Journal articles: 'Photography and memory'

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Flint, Kate. "Photographic Memory." Articles, no. 53 (May 12, 2009): 0. http://dx.doi.org/10.7202/029898ar.

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Abstract In this essay, I discuss the relationship between photography, photographic technology, and memory in the final decades of the nineteenth century. I do so first in relation to the desire to possess actual material memories of the deceased, and then move to consider the way in which the photograph was often used as a metaphor for the processes of memory. I argue that apart from exceptional cases, this was, in fact, a false analogy. Taking Amy Levy’s 1888 novel The Romance of a Shop as a text through which to examine both death-bed photography and the workings of memory, I explore the idea of the memory flashing back, suddenly, and link this to the developments that took place in flash photography at the time that Levy was researching her photographically-themed novel. The metaphor of the flash – and the flash-back – has proved of more lasting value in the semantic linking of photography and memory, I argue, than other attempts to link the materiality of the photographic process to the workings of the brain.

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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing

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Pabedinskas, Tomas. "Personal Photo Album and Collective Memory: The Case of Romualdas Požerskis’ Photographs and Diary." Art History & Criticism 16, no. 1 (December 1, 2020): 115–24. http://dx.doi.org/10.2478/mik-2020-0008.

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SummaryHistory and memory have been the conceptual core of many Lithuanian photography based contemporary art works as well as international curatorial art projects, including authors from different Baltic countries. On the one hand, this indicates the relevance of the subject related to photography and memory; on the other hand, it also shows the overexploitation of personal and historical memory in contemporary photography and in contemporary art in general.In this context the article analyses Romualdas Požerskis’ personal album photographs from the years 1971–1975 and his written diaries from the years 1965–1985. The photographs captured Požerskis’ and his friends’ leisure activities, mainly rides on motorcycles across Lithuania and one trip to Tallinn, Estonia. The diary reflects the key historical events of the time, describes Požerskis’ attitude to it and reveals his personal emotional, intimate experiences. The beginning of the seventies was the time when the now famous Lithuanian photographer Požerskis was still a student, who did not consider himself a creative photographer. However, his photographs and diary from this period have been published in a book “Restless Riders” in 2017 putting this visual and written material in between the private and the public, and in between creative photography field and visual history of the country’s past.The aim of the article is to show how personal photography can help to restore or even create collective memory. To reach this aim the article addresses the respective tasks of explaining the importance of photography’s emotional content in building up a collective memory and revealing how the way in which Požerskis’ personal photo album and private diaries relate to collective memory is distinctive in the context of photography-based Baltic contemporary art.The article claims that the “Restless Riders” case is different because of its emotional content unmediated by interdisciplinary presentation, art’s conceptual framework or amendments to its visual form. Although it is impossible for the beholder to restore the emotional experience of the author, it is not difficult to let the photographs trigger his or her own memories or imaginary vision of the past. This in turn fills the personal story of photographer with emotion and lets it be seen as part of a liveable historical narrative. This narrative, visualized and made public has the potential to add up to the cultural myth, or in other words, common memory and assumptions, which support the identity of community and nation.

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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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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.

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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generate new understandings of slavery and its connection to post-emancipation economies, of history and its relationship to photography, and of archival absence and its representational possibilities.

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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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Kirby, Alun. "No maps for these territories: exploring philosophy of memory through photography." Estudios de Filosofía, no. 64 (July 30, 2021): 47–71. http://dx.doi.org/10.17533/udea.ef.n64a03.

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I begin by examining perception of photographs from two directions: what we think photographs are, and the aspects of mind involved when viewing photographs. Traditional photographs are shown to be mnemonic tools, and memory identified as a key part of the process by which photographs are fully perceived. Second, I describe the metamorphogram; a non-traditional photograph which fits specific, author-defined criteria for being memory. The metamorphogram is shown to be analogous to a composite of all an individual’s episodic memories. Finally, using the metamorphogram in artistic works suggests a bi-directional relationship between individual autobiographical memory and shared cultural memory. A model of this relationship fails to align with existing definitions of cultural memory, and may represent a new form: sociobiographical memory. I propose that the experiences documented here make the case for promoting a mutually beneficial relationship between philosophy and other creative disciplines, including photography.

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Wolfreys, Julian. "‘The look that gropes the objects’: Derrida's Photographs." Derrida Today 10, no. 1 (May 2017): 21–37. http://dx.doi.org/10.3366/drt.2017.0140.

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In his introduction to Copy-Archive-Signature: A Conversation on Photography published in 2009, Gerhard Richter observes that while photography is concerned, ‘like deconstruction’, with ‘questions of presentation, translation, techné, substitution, deferral, dissemination, repetition, iteration, memory, inscription, death, and mourning’, relatively little attention has been given to those texts of Derrida's that specifically address photography and the work and thought of the photograph: ‘Aletheia’, Rights of Inspection, Athens, Remains, to name the most obvious. Things have changed a little since 2009, but it remains the case that photography, with its strange logic and uncanny temporalities, situates itself in Derrida's publications as, possibly, the most performative of tropes in Derrida's writing. As Richter argues, it is available to our view as a ‘metalanguage’, through which all other questions are brought into focus. This paper therefore focuses on the photograph: the photograph in Derrida's writings and photographs of Derrida.

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Fawns, Tim. "Blended memory: A framework for understanding distributed autobiographical remembering with photography." Memory Studies 13, no. 6 (February 13, 2019): 901–16. http://dx.doi.org/10.1177/1750698019829891.

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This article offers a framework for understanding how different kinds of memory work together in interaction with people, photographs and other resources. Drawing on evidence from two qualitative studies of photography and memory, as well as literature from cognitive psychology, distributed cognition and media studies, I highlight complexities that have seldom been taken into account in cognitive psychology research. I then develop a ‘blended memory’ framework in which memory and photography can be interdependent, blending together as part of a wider activity of distributed remembering that is structured by interaction and phenomenology. In contrast to studies of cued recall, which commonly feature isolated categories or single instances of recall, this framework takes account of people’s histories of photographic practices and beliefs to explain the long-term convergence of episodic, semantic and inferential memory. Finally, I discuss implications for understanding and designing future memory research.

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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918." Text and Image: Essential Problems in Art History, no. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.

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The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial practice for townspeople throughout the world. In the pre-WWI Kyiv dozens of ateliers produced photographic portraits in large quantities. While the urbanization and economic growth boosted migration activity and washed out traditional family and neighborhood networks, the photography provided an instrument for maintaining emotional connections between people. The author emphasizes the role of a professional photographer who acted as a maker of ‘memory artifacts’ for individuals and families and, therefore, established aesthetic standards for their private visual archives. It is stated that the professional photography played a noticeable role in modernization and westernization of Kyiv. With its relatively low barrier to entry, it provided a professionalization opportunity for women, representatives of the lower social classes or discriminated ethnic groups (such as Poles after the January Insurrection, and Jews). While working in a competitive environment, photographers had to adopt new technologies, improve business processes and increase their own educational level. At the same time, their artistic freedom was rather limited. The style of photographic portrait was inherited from the Eighteen and Nineteen-century academic art, so it is usually hard to distinguish photographic portraits made in Kyiv or in any other European city of that period. Body language of models, their clothing and personal adornments as well as studio decorations and accessories aimed to construct the image of successful individuals, faithful friends, closely tied family members with their own strictly defined social roles etc. The old-fashioned style of the early twentieth century portraiture shaped the visual aesthetics of photographic portrait that was noticeable enough even several decades later.

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Demina, Evgeniya, Elena Larina, and Sergey Mescheryakov. "Tselina: The photographical practices of perception." Вестник антропологии (Herald of Anthropology) 45, no. 1 (March 7, 2019): 30–53. http://dx.doi.org/10.33876/2311-0546/2019-45-1/30-53.

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The paper presents the results of an experimental study on practices in visual anthropology based on photographs made by amateur authors during an expedition to «Tselina» (virgin lands) in Orenburg Oblast. The study considers photographs both in their representative aspect and as a material for the enquiry on perspectives, behavior and attitudes of amateur photographers and their models in historical, anthropological and visual contexts. The article analyzes the interaction between interview and photography practices, along with the ethos of photographer – model encounter, paying attention to ways of seeing particularities both determined by cultural and historical differences. Such an optics aimed at the visual material obtained during the expedition allows examining of typical images of the Soviet ‘Tselina’ campaign in the light of historical memory, which manifests itself in an impact of aesthetical registers and visual practices of the three parts of the process: the anthropologist, the photographer and the model. Key words: visual anthropology, anthropology of the image, visual history, historical memory, amateur photography, field practice, «Tselina».

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Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (October 2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.

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This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory theory, the article shifts these debates forward by adopting the concept of ‘assemblage’. The article concentrates on the aesthetics of photographs produced by Armenian photographic studios in Istanbul during the late nineteenth century and their relationship to the present through the work of contemporary artists Klitsa Antoniou, Joanna Hadjithomas, Khalil Joreige and Etel Adnan as well as photographic exhibitions organised by the Centre for Asia Minor Studies, Athens, Greece.

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O'Grady, Timothy. "Memory, Photography, Ireland." Irish Studies Review 14, no. 2 (May 2006): 255–62. http://dx.doi.org/10.1080/09670880600603729.

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Jordan, Shirley. "Not Yet Fallen: Memory, Trace and Time in Stéphane Couturier's City Photography." Nottingham French Studies 53, no. 2 (July 2014): 169–85. http://dx.doi.org/10.3366/nfs.2014.0084.

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Harnessing concepts related to memory, trace, time and the archive, this article examines in detail the highly distinctive city photography of French photographer Stéphane Couturier. It focuses on the ways in which two of Couturier's major series, Archéologie urbaine (1994–2010) and Melting Point (2005–13), investigate the fabric of urban environments in Europe and beyond, concentrating in the first case on heritage layers and pockets of demolition or reconstruction, and in the second on the pervasive modular architecture of urban and peri-urban blocks. The article analyses the tension in Couturier between the photograph as documentary and as art, and situates the photographer – an architect by training – with regard to key nineteenth- and early-twentieth-century predecessors whose studies of the city in photography and in painting appear to resurface in his work and whose engagement with urban change and technological evolution he shares and updates for our time.

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Setiadi, Criscentia Jessica. "The Significance of Photography as Archives and Cultural Memory." Humaniora 8, no. 2 (April 30, 2017): 175. http://dx.doi.org/10.21512/humaniora.v8i2.3894.

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This research was conducted by using textual, qualitative approach while looking closer at the significant of the information that was produced in the form of photography. The aim of this research was to take a stance of the importance of photography as archives and cultural memory in its ability in promoting truths. Photography was observed as three forms; they were singular, plural, and archival. Singular forms suggested the selective association between the photographers and the photographs were taken. Plural formed resonance ideas and overall aspects in what sets of photography could bring. Archival forms offered memories as references. The result of this research shows that photography, despite its ability or inability in promoting truths, is a great pool of resources of gaining information and tracing history. Further to this research, looking closer to current social media applications that put photography forward can be one option to explore within this topic.

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Whitlock, Richard. "Perspective and Memory in Photographic Images." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 81–85. http://dx.doi.org/10.47659/m4.081.art.

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Digital imaging may have tied us to the computer keyboard, but it allows us to recuperate for photography the freedom and control that painters and draughtsmen have always had when reconstructing space on a flat surface. Angles of vision can be explored beyond the normal reach of the human eye or the camera lens. For the last few years I have concentrated in particular on the application of orthographic projection to photographic images, both moving and still. I have found that removing the conventional perspective has the effect of defamiliarising and enriching what we see: objects seem to pass directly into memory not as images but as realities. Keywords: augmentation, augmented photography, de-perspective, expanded view, moving picture, photography

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Im, Yung-Ho. "Photography, Memory and Nostalgia." Javnost - The Public 14, no. 3 (January 2007): 65–78. http://dx.doi.org/10.1080/13183222.2007.11008947.

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Golding, M. "PHOTOGRAPHY, MEMORY AND SURVIVAL." Literature and Theology 14, no. 1 (March 1, 2000): 52–68. http://dx.doi.org/10.1093/litthe/14.1.52.

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Bate, David. "The Memory of Photography." Photographies 3, no. 2 (August 23, 2010): 243–57. http://dx.doi.org/10.1080/17540763.2010.499609.

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Harrison, Barbara. "Photographic visions and narrative inquiry." Narrative Inquiry 12, no. 1 (September 26, 2002): 87–111. http://dx.doi.org/10.1075/ni.12.1.14har.

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This paper examines the ways in which photographic images can be used in narrative inquiry. After introducing the renewed interest in visual methodology the first section examines the ways in which researchers have utilised the camera or photographic images in research studies that are broadly similar to forms of narrative inquiry such as auto/biography, photographic journals, video diaries and photo-voice. It then draws on the published literature in relation to the author’s own empirical research into everyday photography. Here the extent to which the practices which are part of everyday photography can be seen as forms of story-telling and provide access to both narratives and counter-narratives, are explored. Ideas about memory and identity construction are considered. A critical area of argument centres on the relationship of images to other texts, and asks whether it is possible for photographs to narrate independent of written or oral word. It concludes with some remarks about how photographs can be used in research and as a resource for narrative inquiry. This necessitates a understanding of what it is people do with photographs in everyday life.

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DARDA, JOSEPH. "The Exceptionalist Optics of 9/11 Photography." Journal of American Studies 50, no. 1 (November 28, 2014): 185–204. http://dx.doi.org/10.1017/s0021875814001881.

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During and after the 2001 attacks on New York City and Washington, thousands of photographs were taken. None, however, would become as iconic as Thomas Franklin's photo of three firefighters raising an American flag above the rubble of the World Trade Center. Franklin's photo, I argue in this essay, casts 9/11 in the familiar myth of American exceptionalism, screening out but still gesturing to the heterogeneous memories left unsettled and animate in amateur photographs, missing-person posters, bodies in pain, and performance. In considering the struggle over the visual memory of the attacks, I first consider how, in the wake of 9/11, the discourse of exceptionalism served to disavow the exceptions historically taken by the state and to rationalize the War on Terror. I show how this system of myths works in dialectical relation to other disruptive forms of cultural memory. I then read Franklin's iconic photograph as a screen by which traumatic memories are masked and onto which nationalist desires are projected. Finally, I analyze 9/11 photography that troubles the exceptionalist optics of Franklin's photo by evoking the visual legacy of the Vietnam War and so challenging the logic of righteous warfare.

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Prehn, Ulrich. "Working Photos: Propaganda, Participation, and the Visual Production of Memory in Nazi Germany." Central European History 48, no. 3 (September 2015): 366–86. http://dx.doi.org/10.1017/s0008938915000795.

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AbstractThis article examines images of Germany's “working world” in the 1930s and 1940s. Analyzing photos from three different genres—factory photography, special-occasion industrial photography, and the work of nonprofessional photographers—it addresses a series of questions: How was the “working world” depicted in photographs from this period? What were the different modes, functions, and effects of visual representations of work and workers in these three genres? In what ways did these photographs contribute to the (visual) production and “shaping” of memory—in terms of worker experiences, as well as with respect to attempts by the National Socialists to promote ideological notions of community-building (Vergemeinschaftung)? The main argument is that photography served as an important tool for the mobilization and self-mobilization of German workers under the Nazi regime.

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Korycki. "Memory, Identity, Tourism and Photography." Polish Review 65, no. 3 (2020): 74. http://dx.doi.org/10.5406/polishreview.65.3.0073.

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Khor, Denise. "Archives, Photography, and Historical Memory." Southern California Quarterly 98, no. 4 (2016): 429–56. http://dx.doi.org/10.1525/scq.2016.98.4.429.

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This article discusses the goals, contents, scope, and potential of the Chinese Railroad Workers in North America Project, a digital archive to be made public in 2019. The article includes examples of the research and acquisition of previously unknown materials for the archive. It concludes with a demonstration of how the archive’s diverse materials can be used by scholars—a study of the depiction of Chinese laborers in the photographs commissioned by the transcontinental railroad companies, in conjunction with the rail companies’ payroll records and the photographers’ oeuvre.

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Ana Tostões and Ana Maria Braga. "Preserving Collective Memory through Photography." Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 10, no. 2 (2013): 83. http://dx.doi.org/10.5749/futuante.10.2.0083.

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van Dijck, José. "Digital photography: communication, identity, memory." Visual Communication 7, no. 1 (February 2008): 57–76. http://dx.doi.org/10.1177/1470357207084865.

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Pierce, Rachel. "The Female Gaze? Postmodernism and the Search for Women in the Digitized Photographic Collections of Swedish Memory Institutions." Open Information Science 3, no. 1 (January 1, 2019): 61–75. http://dx.doi.org/10.1515/opis-2019-0005.

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Abstract Both the photograph and digitization are often defined as democratizing forces. But neither exists outside the system of power dynamics that structure art, history, and cultural heritage. This article uses postmodernist theorization of knowledge hierarchies in the archive developed by archival scholars Terry Cook and Joan Schwartz to examine the gendered nature of metadata and data connected to digitized photographic material available on the platforms of the three major Swedish memory institutions: the Royal Library, the Nordic Museum, and the National Archives. Given that digitized photographs require the addition of machine-readable data and metadata to be findable, this information demonstrates the extent to which digitization staffs have consciously thought about the visibility of gender in their online collections. The research questions of this article are thus twofold: (1) to what extend have Swedish memory institutions embraced a postmodern approach to the archive in their photography digitization projects, and (2) has this approach resulted in the greater visibility of women-oriented material? The findings indicate that Swedish institutions have adopted postmodernist thinking about archival flexibility to varying degrees, but none have thought thoroughly about increasing the visibility of woman-oriented material.

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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 through descriptions, never appearing visually), I read it through Roland Barthes's Camera Lucida and his development of the wounding punctum of a photograph, which produces a melancholy lingering trace of the past in the present moment. In this reading, the immigration experience in Hijuelos's novel exceeds narrativization and is unrepresentable by it.

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Pruna, Andres, and Robert L. Mairs. "Panoramic Reconstruction of the Sea Floor Environment, Using Underwater Photography, Direct Observations, and Field Sketches." Marine Technology Society Journal 40, no. 2 (May 1, 2006): 52–57. http://dx.doi.org/10.4031/002533206787353574.

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Graphic illustration by a scientifically trained artist provides a panoramic view of the sea floor unobtainable directly by photography. Detailed photographs, direct observations, and field sketches are combined to produce a photographically documented hypsographic reconstruction of the sea floor. Dry submersible or diver traverses show only a sequence of closeup photographs because of the visibility limitations presented by the ocean environment. At present the large scale aspects of the topography are best developed from direct observations. The underwater photographs arranged in traverse sequence serve to refresh the memory and provide topographic, geologic, and biologic detail. The resulting detailed illustration gives a three dimensional composite panorama of the sea floor. This combined artist-photographic technique has been applied to: submarine cable routing, habitat emplacement, and geological and biological reconnaissance.

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Hamann, Christoph. "Indeks, ikona i symbol. O stosunku fotografii, historii (czasu) i pamięci." Kultura i Społeczeństwo 55, no. 4 (November 22, 2011): 107–27. http://dx.doi.org/10.35757/kis.2011.55.4.6.

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The Author starts with a thesis that photography and modern historiography developed at the same time, and then tries to look for relationships between the two. He starts from analyzing a specificity of a photograph which — as a medium — not only represents the past, but can be an energizing impulse both in the presence and the future. By referring to the semiotic classification of Charles Sanders Peirce, the Author describes the importance of a photograph to historical research as an index, an icon and a symbol. This helps understand the way of using a collective resource of photographs and to define a status of digital photographs as a source. Finally, the Author tries to show the perspectives of visual history analysis and the role which might be played by images when forming and changing memory communities in the era of globalization and diversification.

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Yudhistira, Nurfian. "SOCIAL CLIMBER IDENTITY AND MEMORY : POTRET DIRI SEBAGAI OBJEKTIVITAS HIPERREALITAS KEHIDUPAN DAN DEGRADASI MEMORI." POPULIKA 8, no. 1 (January 21, 2020): 34–39. http://dx.doi.org/10.37631/populika.v8i1.134.

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This study examines the development of photographic technology that facilitates the development of the phenomenon of social climbing by highlighting the hyperreality of social media, thereby resulting in the emergence of a new identity for social climbers. Photography technology has evolved over time. Digital technology has created instant technology that makes it easy for camera users to operate cameras with automatic adjustment features, therefore the technology industry is constantly looking for ways to develop and make smartphones. Smartphones integrate image and communication technology into one device, making it easier for users to communicate. This smart phone supports online access to social media because of its features that can be connected to the internet. So anyone can share their photography using this tool and also social media. social media makes it easy for everyone to access information including personal activities that are shared, so that phenomena that are often referred to as social climbing phenomena are phenomena marked by social media users who are competing to improve their social status on online social media. The phenomenon of social climbing makes someone create a new identity for themselves on social media. Creating a life that is exaggerated from its original reality or also called hyperreality. This study aims to provide education related to the use of photography and social media, so that people do not fall into the phenomenon of false identities in social media.

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Arruti, Nerea. "Tracing the Past: Marcelo Brodsky's Photography as Memory Art." Paragraph 30, no. 1 (March 2007): 101–20. http://dx.doi.org/10.3366/prg.2007.0011.

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Andreas Huyssen has called the Argentinian photographer Marcelo Brodsky's latest project, Nexo (2001), memory art, that is, a form of public mnemonic art that oscillates from installation, photography and monument to memorial, breaking artistic boundaries. The article will explore the role of photography in the field of human rights and the interspace between private and public spheres. Brodsky's work aims to reinstate the gaps in the collective spheres of recollection and this will be contextualized in his artistic production from the late 1970s onwards. Nexo follows on from the internationally acclaimed project Buena memoria (1997) that was also an attempt to create a bridge for the memory for the new generation of Argentinians. This contribution aims to explore how Brodsky's artistic production represents what the Argentinian sociologist Elizabeth Jelín has described as art that wants to create a symbolic space to mediate traumatic experiences.

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MEMOU, ANTIGONI. "Photography and Memory: Rethinking May ’68." Philosophy of Photography 2, no. 1 (September 20, 2011): 83–96. http://dx.doi.org/10.1386/pop.2.1.83_1.

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Crownshaw, Rick. "Photography and memory in Holocaust museums." Mortality 12, no. 2 (April 25, 2007): 176–92. http://dx.doi.org/10.1080/13576270701255156.

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Putra, Eri Rama, Soeprapto Soedjono, and Zulisih Maryani. "MENYUSUN KEMBALI INGATAN DAN KENANGAN DALAM STAGED PHOTOGRAPHY." spectā: Journal of Photography, Arts, and Media 2, no. 1 (February 16, 2019): 47–56. http://dx.doi.org/10.24821/specta.v2i1.2467.

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AbstrakKenangan merupakan apa yang pernah ada dan terjadi pada masa lalu dan menjadi bagian dari memori kehidupan banyak orang. Dengan kemampuannya yang bersifat dokumentatif, fotografi mampu merekam yang abstrak menjadi nyata. Fotografi terlahir untuk memburu objektivitas dengan kemampuannya dalam menggambarkan realitas visual. Praktik fotografi adalah pintu masuk untuk melihat dan menyelami banyak hal. Karya-karya ini dibuat menggunakan arsip-arsip foto yang berlokasi di Yogyakarta sebagai bentuk kenangan visual milik subjek yang digunakan sebagai acuan untuk direkonstruksi dengan metode staged photography. Metode ini dilakukan dengan upaya menata dan mengatur subjek, teknik fotografi, dan alur narasi untuk menampilkan perubahan-perubahan yang terjadi. Lewat praktik fotografi yang dilakukan, para subjek diajak untuk bernostalgia merasakan kembali kenangan-kenangannya. Secara tidak langsung, para subjek diajak untuk lebih peduli pada fotografi dengan menjaga dan memelihara arsip-arsip foto yang dimilikinya.Kata kunci: kenangan, staged photography, rekonstruksi, arsip foto AbstractReconstructing Memory and Remembrance in Staged Photography. Recollection is something which existed and happened in the past and became a part of people’s life memory. With its documentative ability, photography could record abstract things into something real. Photography was born to hunt objectivity through the ability in picturing visual reality. The practice of photography is also a gateway to see and delve into many things. This project used photo archives located in Yogyakarta as a form of visual recollection from the subjects which would be used as the reference to be reconstructed with staged photography method. This method was conducted by arranging and managing the subject, choosing the appropriate photography techniques, and create the the narrative plot in order to show the changes which have occured. Through this project, the subjects were invited to reminisce the memory by recollecting their memories. It also urged the subjects to be more caring in keeping and preserving their photo archives.Keywords: reconstruction, recollection, photo archive, staged photography

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Jaksch, Helen. "The Empty Chair Is Not So Empty: Ghosts and the Performance of Memory in Post-Katrina New Orleans." TDR/The Drama Review 57, no. 1 (March 2013): 102–15. http://dx.doi.org/10.1162/dram_a_00237.

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The empty chairs found in photographs taken in the aftermath of Hurricane Katrina are unfillable voids. This major natural disaster transforms the everyday object of the chair, magnified by the medium of photography, into an extraordinary place full of potentiality for the performance of memory, for haunting, and for ghosts.

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Zambenedetti, Alberto. "Emplacing Time: Photography, Location, and the Cinematic Pilgrimage." Space and Culture 23, no. 4 (October 15, 2018): 548–60. http://dx.doi.org/10.1177/1206331218805381.

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Cinema, arguably the time-based medium most synonymous with modernity, is also an art form of place: cinema records place in time and, in the best circumstances, stores it through time. If, as Michel de Certeau remarked, “space is a practiced place,” then cinema is the memory of that practice; it is the archive of that transformation. Cinema, in other words, “emplaces time.” Moreover, because of its physical properties, film is also an archival object whose very existence is challenged by the passing of time. In recent years, the ways in which cinema emplaces time have become the subject of a dual contemplation on the part of a generation of photographers whose projects re-photograph cinema’s loci, from movie palaces to film locations. This article investigates the relationship between film the work of three “cinematic pilgrims”: British artist Michael Lightborne, whose 2012 installation Interval (After Intervals) included photographs of the locations for Peter Greenaway’s 1969 short film Intervals alongside the original film; Christopher Moloney’s ongoing project FILMography, in which the Canadian photographer travels the world bringing printed reproductions of film stills to the sites where they were originally shot and then re-photographs them in situ; and the travel blog Fangirl Quest by the Finnish Tiia Öhman and Satu Walden, a photographer and a travel expert, respectively, who re-photograph a location while displaying the related movie scene on a tablet practice (a practice they call “sceneframing”). These projects underscore cinema’s innate relationship with place, while they also highlight the changes that occurred in the time that intervened since production, revealing the instability of the filmic object as one of time as well as in time.

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Baxter, Katherine Isobel. "Memory and photography: Rethinking postcolonial trauma studies." Journal of Postcolonial Writing 47, no. 1 (February 2011): 18–29. http://dx.doi.org/10.1080/17449855.2010.507930.

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Kuhn, Annette. "Photography and cultural memory: a methodological exploration." Visual Studies 22, no. 3 (December 2007): 283–92. http://dx.doi.org/10.1080/14725860701657175.

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Bajorek, Jennifer. "Photography and National Memory: Senegal about 1960." History of Photography 34, no. 2 (April 26, 2010): 158–69. http://dx.doi.org/10.1080/03087290903361480.

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Hill, Sarah Patricia. "Double exposures: the photographic afterlives of Pasolini and Moro." Modern Italy 21, no. 4 (November 2016): 409–25. http://dx.doi.org/10.1017/mit.2016.46.

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Photographs play a crucial role in the ways the lives and deaths of Pier Paolo Pasolini and Aldo Moro are remembered in Italian culture. Locating photographs of the two men taken before and after their murders against the backdrop of the changes in photographic practice that took place in Italy from the period of the economic boom in the late 1950s through to the early 1970s, this article explores and compares the cultural meanings of the photographs of the bodies of these two very different but equally symbolic public figures, both alive and dead. Analysing the significance of these images in Italy in the 1970s and after, it notes how contemporary theoretical approaches to the medium – particularly in terms of understandings of mass media forms and the theoretical linking of photography and death – shaped how the photographs have been understood in relation to their social and political context. It argues that the afterimage of the photographs of the corpses of Pasolini and Moro is overlaid in Italian cultural memory over the visual record of the two men during their lives in a kind of mnemonic ‘double exposure’ that constitutes these bodies of images as collective icons of their times.

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Sidorenko, Ewa. "‘A Portrait of Lower Silesia’: Researching identity through collodion photography and memory narratives." Methodological Innovations 12, no. 3 (September 2019): 205979911989078. http://dx.doi.org/10.1177/2059799119890787.

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In this article, I discuss a performance arts–based visual methodology based on the use of the archaic wet collodion photography. The collaboration between Street Collodion Art photography collective and myself, as a researcher, had two aims: to generate a large scale photographic and narrative portrait of Lower Silesia in Poland, and to explore identities in the region where nearly all of its inhabitants represent recent migrant populations. Data generated through this project include collodion portraits, their interpretations and narratives collected through unstructured interviews. Initial data analysis has generated identity narratives linked to work, place and belonging and ethnicity/nationality. In addition, in 2016 and 2017, three exhibitions of the portraits and a selection of edited stories took place in Lubin, Legnica and Wrocław attended by local inhabitants, including project participants. The examination of the arts-based methodology finds that the ritual character of the wet collodion photographic encounter has acted as a form of artistic intervention which, in generating memory narratives, enabled an articulation of social identities in the climate dominated by nationalist discourses. Such symbolic work emerging out of the project reveals a critical potential in the collaboration between the arts and social research. Furthermore, the project has shown that despite different traditions of practice, a collaboration between the artists and social researchers can yield rich data and access participants in ways that conventional methodologies cannot.

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Martins Portanova Barros, Ana Taís. "Imagens do passado e do futuro: o papel da fotografia entre memória e projeção." MATRIZes 11, no. 1 (April 30, 2017): 149. http://dx.doi.org/10.11606/issn.1982-8160.v11i1p149-164.

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The theme of this article is the issue of memory related to photography and its possible alterations due to an exponential increase in the production and sharing of images. Startingoff from both a philosophy of photography (Barthes, Virilio, Flusser) and a philosophy of images and the imaginary (Belting, Bachelard, Durand, Eliade, Merleau-Ponty), we problematize memory as a carrier of the past in a context of ephemerality of the now and dissolution of the stability of categories such as time and space. We propose the idea of memory as anticipation more than recollection. The conclusion is that the part of photography, despite its dematerialization and detemporization, is intact for the anticipatory memory, which updates the mythical past in order to respond to a desire for what is coming.

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Bicacro, Joana. "Medeiros, M. (Ed.) (2016). Fotogramas. Ensaios sobre fotografia. Lisbon: Sistema Solar." Comunicação e Sociedade 32 (December 29, 2017): 515–19. http://dx.doi.org/10.17231/comsoc.32(2017).2778.

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Fotogramas, published in 2016 by Sistema Solar, brings together studies on photography, archive and memory, resulting from the colloquium Photography in the Post-Photography Era, held at Faculdade de Ciências Sociais e Humanas of Universidade Nova de Lisboa, in 2012...

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Bellette, Aaron, and Kathryn Gushka. "Photography as Memory and Learning: An Autoethnographic Inquiry." International Journal of Arts Education 12, no. 1 (2016): 1–13. http://dx.doi.org/10.18848/2326-9944/cgp/v12i01/1-13.

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Fawns, Tim. "Photography and the disruption of memory and meaning." Ubiquity: The Journal of Pervasive Media 3, no. 1 (October 1, 2014): 3–14. http://dx.doi.org/10.1386/ubiq.3.1-2.3_1.

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RAIFORD, LEIGH. "PHOTOGRAPHY AND THE PRACTICES OF CRITICAL BLACK MEMORY." History and Theory 48, no. 4 (December 2009): 112–29. http://dx.doi.org/10.1111/j.1468-2303.2009.00522.x.

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Kouvaros, George. "Images that remember us: photography and memory inAusterlitz." Textual Practice 19, no. 1 (January 2005): 173–93. http://dx.doi.org/10.1080/0950236042000329708.

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Vice, Sue. "“Yellowing snapshots”: photography and memory in Holocaust literature." Journal for Cultural Research 8, no. 3 (July 2004): 293–316. http://dx.doi.org/10.1080/1479758042000264957.

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Cross, Karen, and Julia Peck. "Editorial: Special Issue on Photography, Archive and Memory." Photographies 3, no. 2 (August 23, 2010): 127–38. http://dx.doi.org/10.1080/17540763.2010.499631.

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Journal articles on the topic 'Photography and memory'

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