Aspect of time in forensic photography

Author(s): Jakub Kovalík / Language(s): English Issue: 1/2019

Humans perceive time as an indefinite dimension which has a definitive
impact on the life of an individual. Time represents a key element in developing photographs but it also can be metaphorically presented in photographic pictures. During the course of history people tried to represent time in various forms. In 1826 when photography itself was invented by the Niepce brothers as they developer the first photographs that lasted more than just a couple of minutes we can say that the meaning of the phrase „frozen in time“ was given a whole new meaning. Each photograph represents a selective section of perceived reality at a given time. The main purpose of our paper is to connect the aspect of time with methods of forensic photography which by default serves as a tool for crime scene investigators but it also can connote fine art or metaphorical contexts. Based on theoretical resources followed by content analysis of photographers and their specific works that revolves around the aspect of time we create a series of photographs that indirectly or by content point out the element of time itself.

O nas bez nas. Postantropocentryczne kinematografie stref wykluczenia

Author(s): Ewa Wójtowicz / Language(s): Polish Issue: 110/2020

The text focuses on post-anthropocentric cinematographies of human exclusion zones, created within theory- and practice-based research conducted with artistic methods. The examples include: research activities of the Strelka Institute ("The New Normal" and "Geocinema"), art by Emma Charles, John Gerrard, Evan Roth, Trevor Paglen and Liam Young (also within Unknown Field Division), Young’s theoretical concepts, as well as theories by Benjamin Bratton. The human exclusion zones include machine landscapes, such as data centres, server farms, automated production lines and mining sites that provide raw geological materials used in technological production. Also important are the networked circulation of images as data without human involvement (machine vision by artificial intelligence) and global data from sensory networks. All examples are discussed in the context of art projects using the medium of film.

No Figures in the Landscape: Post-Anthropocentric Typologies of Architectural Settings in Science-Fiction Films

Author(s): Maciej Stasiowski / Language(s): English Issue: 110/2020

In the ascending age of automation factories, storage facilities, and server farms, intelligent buildings are becoming less dependent on human maintenance. These new and updated architectural forms do not comply with traditional typologies. From the Vitruvian Man to Modulor, our bodies were the measure of most constructions. Yet automation renders new constructions incompatible with patterns of human habitation. This article focuses on the iconography of buildings designed to operate with little to none human interaction, providing an insight into how such settings influenced recent (last decade) science-fiction films like "Blade Runner 2049" (dir. Denis Villeneuve, 2017), "Captive State" (dir. Rupert Wyatt, 2019), "I Am Mother" (dir. Grant Sputore, 2019), or "Transcendence" (dir. Wally Pfister, 2014). In each of them, artificial intelligence is an intrinsic composite of the environment, terraforming a post-anthropocentric reality of data centres, automated warehouses and drosscapes.

Kryzys reprezentacji, Ziemia-krajobraz i posthumanistyczny panteizm w „La Région centrale” Michaela Snowa

Author(s): Aleksander Kmak / Language(s): Polish Issue: 110/2020

The main subject of the essay is Michael Snow’s "La Région" centrale. Referencing various writings on the film, the author highlights areas that have not been tackled by scholars: the sensuous character of the film experience and its consequences for cinema’s status as a sphere of the cognition of reality. "La Région centrale" is juxtaposed with Gilles Deleuze’s concepts of painterly catastrophe and diagram in order to show how the experience of landscape becomes a post-humanist project of creating the whole new world, where existent dualisms of body-mind, subject-object or human-animal are completely overthrown. This interpretation is accompanied by a reflection on the cinema’s role during the age of Anthropocene and a re-affirmation of realism in film theory.

Dom jako „materia w procesie” w projektach artystycznych i filmowych

Author(s): Małgorzata Radkiewicz / Language(s): Polish Issue: 110/2020

The text presents an analysis of selected films, both Polish ("Pora umierać", "Dzikie róże", "Cicha noc") and foreign ("Grüße aus Fukushima", "Con el viento") and artistic projects which address the issue of home in terms of matter/meaning and intra-activities between human and non-human subjects. The methodology of the analysis is based on post-human theories of Karen Barad and her idea of agential realism, and Rosi Braidotti and her concept of a reconfiguration of the post-human subject and of ethical micro policy. There are also some references to Félix Guattari and the idea of multiple ecologies: social, environmental, and mental.

Kronika kulturnih događanja u Mostaru: lipanj – kolovoz, 2020.

Author(s): Mira Pehar / Language(s): Croatian Issue: 113-114/2020

12. 6. U Galeriji kraljice Katarine otvorena izložba maturalnih radova 20. generacije maturanata Srednje likovne škole Gabrijela Jurkića. Predstavljeno je 35 radova: slika, instalacija i skulptura rađenih u različitim tehnikama. 18. 6. Održan koncert klavirista Glazbene škole Ivana pl. Zajca iz klase prof. Silvije Vukojević, u sklopu Dana svetoga Ante, u Franjevačkom centru "Sv. Ante – Cim".

Ф. М. Достоевский: биография в фотографиях

Author(s): Maria Alekseevna Zusmanovich / Language(s): Russian Issue: 3/2020

The collection of photographic materials of The Vladimir Dahl State Museum of the History of Russian Literature, related to the life and work of F. M. Dostoevsky, is the largest such collection and currently includes 2540 items. The collection of photographs is based on the memorial collection of A. G. Dostoevskaya from the Memorial Museum of F. M. Dostoevsky. In the 1930s, it was transferred to the F. M. Dostoevsky Museum, established in Moscow in 1928, and after its merge with the State Literary Museum in 1940 (since 2017 — The Vladimir Dahl State Museum of the History of Russian Literature), it became a part of its photography collection. The compendium of photographs related to the life and work of Fedor Dostoevsky continued to grow in the following years. The article provides a comprehensive description of the collection of photos based on two main criteria: by the type of material — original photos, reshot photos, duplicate photos; by genre and thematic content of the images — portraits of F. M. Dostoevsky, portraits of relatives, portraits of children of F. M. Dostoevsky, nephews, descendants, portraits of friends, acquaintances, contemporaries, sights of places related to the biography of F. M. Dostoevsky. The article analyzes the accompanying inscriptions and autographs on the photographs, specifies the dating and location of the images, which allows to make corrections and additions to the Chronicle of the life and work of F. M. Dostoevsky. Based on a comparative analysis of the translator’s gift autograph on his photo, the facts of F. M. Dostoevsky’s biography, and the analysis of F. M. Dostoevsky’s letter to an unidentified person dated December 5, 1863, an assumption is made that the addressee of the letter is W. Wolfzon.

Oнтолошке разлике у фотографији и икони

Author(s): Željko R. Đurić / Language(s): Serbian Issue: 3/2012

In this article the author analyzes the photography and the icon, especially the ontological aspects that are related to the phenomenon of time and eternity. Photo shot is, for his distinctly historical character, an indicator and the witness of death as a product of the material and the ephemeral. On the other hand, the icon witnesses the attempt to overcome the historical, pointing to a bright future. The icon is based on the photographic, portrait and historical, but in the background it indicates something beyond. At the end, the author analyzes the similarities between the photograph and the icon, the source for which could be found in their reproductive character as well as in the need for repetition.

The ontology of resistance between power and knowledge

Author(s): Hanan Muneer Al Sheikh / Language(s): English Issue: 1/2021

The ontology of human resistance accentuates its existence through several expressive means with the most important being Art; as art transforms the question of resistance into a self-practice that starts with the artists and transfers between the inside and the outside in a continuous, creative and effective mutual relationship in order to emphasise the battle of existence conflict, ideology and Epistemology within the general framework of power. This philosophic analysis is based on the hypotheses of having a multilateral factor that continues with the past legacy on the one hand and interprets the present while overpassing it on the other, in order to create a state of creativity that represents the intellectual, emotional, cognitive and historical inventory, while posing a situation of continuous wondering among individuals and groups. This artistic state unifies the indicators of symbolisations and makes resistance represented in a contemporary visual discourse that rejects dominance, accentuates the identity and transforms the theoretical intellectual question into a practiced anthological act that is featured of permanent activity as a perpetual act towards liberation and reproducing self-existence.

İklim değişikliğinin buzullar üzerine olan estetiği (Baykal Gölü, İzlanda ve Grönland örneği)

Author(s): Yoong Wah Alex Wong / Language(s): Turkish Issue: 2/2021

Climate change is the major pressing environmental topic in the world. This article’s primary concern is to illuminate, investigate, and verify the aesthetics of climate change, focusing on the fragile world of disappearing ice, especially the apace melting glaciers in the world. By closely observing the ice changes, tracks, and trails, the aesthetics of ice formation, transformation, and vanishing ice in different corners of the world leave us further evidence of the effects of melting ice. Currently, many people are concerned and affected by the vast spread of the contagious virus around the world. Nonetheless, extreme weather and climate change are what we should worry about most since such irreversible phenomena can devastate millions of people’s lives instantly. The lack of initiatives, efforts and ignorance behaviours of country leaders’ in the climate change resolution directly expose us to these threats, unprotected. This visual research affirms the importance of glaciers. It showcases the irreversible effects and the aesthetics of vanishing glaciers and icebergs’— a world of shrinking ice sheets we have never encountered before.

FOTOĞRAF SANATINDAKİ KOMPOZİT PORTRELERİN KISA TARİHİ

Author(s): Eren GÖRGÜLÜ / Language(s): Turkish Issue: 57/2021

The composite photography technique, invented by Francis Galton in the last quarter of the nineteenth century, took its legacy from the new photography techniques that began to appear in the years immediately after the invention of photography. New perspectives affecting the photographs of that period and new image production greatly contributed to the development of this technique. The multi-layered structure that Galton used in his technique created a striking structure that lacked clarity and this technique has been used by many artists today. The composite portrait productions realized by the artists with the help of analog / digital techniques both challenge the photographic reality and combine innovation and art like the nature of composite photography. Galton's work on technique constitutes a highly developed field of photography practice through digital photography today. The traces of the multi-layered effect Galton created through photographic portraits are seen in the works like Lewis Hine's child labour, Ludwig Wittgenstein's family portrait, Wanda Wulz's cat portrait, William Wegman's family combinations, and Nancy Burson's composite portrait studies in the 1980s, Thomas Ruff's Andere Portrait, Booby Neel Adams' 'Family Tree' project, Daniel Gordon's collages, Ken Kitano's' Portraits of Our Face', and Idris Khan's' Nicholas Nixon's Brown Sisters', and these photos are important for the study. The spirit circulating in the layers of Galton's portraits has changed both aesthetically and technically through analog / digital techniques, shifting to a more unifying and compiling dimension. This article aims to investigate the effect of Francis Galton's photography technique on portrait work in the historical process.

„Przedwojenne tradycje pułkowe Wadowic”, czyli nie samą służbą wojsko żyje

Author(s): Marcin Witkowski / Language(s): Polish Issue: 22/2019

Report from the project implemented by the Town Museum in Wadowice in 2019 as part of the „Patriotyzm Jutra” program, co-financed by the Polish History Museum in Warsaw.

The Past as a Springboard for Understanding the Present. Classical Motifs in Contemporary Art through Examples from the MENA Region and Asia

Author(s): Zoltán Somhegyi / Language(s): English Issue: 4/2020

The re-emergence of classical forms, motifs, and media in contemporary art is an exciting field of research. In this paper, through a series of case studies, I focus on carpets, calligraphy, and photography in the oeuvre of artists working in or originating from countries with a predominantly Muslim aesthetic heritage, to see how these novel pieces can contribute to our present understanding of aesthetics and thus a better understanding of our present.

Then, Now, and Later: The Transition of Documentary Photography

Author(s): Weronika Saran / Language(s): English Issue: 2 (246)/2021

Review of: Weronika Saran - Michelle Bogre: Documentary Photography Reconsidered: History, Theory and Practice, London and New York: Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc, 2019, 264 pages.

Metafory fotografii w kulturze wizualneje

Author(s): Małgorzata Gruchoła / Language(s): Polish Issue: 3/2021

The aim of the article was to analyze the discussion of the metaphors of photographs by Jerzy Olek and his interlocutors in the context of visual culture as perceived by Piotr Sztompka through the prism of the ‘metaphors’ of the publication Nie tylko o fotografii [Not only on photography] (2020). After a short presentation of the artist and his work, four categories of visual culture were proposed and discussed: iconosphere — photography is… ?; sociosphere — photography as… ?; regimes of imaging, visibility, views and regimes of looking and seeing in the context of photography metaphors. The universality of communication and visual culture, the multifaceted nature of photography, and the ongoing technological changes generate a new and still open catalog of photography metaphors.

From Brushes to Lenses: An Ekphrastic Stroll in A Line Made by Walking by Sara Baume

Author(s): Joicy Silva Ferreira,Miriam de Paiva Vieira / Language(s): English Issue: 2/2020

There is a sizeable body of scholarship concerning the ekphrastic relation of literature to painting – however, there has been ascending interest in other sources of inspiration, such as photography. The aim of this paper is to explore whether the categories used to analyse ekphraseis of paintings might apply to the ekphraseis inspired by photography in Sara Baume’s A Line Made by Walking (2017), considering that they provide insightful information regarding the creative process of the protagonist and her inner state. The notion of ekphrasis (Clüver, Vieira, Webb) and theories of photography (Barthes, Machado, Sontag) will be used as theoretical support.

Цитування творів та використання художніх прийомів мистецького напрямку поп-арт у дизайні одягу кінця ХХ – початку ХХІ століття

Author(s): Kateryna Kyselova / Language(s): Ukrainian Issue: 39/2021

The purpose of the article is to develop the issues of quoting the art direction of pop art and the use of artistic techniques of its representatives in the design of clothing of the late XX - early XXI centuries. Visual material covering the history of fashion of the end of the XX - beginning of the XXI century taken from printed publications and the Internet. Methodology. Methods of literary, socio-cultural, art history, aesthetic, and structural-compositional analyzes were used. The scientific novelty of the work lies in identifying the main stages and specifics of quoting pop art in clothing design of the late XX - early XXI century. Brands and designers who turned to the motives of this art direction from 1960 to 2010 were considered. Conclusions. It is determined that the iconography of pop art in clothing design includes the following: portraits of celebrities; reproductions of famous paintings, banners and posters; covers and pages of newspapers and magazines, comics; images of letters, words, slogans and logos; different types of packaging; home appliances; plumbing; electrical appliances; means of transport; food; tobacco products and alcoholic beverages. It was found that the techniques typical of pop art, such as a combination of illusory and real, hyperbolization of objects or their individual properties, duplication of images, mixing bright contrasting colors and multi-context images, introducing quotes, and using collages of photographs were fully adapted to clothing design in the twentieth century Since the eighties of the twentieth century. The parody approach to creativity characteristic of pop art is spreading. In the XXI century. designers focused on "combining the incompatible." Pop-art ideas for decorating things with a simple cut with various slogans and of everyday and commonly available motifs, as well as imitation materials, have become the most widespread for ready-made clothes.

Aneks 6 – Fotografie

Author(s): Wojciech Parfianowicz,Karolina Pawłowska,Katarzyna Matejek,Zdzisław Pacholski / Language(s): Polish Issue: 9/2021

A tények megjelenítése a fotográfia médiuma segítségével – megrendezett és manipulált képek

Author(s): Tibor Jakab / Language(s): Hungarian Issue: 2 (41)/2021

In the history of photography, we come across many staged and manipulated photographs. Most of these are press photos that would be intended to show as accurately as possible the recording of an event, for those who could not be there and only learn about everything that happened based on the image. The most important requirement of press ethics forums for press photos is to be as objective as possible in presenting the event. The photographer may not use any intentional image modification or manipulation to take the image. After it became clear that many of the images, we were dealing with are staged or manipulated photos, despite a lot of controversies, the reputation of the images was slightly tarnished, making the image incidental to questions about the documentary value. The photograph has become a symbol, the symbols have their own truth, believes Hans-Michael Koetzle. These cases prove that even in the case of many iconic works or photographs, the image becomes so symbolic that it adds to the background, background history and behind-the-scenes of the making of the images. They are unable to deduct anything in retrospect from the value of the work.I consider it important to examine the changes brought about by the digital revolution, both in the field of photography and in the way a press photographer works. The fundamental difference between analogue and digital images stems from the fact that although it is possible to manipulate analogue photos, we rarely encounter this, while in the case of digital images, image manipulation is the default.

Menininkas Saulius Kruopis

Author(s): Saulius Kruopis / Language(s): Lithuanian Issue: 108/2021

Saulius Kruopis (b. 1960) is a Lithuanian painter, photographer, and organizer of plein air paintings. After graduating from Šiauliai Children Art School, in 1975–1980, he studied art design and photography at the Kaunas S. Žukas Applied Art Technical School (now Kaunas College, Faculty of Arts and Education) under the guidance of passionate orientalist photographer Mindaugas Dapkus, photography master Povilas Karpavičius, and painter Donatas Valatka. Later, in 1987–1993 Kruopis continued his studies at the Department of Painting of the Vilnius Academy of Arts (VDA) under the supervision of Linas Katinas. In the period from 1988 till 1991, he regularly participated in the creative activities of the artists’ group “EA” (later known under the title – “Good Evils“). The spiritual evolution of Kruopis had been significantly influenced by two creative visits abroad. The first one had happened in 1992. It was a three months long internship in Loburg Castle, Münster, Germany. It encouraged Kruopis to revive Nida’s Artist Colony. The second three months creative scholarship visit he spent in India, in the cities of Maya, Jaganatha Puri, Vrindavan, and Madhura. These cities with their splendor of marvelous temples reinforced the orientalist orientation of the artist. This visit happened in 1996. Since 1995, Kruopis started annual international plein air paintings in Nida. In 1999, he established the expressionist artists’ association “Bridge”, which continues the traditions of the German expressionist group “Brücke”. Eventually, he became a member of other organizations: Lithuanian Artists’ Union (since 1995), the Lithuanian-Indian Community (since 1996), the Esslingen (Germany) Painters’ Guild (since 2006), the Europa-Focus Artists’ Association (since 2013), and the ARS Arrakoski Gallery of Baltic Artists in Finland (since 2014). Kruopis also writes diaries, philosophical essays on issues of artistic life and publishes them in the Lithuanian as well as the international press. Kruopis took part in over fifty plein airs in various countries and arranged more than ninety personal and 570 collective exhibitions. His paintings adorn many interiors in Lithuania and abroad. They can be seen in many private and public art collections such as the National Art Museum of Armenia, the Kaliningrad State Art Gallery, the Pope John Paul Museum in Krakow, and the Darsa History Museum in Prerow, Germany.