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Journal articles on the topic 'Photographic representation'
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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.
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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.
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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 cultural representations of the feminized societies. People belonging to these societies not only remain at the fringes but also are sympathized from an orientalist perspective. Two-fold questions remain relevant here. First, how does the politics of essentialization take place through photographic representation of feminized societies? Second, how is globalization at work for the creation of these visual images in a manner that in turn strengthens its own bio-power? The article, thus, engages in the exposition of the photographic representation by connecting its theoretical implications with the larger picture of globalization. It picks up some of the widely circulated photographs of the ‘backward’ Third World countries around the world as illustrative instances and shows how these photographs capture the phenomenon of essentialization reflecting a common narrative of suffering.
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Latto, Richard, and Bernard Harper. "The Non-Realistic Nature of Photography: Further Reasons Why Turner Was Wrong." Leonardo 40, no. 3 (June 2007): 243–47. http://dx.doi.org/10.1162/leon.2007.40.3.243.
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The authors discuss the limitations of photography in producing representations that lead to the accurate perception of shapes. In particular, they consider two situations in which the photographic representation, although an accurate reproduction of the geometry of the two-dimensional image in the eye, does not capture the way human vision changes this geometry to produce a three-dimensionally accurate perception. When looking at a photograph, the viewer's uncertainty of the camera-to-subject distance and the fact that, unnaturally, a photograph presents almost exactly the same view of an object to the two eyes result in substantially distorted perceptions. These most commonly result in a perceived flattening and fattening of the 3D shape of the object being photographed.
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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.
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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.
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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.
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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.
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Kruse, Adam J., Robin Giebelhausen, Heather N. Shouldice, and Andrea L. Ramsey. "Male and Female Photographic Representation in 50 Years of Music Educators Journal." Journal of Research in Music Education 62, no. 4 (December 17, 2014): 485–500. http://dx.doi.org/10.1177/0022429414555910.
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Considering the potential for stereotypes to shape professional expectations, the four researchers in this study investigated photographic representation of adult men and women in implied positions of authority in 50 years (1962–2011) of issues of Music Educators Journal ( MEJ). Data included every photograph ( N = 7,288) of adults conducting, teaching or presenting, or granted the authority of having their picture labeled with their name (named persons), and were analyzed by year over the 50-year period. Results showed that females composed 28% of these photographs, with the largest representation of females being found in the teaching/presenting category (56%) and markedly smaller representations of females found in the conducting (21%) and named persons (20%) categories. Fluctuations in certain categories across the five decades suggest that while representation of males and females in MEJ has changed in 50 years, inequity persists. Implications include a call for greater attention and effort toward equitable representation in music education media for publishers, authors, and other contributors in addition to increased sensitivity to the representations of male and female stereotypes and professional expectations encountered by music educators and students.
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Carville, Justin. "‘This postcard album will tell my name, when I am quite forgotten’: Cultural Memory and First World War Soldier Photograph Albums." Modernist Cultures 13, no. 3 (August 2018): 417–44. http://dx.doi.org/10.3366/mod.2018.0220.
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Since the Crimean and American Civil Wars in the nineteenth century, photography has allowed societies to experience war through the collective understanding of photographic representation as an inscription or mnemonic cue for recollections of past events. However, the First World War ushered in new vernacular cultural practices of photography which radically altered how both war was represented and experienced through photography. This shift, in turn, engendered new private and domestic forms of post-war remembrance through the photographic image. Kodak's marketing of the Vest Pocket Autographic Camera which became known as the ‘Soldier's Camera’, allowed soldiers on the battle front and their families on the home front to experience the war and the formation of post-war memory outside of the iconic images of military heroes and battlefield conflict. Vernacular photography allowed for intimate portrayals of everyday soldier life to be visually displayed in private arrangements of photographs in photo-albums compiled by soldiers and their families as forms of post-war remembrance. Discussing photograph albums compiled by Irish soldiers and nurses, this essay explores the place of vernacular photography in personal commemorative acts by soldiers and nurses in the aftermath of the First World War. By treating vernacular soldier photographs of World War I as social objects that allow relationships to be formed and maintained across time, the essay argues that the materiality of the photograph as image-object can be explored to consider how the exchange, circulation and consumption of photographs allow for the accumulating and expending of histories and memories of the First World War and its aftermath.
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Warburton, Nigel. "Varieties of photographic representation." History of Photography 15, no. 3 (September 1991): 203–10. http://dx.doi.org/10.1080/03087298.1991.10443175.
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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 to chisel her own identity with textual and photographic means of self-expression. Constructing her autobiographical confession, Uchida also draws upon the collective memory of the war internment of the Japanese and Japanese Americans, which inevitably shaped her present self. A set of photographs which accompanies her account testifies that the ocular dimension can be as powerful as the textual one. Each photograph contains a stratum of data which deprives the text of its autonomy and grants it an equal status of signification.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.
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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation
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Singh, Amrita. "Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival." Studies in Comics 11, no. 2 (November 1, 2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.
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In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic vision is used to represent the experience of migration in the narrative as well as connect past and contemporary histories of migration world over. The photograph emerged as an important medium through which memory came to be visualized in the twentieth century, and is an important historical artefact capable of telling the story of its times. Tan also expects the reader to employ an intermedial and intertextual critical literacy to engage with the narrative. The visual poetics of the text direct the reader’s affective and empathetic engagement with the situation being presented and with the character whose experience they encode. The article focuses on three kinds of photographic representation in the narrative: the iterations of the protagonist’s family photograph, the narrative itself shaped as a photo album and the immigrant’s identification photograph.
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Mariana Ortega. "Photographic Representation of Racialized Bodies." Critical Philosophy of Race 1, no. 2 (2013): 163. http://dx.doi.org/10.5325/critphilrace.1.2.0163.
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Lockridge, Rebecca Bryant. "Representation Systems of Photographic Critics." Journal of Communication Inquiry 14, no. 2 (July 1990): 5–24. http://dx.doi.org/10.1177/019685999001400201.
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Ray, Larry. "Social Theory, Photography and the Visual Aesthetic of Cultural Modernity." Cultural Sociology 14, no. 2 (May 11, 2020): 139–59. http://dx.doi.org/10.1177/1749975520910589.
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Social theory and photographic aesthetics both engage with issues of representation, realism and validity, having crossed paths in theoretical and methodological controversies. This discussion begins with reflections on the realism debate in photography, arguing that beyond the polar positions of realism and constructivism the photographic image is essentially ambivalent, reflecting the ways in which it is situated within cultural modernity. The discussion draws critically on Simmel’s sociology of the visual to elucidate these issues and compares his concept of social forms and their development with the emergence of the photograph. Several dimensions of ambivalence are elaborated with reference to the politics and aesthetics socially engaged photography in the first half of the 20th century. It presents a case for the autonomy of the photographic as a social form that nonetheless has the potential to point beyond reality to immanent possibilities. The discussion exemplifies the processes of aesthetic formation with reference to the ‘New Vision’ artwork of László Moholy-Nagy and the social realism of Edith Tudor Hart.
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Kratz, Corinne A. "Afterword Uncertain trajectories and refigured social worlds: the image entourage and other practices of digital and social media photography." Africa 89, no. 2 (May 2019): 323–28. http://dx.doi.org/10.1017/s0001972019000032.
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Drawn from East, West, Central and Southern Africa, the case studies in this special issue build on several decades of important work on photography in Africa. That work has examined colonial photography and postcards, studio work from colonial times to the present, activist photography, photojournalism, and artists who work with photographic images. It has addressed issues of representation, portraiture, aesthetics, self-fashioning, identities, power and status, modernities and materiality, the roles of photographs in governance and everyday politics, and the many histories and modes of social practice around making, showing, viewing, exchanging, manipulating, reproducing, circulating and archiving photographic images. Yet these articles push such issues and topics in exciting directions by addressing new photographic circumstances emerging throughout the world, initiated through new media's technological shifts and possibilities. In Africa, this has fuelled a range of transformations over the last fifteen years or so, transformations that are still unfolding. As the articles show, digital images, mobile phone cameras and social media (also accessed via phone) constitute the potent triad that has set off these transformations.
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Şur, Tuncay, and Betül Yarar. "New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne." VISUAL REVIEW. International Visual Culture Review 7, no. 1 (July 23, 2020): 57–76. http://dx.doi.org/10.37467/gka-revvisual.v7.2598.
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This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence. Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.
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Şur, Tuncay, and Betül Yarar. "New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne." International Visual Culture Review 2 (March 21, 2020): 1–18. http://dx.doi.org/10.37467/gka-visualrev.v2.2248.
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This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence. Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.
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Saburova, Tatiana. "Geographical Imagination, Anthropology, and Political Exiles." Sibirica 19, no. 1 (March 1, 2020): 57–84. http://dx.doi.org/10.3167/sib.2020.190105.
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This article is focused on several themes connected with the history of photography, political exile in Imperial Russia, exploration and representations of Siberia in the late 19th–early 20th centuries. Photography became an essential tool in numerous geographic, topographic and ethnographic expeditions to Siberia in the late 19th century; well-known scientists started to master photography or were accompanied by professional photographers in their expeditions, including ones organized by the Russian Imperial Geographic Society, which resulted in the photographic records, reports, publications and exhibitions. Photography was rapidly spreading across Asian Russia and by the end of the 19th century there was a photo studio (or several ones) in almost every Siberian town. Political exiles were often among Siberian photographers, making photography their new profession, business, a way of getting a social status in the local society, and a means of surviving financially as well as intellectually and emotionally. They contributed significantly to the museum’s collections by photographing indigenous people in Siberia and even traveling to Mongolia and China, displaying “types” as a part of anthropological research in Asia and presenting “views” of the Russian empire’s borderlands. The visual representation of Siberia corresponded with general perceptions of an exotic East, populated by “primitive” peoples devoid of civilization, a trope reinforced by numerous photographs and depictions of Siberia as an untamed natural world, later transformed and modernized by the railroads construction.
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HANNA, Helen. "Photography as a Research Method with Learners in Compulsory Education: A Research Review." Beijing International Review of Education 2, no. 1 (April 3, 2020): 11–34. http://dx.doi.org/10.1163/25902539-00201003.
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This article offers a review of thirty-one research articles from 2001–2019 on the use of photography as a research method with learners in compulsory education. Understood within the scope of ‘visual’, ‘participatory’ and ‘arts-based’ research methods, many scholars have linked the increased use of the photographic method to greater awareness of the rights of the child and changing understandings of children as full ‘human beings’ with agency rather than simply vulnerable ‘human becomings’. Nevertheless, photography is still a relatively under-utilised approach in research with learners in school-based compulsory education and its use is not widespread globally. Against the background of the history of visual and photographic methods in general and in education in particular, this article highlights two key themes in the empirical research literature: why the photographic method is used (dealing with representation, participation and emancipation); and how the photographic method and the photos themselves are used (pre-generated and participant-generated photographs). It closes with a reflection on what may be holding back its expansion, including key ethical concerns, and a proposal for encouraging its use in education.
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Tsourgianni, Despoina. "Issues of Gender Representation in Modern Greek Art." Aspasia 13, no. 1 (March 1, 2019): 31–64. http://dx.doi.org/10.3167/asp.2019.130105.
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There is a recent trend, mainly in the field of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns written (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora-Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits. This kind of cross-examination allows the reader to become familiar with the mosaic of roles and identities that constitutes the subjectivity of female artists in Greece in the late nineteenth and early twentieth centuries.
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ATENCIA-LINARES, PALOMA. "Fiction, Nonfiction, and Deceptive Photographic Representation." Journal of Aesthetics and Art Criticism 70, no. 1 (January 2012): 19–30. http://dx.doi.org/10.1111/j.1540-6245.2011.01495.x.
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Cui, Shuqin. "The Pregnant Nude and Photographic Representation." Women's Studies 43, no. 8 (November 7, 2014): 993–1021. http://dx.doi.org/10.1080/00497878.2014.955701.
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Stafford, Andy. "Bazin and Photography in the Twenty-First Century: Poverty of Ontology?" Paragraph 36, no. 1 (March 2013): 50–67. http://dx.doi.org/10.3366/para.2013.0077.
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According to André Rouillé (2005) the search for photography's ontology is both fruitless and pointless. Six decades after André Bazin's seminal essay, ‘The Ontology of the Photographic Image’ (1945), there is a concerted attempt to remove photography from the ‘reliquary’ of death in which Bazin had (seemingly) locked it. Preferring ‘genesis’ to ‘result’, Bazin had suggested that photography benefited from an ‘essential objectivity’ and that it was close to being a ‘natural phenomenon’: for the first time in history, representation of the external world emerges, mechanically, without human intervention. For Rouillé however, this is a ‘poverty of ontology’, a theory of the ‘index’ based on Peirce erroneously attached to a semiotics of the photographic image. So what happens to the photograph's temporal dimension, crucial to Bazin's definition, if we reject the image as record of the ‘that-has-been’ (Barthes)? Can we still use Bazin's ontology in the twenty-first century?
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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.
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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.
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Kondratiev, E. A. "Punctum and Reinterpretation in Photography." Art & Culture Studies, no. 2 (June 2021): 38–59. http://dx.doi.org/10.51678/2226-0072-2021-2-38-59.
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The article discusses various theoretical approaches that develop the concepts of punctum and formless in relation to the photographic image. Their connection with the concept of “visual turn” in aesthetics and art theory is examined. Using examples from contemporary artistic and photographic practice, the author demonstrates the change in ideas about the boundaries of representation and ways of reinterpreting modern photography.
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Tomassini, Luigi. "Una "dialettica ferma"? Storici e fotografia in Italia fra linguistic turn e visual studies." MEMORIA E RICERCA, no. 40 (September 2012): 93–110. http://dx.doi.org/10.3280/mer2012-040007.
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How the visual studies have influenced the work of historians? To answer this question the paper addresses some methodological problems that have characterized the historians' growing attention for images over the last decades. Particularly, we examine the photograph as an image that is simultaneously trace and representation of the reality. The second part offers a survey of the works that have used photography as a historical source in Italy, identifying the Italian specificity in a strong presence of historical-political essays using the photographic sources.
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KENNEDY, LIAM. "Soldier photography: visualising the war in Iraq." Review of International Studies 35, no. 4 (October 2009): 817–33. http://dx.doi.org/10.1017/s0260210509990209.
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AbstractThis article focuses on the production and dissemination of photographic images by serving US soldiers in Iraq who are photographing their experiences and posting them on the Internet. This form of visual communication – in real time and communal – is new in the representation of warfare; in earlier wars soldiers took photographs, but these were not immediately shared in the way websites can disseminate images globally. This digital generation of soldiers exist in a new relationship to their experience of war; they are now potential witnesses and sources within the documentation of events, not just the imaged actors – a blurring of roles that reflects the correlations of revolutions in military and media affairs. This photography documents the everyday experiences of the soldiers and its historical significance may reside less in the controversial or revelatory images but in more mundane documentation of the environments, activities and feelings of American soldiery at war.
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Benovsky, Jiri. "Photographic Representation and Depiction of Temporal Extension." Inquiry 55, no. 2 (April 2012): 194–213. http://dx.doi.org/10.1080/0020174x.2012.661583.
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Mazur, Adam. "Negative Testimonials. Photographic Representation of Holocaust Memory." Teksty Drugie 2 (8), Special Issue English Edition (2015): 70–79. http://dx.doi.org/10.18318/td.2015.en.2.6.
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Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (April 30, 2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.
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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terhadap keunggulan reduplikasi, proses instan, dan otomatisasi fotografi membuat fotografi kehilangan tempatnya di dunia seni. Akan tetapi, persoalan seni adalah persoalan rasa. Fotografi tetaplah sebuah seni dengan melihat adanya relasi intensional yang tercipta antara objek dan seorang fotografer dalam sebuah foto. Relasi intensional ini tercermin dalam proses, imajinasi, dan kreativitas fotografer di dalam menghasilkan sebuah foto. Lukisan dan fotografi adalah seni menurut rasanya masing-masing. Photography is an Art: A Disaproval towards Roger Scruton's Analysis on the Legitimacy of Art Value of a Photograph. This paper aims to disprove Roger Scruton's argument about the validity of the artistic value of a photograph. Scruton argues that photography is not a work of art. Photography is simply a mechanical action in producing a picture, not a representation but merely a causal event, not an imaginary image, but only a copy. Photography presupposes the ease of art creation. Scruton's statement is further reinforced by the phenomenon of technological development that has forgotten the aesthetic side and only entirely devoted to the action of the machine. The excessive emphasis on the benefits of reduplication, instant processing, and photographic automation makes photography lose its place in the art world. However, the issue of art is a matter of taste. Photography remains an art by seeing the intense relationships created between an object and a photographer in a photograph. This intense relationship is reflected in the process, imagination, and creativity of the photographer in producing a photograph. Painting and photography are arts according to their own taste.
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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.
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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.
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Colner, Miha. "Human Figure as an Object: Vanja Bučan, photographer." Instinct, Vol. 4, no. 1 (2019): 28–32. http://dx.doi.org/10.47659/m6.028.rev.
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The article analyzes the artistic process of the Berlin-based photographer Vanja Bučan, who always manages to maintain at least some recognizable expression despite her varied approaches. Her works are visually rich, carrying complex meanings and associations. She chooses not to directly reflect the collective and the individual everyday life but depicts universal existentialist motifs where the social perspective is usually shown through metaphors and allegories. The centerpiece of her work is the relationship between culture and nature and between humans and their environment, as well as the ontology of image in mass media circulation. Her photography requires a considerable degree of cerebral activity and intuition in order to sense some of the fundamental questions of humankind in the Anthropocene. Keywords: Anthropocene, art photography, photographic mise-en-scene, representation of nature
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Beveridge, Karl. "Labour/Left Memorabilia, 1880-1980: A Photographic Representation." Labour / Le Travail 46 (2000): 397. http://dx.doi.org/10.2307/25149105.
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Herath, Hanshika, Nigel Hemmington, and Jill Poulston. "“Dirty pictures” – responsible photographic representation of tourism destinations." Journal of Travel & Tourism Marketing 37, no. 6 (July 23, 2020): 663–78. http://dx.doi.org/10.1080/10548408.2020.1789026.
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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.
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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.
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Darian-Smith, Kate. "The ‘girls’: women press photographers and the representation of women in Australian newspapers." Media International Australia 161, no. 1 (September 26, 2016): 48–58. http://dx.doi.org/10.1177/1329878x16665002.
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In 1975, Fairfax News commemorated International Women’s Year by appointing Lorrie Graham as its first female cadet photographer. Women only joined the photographic staff of newspapers in significant numbers from the 1980s and were more likely to be employed on regional newspapers than the metropolitan dailies. This article draws on interviews with male and female press photographers collected for the National Library of Australia’s oral history programme. It provides an overview of the history of women press photographers in Australia, situating their working lives within an overtly masculine newspaper culture where gender inequity was entrenched. It also examines the gendered and evolving photographic representations of women in the Australian press, including those of women in positions of social and political leadership. Although women press photographers have achieved greater recognition in the 2000s, the transformation of the media industry has impacted the working practices and employment of press photographers.
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Grzelak, Olga. "Theatre Photography as a Counterfactual Representation of Aesthetic Reality." Art History & Criticism 14, no. 1 (December 1, 2018): 62–73. http://dx.doi.org/10.2478/mik-2018-0006.
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Summary The article is an attempt at applying the concept of counterfactuality, typically employed with reference to narrative forms, to the analysis of visual culture, particularly to theatre photography. The material for case studies is provided by the works of Polish photographers who redefine the function of this form of photography. Typically, photography is seen by theatre historians as the prime form of theatre documentation, and therefore treated as subservient to the needs of theatre studies as an academic discipline. Contrary to that, the photographic projects analysed in the present paper (particularly those of Ryszard Kornecki and Magda Hueckel), although made in theatre during performances, have been produced and distributed as autonomous art forms which neither represent nor document theatre productions. In the analysis of these projects, I employ Margaret Olin’s concept of “performative index”, which describes the relationship between the image and the viewer as a dynamic creation of meaning. With reference to this theoretical framework, I argue that counterfactuality of theatre photography is a strategy of turning this medium into an autonomous form of art.
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Крупник, Игорь Леонидович, and Светлана Павловна Карпухина. "REPRESENTATION OF DEATH EXPERIENCE IN THE S.SALGADO’S CREATIVE HERITAGE." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(24) (July 27, 2020): 74–90. http://dx.doi.org/10.23951/2312-7899-2020-2-74-90.
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В данной статье рассматриваются специфические особенности визуализации смерти в XX веке на примере фотографического наследия Себастьяно Сальгадо. Изучая смерть как один из ключевых элементов коллективного сознания, французский исследователь Филипп Арьес выделяет пять исторических этапов развития и изменения отношения человека к смерти. ХХ век, трагически прославившийся многочисленными войнами и драматическими событиями, повлекшими за собой массовые человеческие жертвы, согласно исследователю, становится временем «смерти перевернутой». Вытеснение смерти на периферию социальной и культурной жизни, которое заметил Ф. Арьес, отражает чувство страха перед смертью, ставшей табуированной и не заслуживающей внимания темой. Стремление к дистанцированию от смерти приводит к тому, что она становится доступной только при использовании различных опосредований, одним из которых является фотография, а медиатизация смерти позволяет создать ощущение подвластности данного феномена человеку, прирученности. В творчестве широко известного бразильского фотографа Себастьяно Сальгадо можно выявить ряд острых фотографических серий, посвященных визуализации мортальности различными способами. Фотографические образы смерти, созданные бразильским фотографом, становятся отражением опыта переживания и осмысления смерти. Обратив внимание на фотографические серии из Южной и Центральной Америки и Африки, можно увидеть, что образ смерти, став связующей нитью в творчестве Сальгадо, получает различные способы репрезентации. Основными способами отображения темы смерти становятся эстетизация и стремление к абстрактности контекста, за которые его работы подвергаются многочисленной критике. Фотографическое наследие Сальгадо становится важным звеном между документальной фотографией военных лет, вынужденно несущей в себе образы смерти, и виртуальными изображениями смерти в современных медиа. This article addresses the specific features of visualization of death in the 20th century on the example of the photographic heritage of Sebastião Salgado. Studying death as one of the key elements of collective consciousness French scholar Ph. Aries distinguishes five historical periods of development and modification of the attitude towards death. XX century is tragically known for its numerous wars and dramatic events resulting in massive loss of life and - following the scholar - became the time of “reversed death”. Displacement of death to the periphery of social and cultural life which was noted by Aries, shows the feeling of fear of death which became not worth mentioning taboo. The effort to distance ourselves from death leads to the fact that death becomes available only with help of various indirect methods such as photography. Mediatization of death allows to create a feeling of control over that phenomenon. In creative works of widely known Brazilian photographer S. Salgado one can identify a number of different series dedicated to visualization of mortality. Photo images of death created by the Brazilian photographer become a projection and conceptualization of death. Looking at photo series from South and Central Africa and America one can conclude that the image of death – the central theme of Salgado’s work – gets various ways of representation. The main ways of representation of death became aestheticization and the quest for abstract context for which his works are seriously criticized. The photographic heritage of Sebastião Salgado became an important link between documentary photography of wartime involuntarily filled with images of death and virtual images of death in modern media.
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Sábado Novau, Marta. "Representation of the Self and Disease: Writing, Photography and Video in Hervé Guibert." Humanities 8, no. 4 (December 3, 2019): 181. http://dx.doi.org/10.3390/h8040181.
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Hervé Guibert (1955–1991), a French writer and photographer, began developing a double artistic practice in 1977. In 1988, he discovers he has HIV and his literary and photographic works begin to reflect each other in an attempt to tell the story of a disease whose progression proves uncontrollable and ultimately fatal. Hervé Guibert then undertakes an intensive self-examination of his body and of the changes imposed on it by the disease, using both writing and images (photography and video). At the same time, he carries out a theoretical reflection on the limits of the image and on the limits of writing, both complementing each other in an attempt to convey the experience of disease. His work thus offers a valuable ground for exploring the relationship between literature, photography and the story of disease and, most of all, the need to resort to these two modes of expression in order to communicate the intimate experience of illness. In Hervé Guibert, this experience can be understood through the tension between unveiling and exposing oneself. While the former is creative, the latter seems to be the result of the illness loss of control. This article aims to analyze this dialectical tension in light of three artistic mediums used by Guibert.
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Gordon, Anthea. "Classifying the body in Marlene Dumas' The Image as Burden." Medical Humanities 44, no. 1 (June 19, 2017): 64–70. http://dx.doi.org/10.1136/medhum-2016-011061.
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Medical photography, and in particular dermatological imagery, is often assumed to provide an objective, and functional, representation of disease and that it can act as a diagnostic aid. By contrast, artistic conceptions of the images of the body tend to focus on interpretative heterogeneity and ambiguity, aiming to create or explore meaning rather than enact a particular function. In her 2015 retrospective exhibition at the Tate Modern, South African artist Marlene Dumas questions these disciplinary divides by using medical imagery (among other photographic sources) as the basis for her portraits. Her portrait ‘The White Disease’ draws on an unidentified photograph taken from a medical journal, but obscures the original image to such a degree that any representation of a particular disease is highly questionable. The title creates a new classification, which reflects on disease and on the racial politics of South Africa during apartheid. Though, on the one hand, these techniques are seemingly disparate from the methods of medical understanding, features such as reliance on classification, and attempts at dispelling ambiguity, bring Dumas’ work closer to the history of dermatological portraits than would usually be perceived to be the case. In considering the continuities and disparities between conceptualisations of skin in dermatology and Dumas’ art, this paper questions assumptions of photographic objectivity to suggest that there is greater complexity and interpretative scope in medical dermatological images than might initially be assumed.
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Benton, Christopher P. "Effect of Photographic Negation on Face Expression Aftereffects." Perception 38, no. 9 (January 1, 2009): 1267–74. http://dx.doi.org/10.1068/p6468.
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Our visual representation of facial expression is examined in this study: is this representation built from edge information, or does it incorporate surface-based information? To answer this question, photographic negation of grey-scale images is used. Negation preserves edge information whilst disrupting the surface-based information. In two experiments visual aftereffects produced by prolonged viewing of images of facial expressions were measured. This adaptation-based technique allows a behavioural assessment of the characteristics encoded by the neural systems underlying our representation of facial expression. The experiments show that photographic negation of the adapting images results in a profound decrease of expression aftereffect. Our visual representation of facial expression therefore appears to not just be built from edge information, but to also incorporate surface information. The latter allows an appreciation of the 3-D structure of the expressing face that, it is argued, may underpin the subtlety and range of our non-verbal facial communication.
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Lane, S. N., K. S. Richards, and J. H. Chandler. "Developments in photogrammetry; the geomorphological potential." Progress in Physical Geography: Earth and Environment 17, no. 3 (September 1993): 306–28. http://dx.doi.org/10.1177/030913339301700302.
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Current emphasis in geomorphology recognizes the need for the accurate representation of topographic form, reflected in the growth of digital terrain and elevation modelling. A key requirement of such strategies is the efficient acquisition of information in an appropriate form and at an appropriate resolution to the landform under consideration. The traditional use of photographs in geomorphology has been for interpretation, but developments in photogrammetry may allow the full advantages of the photograph as a means of acquiring and storing quantitative information to be used. The photograph can provide information on all areas visible on a photograph; the information is acquired retrodictively; the photograph preserves the spatial relationship of morphological units; the collection of photographs requires minimal landform contact; the photograph records extra explanatory information; and photographs can be obtained at an appropriate temporal resolution to the landform under investigation. However, optical and mechanical limitations imposed by traditional photogrammetric approaches have prevented its rigorous and widespread application to geomorphology. Developments within photogrammetry, notably the analytical approach, now open up wider geomorphological possibilities. The analytical approach overcomes these limitations through the use of an interactive mathematical model at the stage of photographic analysis. The obtained information is in a form directly suited to the construction of digital terrain or elevation models. This technique can be used both for landform monitoring and for the analysis of archival photographs to reconstruct historical landform change.
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Suazo, Antonio. "A new method for using historical street photography collections as a primary source for cartographic production." Abstracts of the ICA 2 (October 8, 2020): 1–2. http://dx.doi.org/10.5194/ica-abs-2-24-2020.
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Abstract. The production of historical cartographies with the aid of digital tools has become in recent years a very active field of study, especially in urban heritage research. In this way, contributions from disciplines such as computer vision or remote sensing allow today to integrate data from various documentary records, enriching the available urban historiography, and enabling new readings on the relationship between historical cartography and contemporary sources of information. Despite this, little attention has been paid to the use of urban street photography, which continues to be used mostly to confirm or validate cartographic hypotheses, but not as a primary source of information. Among other causes, this is because there are no standardized procedures to extract the information directly from the photographs, nor with methods that allow addressing the divergences between captures from various locations and times.To overcome this situation, a new methodology is proposed to incorporate collections of historical photographs into a cartographic creation process, for the recovery and direct use of the information contained in them. Throughout a workflow, the proposal provides special support for two sub-processing steps: i) the possibility of comparatively studying the information from various photographs, and ii) the possibility of managing and taking into account the differences in dates between different shots. For this, the proposal transfers the recovered information from the photographs (in a 3D coordinate system) to a single cartographic representation (in a 2D coordinate system), to support that data management and decision making take place directly in the map view. This is intended to overcome the practice of using the map to ‘pass clean’ discoveries made with other means and to restore instead the notion of cartographic representation as a detection and direct investigation tool.The work considers the evaluation of the proposed method through the application in a case study. We worked with the restitution of the disappeared tram system of Santiago, Chile (1900–1945) through the cartographic representation of its extinct network of railway lines, of which only some isolated fragments remain. The visual documentation was provided by the Chilectra photographic archive (1921–27) – currently managed by the Photographic Archive of the National Library of Chile – which documented the extent of the tracks layout and its installation process (Figure 1a). Thus, around 200 scanned historical photographs were reviewed and processed with the proposed method, and their information made available to a cartographic production and management process (Figure 1b), based on the historical cartography of Santiago from Hidalgo et al (2011) and Salas (2012). Finally, the obtained data is evaluated (Figure 2), identifying scopes on the recovered information and on the characteristics that the photographs must meet in the first instance to be processed.The satisfactory results obtained show that the proposed approach and method allow historical photography to be used directly within a cartographic process, as a primary source of information. This reinforces the idea of the place that corresponds to these records within the spectrum of historiographic sources, along with textual, planimetric, and other descriptions of urban interest. Likewise, the work reflects on the approach that should prevail to use the map as a research tool, and on the possibilities that such a process opens, significantly improving the use of historical photography for the study of urban heritage with cartographic representations.
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Cull, Brendan. "Early Canadian Botanical Photography at the Exposition universelle, Paris 1867." Scientia Canadensis 39, no. 1 (October 12, 2017): 27–50. http://dx.doi.org/10.7202/1041377ar.
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Sites et végétaux du Canada was an early photographic experiment in botanical illustration. Presented at the 1867 Paris exposition, the album’s 35 albumen prints were part of the Canadian displays. The photographs were a collaborative effort between Joseph-Charles Taché, Canada’s Executive-Secretary at the exposition; Louis-Ovide Brunet, a Catholic priest and botany professor at the Université Laval; and Livernois & Cie, a Québec City photography studio. Previous work has considered the album as the aesthetic accomplishment of Jules-Isaïe Benoît dit Livernois, excluding Taché and Brunet from the art historical narrative. In this paper, I consider the album’s political and botanical contexts, and viewership, to more clearly situate the album in the visual culture of early Canadian science. In its representation of Canadian landscapes and native-plant specimens, the album effectively employed photography to present Canada as a centre of cutting-edge scientific investigation.
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Jacknis, Ira. "Alfred Kroeber and the Photographic Representation of California Indians." American Indian Culture and Research Journal 20, no. 3 (January 1, 1996): 15–32. http://dx.doi.org/10.17953/aicr.20.3.gur5h72113047276.
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Torres, Adriana Aparecida Lemos, Benildes C. M. S. Maculan, Célia da Consolação Dias, and Gislene Rodrigues da Silva. "Subjective aspects in the thematic representation of photographic images." Collection and Curation 37, no. 4 (October 2018): 151–57. http://dx.doi.org/10.1108/cc-03-2018-0005.
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Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 43–57. http://dx.doi.org/10.7202/044587ar.
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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.
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Rothermel, Holly. "Images of the sun: Warren De la Rue, George Biddell Airy and celestial photography." British Journal for the History of Science 26, no. 2 (June 1993): 137–69. http://dx.doi.org/10.1017/s0007087400030739.
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By the early years of the twentieth century, astronomers regarded photography as one of the most valuable tools at their disposal, a technique which not only provided an accurate and reliable representation of astronomical phenomena, but also radically changed the role of the astronomical observer. Herbert Hall Turner, professor of astronomy at Oxford, wrote in 1905: ‘The wonderful exactness of the photographic record may perhaps best be characterised by saying that it has revealed the deficiencies of all our other astronomical apparatus – object-glasses and prisms, clocks, even the observer himself.’ H. C. Russell, government astronomer in Sydney, suggested that photography might in the future make the observer redundant: ‘In many cases the observer must stand aside while the sensitive photographic plate takes his place and works with the power of which he is not capable… I feel sure that in a very few years the observer will be displaced altogether.’ Such visions were not uncommon at the time, emanating from the trust invested in the photographic process after the spectacular achievements of the late nineteenth century.
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Robledano-Arillo, Jesús, Diego Navarro-Bonilla, and Julio Cerdá-Díaz. "Application of Linked Open Data to the coding and dissemination of Spanish Civil War photographic archives." Journal of Documentation 76, no. 1 (October 8, 2019): 67–95. http://dx.doi.org/10.1108/jd-06-2019-0112.
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Purpose The purpose of this paper is to present a conceptual model for coding and dissemination of data associated with historical photographic archives. The model is based on Linked Open Data technology and seeks to exhaustively represent the most relevant characteristics for the tasks of contextualization of the documentary groupings and units, management, document retrieval, dissemination and sharing of data about the historical photographs. Design/methodology/approach An OWL ontology, called Ontophoto, was constructed following an adaptation of the methodology proposed by Uschold and Gruninger and Gruninger and Fox. The ontology was implemented using Protégé 5.5 software. Next a Graph DB® graph database application (Ontotext) was created to generate a query system based on the SPARQL language. To validate the consistency and effectiveness of the model and ontology, a competency questions methodology has been applied using a sample from the Skogler photographic archive. Findings The model facilitates the generation of systems for dissemination and retrieval of iconographic data for historical research, overcoming some of the limitations with respect to the design of methods of content and contextual information representation for heritage photographic archives. Research limitations/implications This study is based on a sample. Future work should consider the implementation of the model on the totality of a photographic collection. Originality/value This paper presents a comprehensive ontological model that allows the creation of distributed systems of knowledge representation, which can be queried through SPARQL language.