in Papeete. Souvenir album making was a popular pursuit amongst nineteenth-century Euro-American travellers who used the opportunity to project, validate and narrate desired travel experiences. Unlike others, Adams’s album is seemingly random and banal and lacks any clear narrative. This article attempts to make sense of Adams’s album. It asks to what extent the photographs performed their common function and validated Adams’s experienc

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Supartono, Alexander, and Alexandra Moschovi. "Contesting colonial (hi)stories: (Post)colonial imaginings of Southeast Asia." Journal of Southeast Asian Studies 51, no. 3 (September 2020): 343–71. http://dx.doi.org/10.1017/s0022463420000508.

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This article seeks to explore the impact of digital technologies upon the material, conceptual and ideological premises of the colonial archive in the digital era. This analysis is pursued though a discussion of creative work produced during an international, multidisciplinary artist workshop in Yogyakarta, Indonesia, that used digital material from colonial photographic archives in the Netherlands to critically investigate the ways national, transnational and personal (hi)stories in the former colonies in Southeast Asia have been informed and shaped by their colonial past. The analysis focuse

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Gómez Cruz, Edgar, and Eric T. Meyer. "Creation and Control in the Photographic Process: iPhones and the emerging fifth moment of photography." Photographies 5, no. 2 (September 2012): 203–21. http://dx.doi.org/10.1080/17540763.2012.702123.

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Sim, Lorraine. "A different war landscape: Lee Miller's war photography and the ethics of seeing." Modernist Cultures 4, no. 1-2 (May 2009): 48–66. http://dx.doi.org/10.3366/e2041102209000458.

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This essay examines the war photography of Lee Miller in terms of the ways it negotiates ethical challenges integral to the visual documentation of war, and the means by which her photography achieves what Susan Sontag terms an “ethics of seeing” (On Photography). In often eschewing, or figuring in unconventional ways, the horrors of war and directing the viewer's attention to typically unprivileged scenes and moments, I argue that the moral tone and sensibility of Miller's war photography is a function of her complex engagement with ideas, and the subject matter of, the ordinary and everyday.

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Shelangoskie, Susan. "Rethinking Propriety in the Age of Instantaneous Photography: E. W. Hornung's Camera Fiend." Victorian Literature and Culture 48, no. 4 (2020): 721–44. http://dx.doi.org/10.1017/s1060150319000196.

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E. W. Hornung's novel The Camera Fiend (1911) imagines a frighteningly extreme vision of photography. This text leverages an existing discourse about the camera fiend—an amateur photographer who intrudes on strangers to capture snapshots of vulnerable moments. I argue that an examination of Hornung's version of the camera fiend, including its conflation with the representation of the scientist, illuminates the logic of threatening liminality and monstrous synthesis in the relationship between photography and existing social conventions. The text also proposes a solution to these cultural fears

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Irwandi, Irwandi, G. R. Lono Lastoro Simatupang, and Soeprapto Soedjono. "SEJARAH SINGKAT STUDIO FOTOGRAFI POTRET DI YOGYAKARTA 1945-1975: SUMBER DAYA MANUSIA, TEKNOLOGI, DAN KREASI ARTISTIKNYA." REKAM: Jurnal Fotografi, Televisi, dan Animasi 11, no. 2 (March 18, 2016): 125. http://dx.doi.org/10.24821/rekam.v11i2.1298.

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Penulisan sejarah fotografi di Indonesia pascakemerdekaan boleh dikatakan masih belum banyak dilakukan. Catatan sejarah yang ada lebih mengarah pada perjalanan fotografi dalam merekam momen pra dan pascakemerdekaan, yang sebagian besar bersumber pada foto-foto dokumen milik IPPHOS (Indonesian Press Photo Service). Ini berarti, masih dibutuhkan penelusuran lebih lanjut guna merekonstruksi sejarah fotografi Indonesia dalam bidang yang lain, studio misalnya. Tulisan ini membahas perkembangan studio foto di Yogyakarta pascakemerdekaan. Hal yang dijadikan fokus utama ialah sumber daya manusia, tekn

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Szente, Dorina. "The Role of School Dances in the First Half of the 20th Century." Tánc és Nevelés 2, no. 1 (February 28, 2021): 106–21. http://dx.doi.org/10.46819/tn.2.1.106-121.

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In the first half of the twentieth century, photography allowed families and groups to capture important moments. In the 1920s and 1930s, cheaper and simpler cameras appeared on the market, which became available to many people. It was the Kodak revolution. The intimate family spaces opened; the everyday life of the schools became visible. The Fortepan visual database is a collection of such photographs taken between 1900 and 1990. As a cultural imprint of the time, the photograph has become a new source for researchers to observe a symbolic world we know little about. The oldest communication

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Pabst, Daniel, and Rae Di Cicco. "Untitled (Architectural Photography)." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 78–82. http://dx.doi.org/10.5195/contemp.2017.223.

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Daniel Pabst’s architectural photography often highlights the tension between site-specificity and the legacy of early twentieth-century international style. In photographs of diverse sites across the globe, such as Dallas, Texas, St. Petersburg, Russia, and Vienna, Austria, Pabst draws attention to the formal qualities of such architecture hailed for its ability to communicate internationally but inherently tied to particular locations—as reflected in Pabst’s titular conventions. As such, his photographs of buildings, whose functions range from public offices to private residences, and everyt

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Kokornaczyk, Maria, Sandra Würtenberger, and Stephan Baumgartner. "Phenomenological Characterization of Low-Potency Homeopathic Preparations by Means of Pattern Formation in Evaporating Droplets." Homeopathy 108, no. 02 (January 9, 2019): 108–20. http://dx.doi.org/10.1055/s-0038-1676325.

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Background Evaporation-induced pattern formation in droplets has been applied to test effects of high potencies. Here we propose for the first time the droplet evaporation method (DEM) as a tool to characterize low potencies on a qualitative and quantitative basis. Materials and Methods The present investigation consisted of: (1) screening of 18 different substances of mineral, vegetal, and animal origin in the 1x to 6x potency range; choice of four substances with characteristic pattern-forming properties; (2) replication experiments aiming at the differentiation of four homeopathic preparati

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Walton, Shireen. "Re-Envisioning Iran Online." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 398–418. http://dx.doi.org/10.1163/18739865-00802012.

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Digital photography and the Internet play important roles in contemporary cultures. They can create semiotic spaces in which ‘local’ imaginaries are projected in ‘global’ frames and cultural representations can be collectively challenged. This article discusses the genre of popular photography and its convergence with the Iranian social web in the form of photoblogs (photography-oriented blogs). It describes how everyday images posted on photoblogs playfully move beyond representative tropes that constitute a visual legacy in contemporary Iran. The findings provide insights into contemporary I

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Wach, Margarete. "Life – Paris Match – Świat: East/West Image Transfer in the Weekly Magazine Świat (1951–1969) and the Impact of the Magnum Style on Photo-Reportage in Poland." International Journal for History, Culture and Modernity 5, no. 1 (March 28, 2017): 101–29. http://dx.doi.org/10.18352/hcm.525.

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Polish photo-reportage of the 1950s and 1960s was crucially shaped by the illustrated weekly newspaper Świat (The World, 1951–1969). The magazine was conceived in the heyday of Stalinism and the socialist realist doctrine to keep pace with its Western counterparts Life, Paris Match or Picture Post during the Cold War. In the new political system, the social role of photography was to agitate, but the photoeditor- in-chief, Władysław Sławny (1907–1991), designed Świat in the style of Henry Cartier-Bresson’s ‘decisive moment’ aesthetics. He published the works of Magnum photographers and other W

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Barker, Timothy S. "The past in the present: Understanding David Claerbout’s temporal aesthetics." Time & Society 20, no. 3 (November 2011): 286–303. http://dx.doi.org/10.1177/0961463x10375103.

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David Claerbout’s recent video and photographic works generate a distinct temporal aesthetic. In particular, these works experiment with time by situating the historical past not as a discrete moment in time, but rather as an actively engaged part of the present moment. Through the use of digital technologies Claerbout re-presents, experiments with, and opens up time as non-linear and complex, in effect producing a new experience of temporality through a mediation of the past. Using Gilles Deleuze’s concepts of time, informed by Michel Serres’ and Roland Barthes’ work on photography, I explore

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Nilsson, Maria. "A Faster Kind of Photojournalism?" Nordicom Review 38, s2 (November 28, 2017): 41–56. http://dx.doi.org/10.1515/nor-2017-0413.

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AbstractThis article examines factors influencing the editorial processing of photographs, the impact of photojournalistic practices on those processes as well as perceptions of images. Perspectives on visual gatekeeping and the news value of photographs were applied to a newsroom and interview study with a specific focus on photographs for the main news section of a Swedish newspaper. Findings identified routines, publication formats and resources as key factors, with some challenges posed by mobile publication formats and a focus on routine news. Photo editors were found to have a key functi

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Gadihoke, Sabeena. "Capturing Stars: Bengali Actresses Through the Camera of Nemai Ghosh." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 30–45. http://dx.doi.org/10.1177/0974927617701568.

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This essay explores the rich archive of photographer Nemai Ghosh whose production stills on the sets of Satyajit Ray kept his cinema alive in popular memory. While it might appear that Ghosh was overwhelmed by the vision of Satyajit Ray, the essay explores how the documentary impulse in his work created continuity as well as rupture with the cinema of Ray and others in Bengal. Nemai Ghosh’s forte lay in capturing candid moments of actors just before and after filming on the sets. These interstitial moments caught between the vision of the director and the photographer shooting a production sti

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Gray, Lara Cain. "Magic Moments: Contextualising Cinema Advertising Slides from the Queensland Museum Collection." Queensland Review 18, no. 1 (2011): 73–84. http://dx.doi.org/10.1375/qr.18.1.73.

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The Queensland Museum's eclectic State Collection holds an extensive range of photographic and moving image equipment, as well as a collection of slides and photographs that tells all manner of stories about the history of Queensland. This collection goes back to the earliest technologies, such as daguerreotypes and hand-drawn magic lantern slides, and extends through to a digital image repository. Included in this collection are two captivating series of cinema advertising slides used at the Wintergarden cinemas in Maryborough and Ipswich during the 1940s and 1950s. These slides simultaneousl

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McLeod, Douglas M., and Jill A. MacKenzie. "Print Media and Public Reaction to the Controversy Over NEA Funding for Robert Mapplethorpe's “The Perfect Moment” Exhibit." Journalism & Mass Communication Quarterly 75, no. 2 (June 1998): 278–91. http://dx.doi.org/10.1177/107769909807500204.

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In 1989, Robert Mapplethorpe's photographic exhibit The Perfect Moment toured the country with the support of a $30,000 grant from the National Endowment for the Arts. The exhibit, which included several sado-masochistic and homo-erotic photographs, drew the ire of the Reverend Donald Wildmon, who turned to Senator Jesse Helms (R- NC). In the summer of 1989, Congress debated policy toward the funding practices of the NEA, sparking a major controversy in Congress and in the arts community. This study examines media coverage of the controversy and the reaction of the public in terms of museum at

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De Boeck, Filip, and Sammy Baloji. "Positing the Polis: Topography as a Way to De-centre Urban Thinking." Urbanisation 2, no. 2 (November 2017): 142–54. http://dx.doi.org/10.1177/2455747117736418.

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Urban living constantly attempts to ‘suture’ the city, finding ways to stitch gains and losses, or pasts and futures together in the moment of the ‘urban now’. De Boeck’s reflection on the complexities of the postcolonial urban world in the Central African locale is shaped around the visual archive that he built up over the past years with photographer Sammy Baloji. This article addresses the possibilities of such a combination of ethnography and photography to de-centre and reframe urban theory and build an alternative urban archive to explore in novel ways what this ‘suturing’, this living a

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Miles, Kate. "Visuality of a treaty: reflection on Versailles." London Review of International Law 8, no. 1 (March 1, 2020): 7–41. http://dx.doi.org/10.1093/lril/lraa009.

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Abstract This article revisits one moment in international law through the prism of visual culture, analysing paintings, photographs and political cartoons of the signing of the Treaty of Versailles. It considers the historical representation of treaty-making, narratives of international law as beneficent universal regulator and spectacle, and the projection of ‘successful’ international law through image. It reflects on photographs that capture working, ‘behind-the-scenes’ moments and portrayals of a more agitated, restless visual international law. And it explores the idea that visuality con

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