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Libor Jůn - Průzkum fotografi ckých archiválií – workshop FAMU a MÚA AV ČR, 24. 11. 2015 Martin Klečacký - Konference Historik Josef Kalousek: historiografi e, politika, kultura a společnost druhé poloviny 19. století Martin Franc - Věda, technologie a průmyslový vývoj ve střední Evropě v éře studené války Libor Jůn - Zrnka písku. 100 let fotografování Blízkého východu v českých zemích Marie Bahenská - Přehled činnosti Archivu Akademie věd v roce 2015
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This paper presents, describes and analyses two photobooks: Palast der Republik and Domesticidades. We claim that, because of their highly iconic features, they can be regarded as epistemic artefacts (models) since they reveal information about their objects, as well as about their own morphological properties. The analysis focuses on (i) the kind of relations the photobooks establish with their respective objects (we claim that it is a mainly-iconic relation) and (ii) on the semiotic couplings that can be found in them – a type of interaction between semiotic resources (such as photographs, maps, written texts, illustrations, among others). We contextualize this analysis in relation to both a semiotic and an intermedial background. Further, we claim that the epistemic role of such artworks is directly related to their material and structural features that constrain the possibilities of manipulation and reasoning upon them. We conclude by presenting some of the information that was revealed by the manipulation of these photobooks, claiming that the semioticartefactual approach to models can be an epistemically interesting conceptual frame to thinking about artistic artefacts.
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В обширной уже литературе по семиотике кино языку мультипликационных фильмов почти не уделяется внимания. Это отчасти объясняется периферийным положением самого мультипликационного фильма в общей системе киноискусства. Такое положение, конечно, не несет в себе ничего закономерного и обязательного и может легко измениться на другом этапе культуры. Развитие телевидения, повышая значение неполнометражных лент, создает, в частности, технические условия для повышения общественного статуса мультипликационных фильмов.
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Helmut Gernsheim kritiseerib juba 1955. aastal avaldatud murrangulise raamatu „Fotograafia ajalugu” (History of Photography) alguses „esimest fotograafi” Nicéphore Niépce’i ja hoiatab lugejat „segaste ja kohati isegi eksitavate” terminite eest, mida vennad Niépce’id oma 1820. aastate keskpaiga eksperimentidest rääkides kasutasid. Gernsheim leiab, et „Niépce’id lähtusid vanema kunsti, eriti gravüüri oskussõnastikust”.1 Nüüd, peaaegu pool sajandit hiljem tundub, et segaduste põhjuseks on olnud vähesed teadmised 19. sajandi alguse gravüüri kui kunstiliigi enda ja selle seoste kohta äsja tekkinud fotograafiaga, mis võivad tolle perioodi visuaalkultuuri uurijaid mitmeti eksiteele viia. Pole kahtlustki, et vendade Niépce’ide vaatepunkti kammitsesid tollased kunstipraktikat ja -toodangut puudutavad arusaamad ning nende graveerimispraktikast lähtunud sõnavara on selle ilmseks tunnistuseks. Käesolevas artiklis püüan üldjoontes kokku võtta nähtuse, mida võiks nimetada ajavahemikule 1815-1860 iseloomulikuks visuaalmajanduseks, ning näidata, kui kohmakana paistavad mõned fotograafia ajaloo põhiseisukohad selles kontekstis. Keskendun küll ainult Prantsusmaale, kuid loodetavasti pakub see võrdlusmaterjali ka Inglismaal toimunu suhtes, mis, tõsi küll, erines mitmes olulises aspektis.
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The Russian avant-garde is one of the most effective movements of Art History as theory and practice. Consequently, the concept of Ostranenie, which was found and developed by Viktor Skhlovski and Russian Formalism have been remained original in postmodernism as well as in modernism. Moreover, New Media reflects the characteristics of Russian avant-garde due to new digital hardware and software technology and the new aesthetic potential of this technology. This update of ‘avantgarde new’ has been carried out by Lev Manovich. After the collapse of the Soviet Union, the Lomo camera, a product of the Russian optical industry, became a symbol of attraction and nostalgia. As a result of Austro-Russian cooperation, Lomography today has become an international analogue photography brand and a photographic genre. Post-Soviet social chaos is an inspiration source for art photographers, documentary photographers and photojournalists. In this context, Case History of Boris Mikhailov(1999), Winterreise of Luc Delahaye (2000), City of Shadows of Alexey Titarenko (2001), The Last Riot of AES+F (2005-2007)and Space of the City of Georgy Pervov (2004) are remarkable samples of a New Romanticism. These photographers have contributed to the development of postmodern photographic language, as well as fulfilling the historical witness mission with a humanist approach.
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The paper discusses the archival photographs from the death camps of Belzec and Treblinka, taken during the postwar investigations. Using the new theories of visual turn and forensic turn, the author examines its usefulness in the historical research and goes out beyond the traditionally considered categories of the historical sources and testimony. The essential notions of forensic aesthetics, forensic sensitivity and counter aesthetics are considered here not only as the theoretical approaches, but also as the practices of the critical writing of the testimonies from the mass killing cites. It sets the new research perspectives in the fundamental discourses of historiography and Holocaust studies.
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So much we love the Blue color of houses that we decided to search for it throughout the country. To know all its shades. We are creating Te Blue Route and we draw both physically and digitally the Blue Houses’ Map of Romania of vernacular architecture. For them to dwell in our memory. To enjoy them, to cherish them and to get inspired by their sweet lines and the colors of both their and our times. We form a team of volunteering architects, restaurators, photographers, developers and storytellers and we are happy to have the support of the Ambulance of Monuments volunteers and the My Transylvania association.
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The purpose of the article is to show what knowledge on the ludic culture of Cieszyn Silesian residents at the turn of the nineteenth and twentieth centuries can be obtained through the resources of the Photography Section of the Museum of Cieszyn Silesia. The project required both preliminary research and an analysis of archival photographs. The research questions regarded the usefulness of old photographs depicting past games in the preparation of both online and offline museum classes on the local cultural heritage. In the article, the author discusses photographs documenting past toys and pastimes, divided into 10 thematic groups, and presents outlines of lesson scripts as well as other museum activities prepared on their basis. The research conducted during the lockdown caused by the COVID-19 pandemic required netnographic methods and the analysis of historical sources, while the application of methods of design thinking made it possible to prepare scripts of museum classes.
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This article examines the processes of mass digitisation of historical photography based on the digitisation of Jaan Riet’s collection of glass negatives. By looking at the transformation of images from analogue to digital, the article approaches photography as a ‘liquid’ cultural practice. The main focus of the article is the digitised glass negative as a palimpsest that captures traces and layers of different times, from the photographer’s gaze to the ephemeral pixels of a digital image. The article analyses digital images of retouched portraits from the beginning of the 20th century, repro-photography and stereo-photographs from Jaan Riet’s collection, and examines ways of viewing and representing that are inherent to photography as a social and cultural practice, and that transcend the hierarchical understanding of the analogue-digital binary. The Estonian photographer Jaan Riet (1873–1952) is above all known for his views of Viljandi: during the 50 years of his practice, he photographed local residents, their children and grandchildren, the changing landscape of Viljandi, and stereo views from Estonia and abroad.
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Review of: Koostaja Virve Sarapik, Toimetajad Mari Laaniste ja Neeme Lopp - Pilt tänapäeva kultuuris. Võitlusvälja laienemine. Etüüde nüüdiskultuurist 9., Tallinn: Nüüdiskultuuri uurimise töörühm, 2021, 176 lk.
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Inspired by the attempt to disrupt data gathering and asking ourselves about “spam” digital practices as forms of resistance, the project SPAM (An)Archive brought together the work of the (post)composer and media artist Óscar Escudero and the collective SoundTrieb, whose collaboration took place digitally via Zoom and physically in Switzerland in 2021. Escudero’s collaborative work in the last few years with the (post)composer and musicologist Belenish Moreno-Gil has been fruitful at a sociological and cultural level of analysis, beyond music aesthetics, as they both deal with social networks and digital behavior in their music theater compositions. Using Facebook as a digital stage, SoundTrieb’s version of [Custom #2] (a digital melodrama) allowed performers to develop a double personalization of the piece, intervening their own social media profiles. This paper does not intend to discuss a theoretical approach to these artworks, but their subversive capability. Through a cultural analysis approach, this article recognizes the critical potential against the architecture of digital surveillance that they can achieve, while drawing attention to our complacency to ubiquitous technologies. For this purpose, I introduce notions such as DIY music and coded representation, but I also borrow concepts such as Brigitta Muntendorf’s social composing and Escudero’s spam art. This paper explores, through work examples by all the above-mentioned artists, recent models of compositional work that blur the line between the digital and the physical, the virtual and the real, the private and the public.
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The purpose of the paper is to definite the features of the military view of the current stage of the Russian-Ukrainian war, as one of the part of its contemporary «multiplex» vision. The research methodology combines quantitative (content analysis, statistical calculations) and qualitative (structural semiotic-semantic analysis) methods with culturological interpretation of the outcomes. Moreover, some personal observations of the authors on social platforms in Ukraine have been used. The scientific novelty consists in the theoretical reconstruction of the visual image of «war through the eyes of the military», which is markedly different from every day and journalistic assumptions about it. Conclusions. As a result of a quantitative content-analysis of the photo-content of the official Facebook-page of the Kholodny Yar 93rd separate mechanised brigade, the most popular among the 23 infantry brigades of the Armed Forces of Ukraine, the authors came to the conclusion that it forms a special point of view – «war through the eyes of the military». Paradoxically, the war does not look like a chain of combat operations with the massive use of tanks, artillery, and other weapons, the result of which is the destruction of the maximum number of enemies. It appears as a special type of human existence. This was the result of the intersection of the «peaceful» beliefs of the Operator, the professional media people who generated this content, and the real combat environment in which the shooting took place. The specified vision performs a motivational function for the active pro-Ukrainian community, which is the main audience of this page. Recognition of the peculiarities of other visions of the Russian-Ukrainian war current phase, for example, a purely journalistic one, can become a relevant direction of further research, an important component of the scientific formalisation of the modern view of it.
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The following discussion concentrates on the shaping of film space, frame composition and what happens beyond the frame. The objective is to explore the aesthetics of the films, resulting primarily from the juxtaposition of photographic (in vivo) shots with moving film images. Thenon-standard composition of the frames in both films, based on shifting the centre to the edge of the frame (deframing) and the multiplication of additional frames (over-framing): windows, doors, door frames, etc. Result in a significant play on space. Such creative use of the formal strategies and still (photographic) images forces the viewer to reflecton the destiny of the protagonists. The stillness and silence so often used in both films,are objective aspects of photography, but above all of death, which from the beginning accompanies Pawlikowski’s protagonists: Wanda, Ida, Zula and Wiktor.
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Representing the human face is not an easy task. Susan Sontag points out that one wants an idealized image of oneself: a photo that shows one’s best side. It feels unfair not to be more beautiful in the picture than in reality. This, in turn, shows that most of the photographs are not honest. In addition to the psychological aspect, there is also a sociological one: the construction of the facade, as described by Goffman in his work “Presenting the Self in Everyday Life”. He thinks building a facade is an identity-building strategy for the public, like Facebook. New media has become part of everyday life. This is especially true for Facebook. Over the past decades, there have been major changes in technology that have affected the culture of image and vision. All of this allowed us to take self-photos at any time and publish them in digital media as soon as possible. A selfie (self-photograph) is a photograph that a photographer takes of himself. A selfie is usually a photograph taken with a cell phone and has distinctive features such as a mirror image. A narcissistic person can make many selfies and publish them on social media to seek constant approval. The narcissist can push selfish behaviour to the extremes, to pathological boundaries. The most striking is that even serious people with significant social status make selfies. It is worth circumventing the assumption that there are scientists who consider the selfie to be a mental illness. The evolving technology encourages users of digital media interfaces to try to create an even more complex user profile of themselves. By enabling self-representation, new media is generating more and more knowledge.
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The article is an attempt to collect and comment on discourse on the relationship between photography and metaphor, which is dispersed in different theoretical works on photography. The author finds these connections crucial in the educational perspective, because they help to inscribe pedagogical activities on photography in a broader humanistic education that aims at cultivating the ability to think. The main theoretical contexts are writings by Bernd Stiegler and Hannah Arendt. The author gives an exemplary analytical study of photographs by Krzysztof Szlapa and Kamil Myszkowski as well as a suggestion of a practical photographic task whose objective is to inspire metaphorical thinking.
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The philosophy of Lenka L. Lukačovičová’s work is based on her interest in our cultural and personal identity, collective memory, but also problems with functioning, and problems associated with current situations in the area where she works. The presented portfolio shows her broad interest scale, which is, however, anchored in the three most dominant themes. When processing them, she works with relationships with several media: happening, performance, installation and photography. She continuously focuses on issues of culture, time and space, on woman, mother and her internal experience; transformation and disappearance associated with the change of the urban environment, its gentrification in connection with the presentation “place-specific” in public space. Her key projects began to emerge in 2012, 2013 (Quo Vadis Galleria; Permanent Exposition) with focus mainly on how the cultural institution works. She continuously develops her interest in cultural and collective historical memory in a series of exhibitions called the Grey Book. From the collected photos of portraits of persecuted women (1950s to 1970s of the 20th century), she created hand-enlarged glass plates from digital archives; then she laid them out on the floor Status quo ante in the space of the Trnava Synagogue and left them to disappear. Post-media and political works were created, but they slowly became also a kind of silent meditation on the everyday life of post-communist Slovakia. Everyday life has also become a theme in her other projects: (Non)decisive Moments, 2020, and Lonely Planet Trnávka (from 2020). Here, her photographs remarkably deal with urban spaces, the surroundings, space where we live. She gradually exhibits them directly at the place of creation, in the Vitrine Gallery ZORA, a bulletin board that functioned as an information board at the dilapidated, non-functioning Zora Cinema in the local Trnávka district of Bratislava. She creates an imagined bedeker, an obscure Instagram account playing with the world brand – the online guide lonely_planet_trnavka. (Note: In addition, from 2021, she realized a series of other billboard and vitrine gallery exhibitions in the cities in Slovakia which seem to be at a freezing point). The last presented level of her work derives relatively intensively from the work of other Slovak authors from the 1970s to 1990s of the 20th century. She creates a free interpretation of the works with roots in performance, which are usually recorded by photography. She calls cycles with the prefix RE:, as they are fundamentally based on repetition of re-creation, citation, or appropriation. Lukačovičová processes topics whose starting points, as well as solutions, are extremely fluid and changeable. She layers them and asks herself questions.
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In an ambitious and bold study, Andrei Lazar re-evaluates the relation among literature, photography and cinema in the particular case of autobiography and discusses about theoretical and generic delimitations attached to it.
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In July 2022, Vergani’s nephews donated a collection of important papers by Orio Vergani and his sons Guido and Leonardo to APICE (Archivi della Parola, dell’Immagine e della Comunicazione Editoriale), a vital institution belonging to The University of Milan. This donation represents an excellent opportunity to study Vergani’s interest in different fields: reportage, photojournalism, literature besides art and literary criticism, painting, cinema, the radio, advertising, wine and gastronomy. Everyone can find a compelling and complete portrait of Vergani studying his unpublished writings.
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The study investigates the cultural and historical significance of orphan photographs, a category of unnamed, unclaimed, or abandoned photos that offer intriguing insights into the lives of everyday people and challenge conventional notions of family representation, thereby contributing to the growing field of vernacular photography studies. Orphan photographs have often been overlooked in the context of visual history studies. However, this study also proposes to fill a gap in the existing literature. The first part examines the structure of family photo albums, emphasizing that the photographs on an album may not always represent authentic family relationships and events. Furthermore, the significance of orphaned photos is highlighted, demonstrating how they provide insights into regular people's daily lives and societal customs. Sharing and organizing vernacular photography has become possible with the rise of digital technologies and online platforms, while repair and preserving technologies have made it possible to keep and fix ancient and damaged photos. Orphan photos are valuable as artistic and academic works because they can be reinterpreted and recontextualized in novel and thought-provoking ways. In conclusion, abandoned photos provide exceptional views of the past and present, providing valuable insight into everyday people's lives and social traditions.
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The development of poster art in our country has been in parallel with the development of graphic arts. It started with the establishment of the printing house by Sait Çelebi and İbrahim Müteferrika in the last periods of the Ottoman Empire. The most important factor that distinguishes İhap Hulusi Görey, an important contemporary of Turkish poster art, from his contemporaries is the artistic language and expression style he used in his posters. In his art, there are effects of staining, illustration and linear language. In his posters, he used a special watercolor technique consisting mainly of blotchy forms and harsh shadows. In Görey's art, figures and forms are illustrated in a minimal tone and color scale, and the message to be conveyed with a blotchy effect turns into a powerful communication tool. In this respect, it transforms watercolor, which is a traditional painting technique, into a graphic material that conveys direct messages. A literature review was made in the research, and printed publications related to the subject were used. In terms of adding depth to the research and illuminating our subject, the qualitative research method, which has come from the past to the present is included. In addition, a case study was conducted to determine the relationship between the subject and the related events.
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