A text describing the process of a colloquium event held at the Warburg Haus in June 2016, the research questions and the outcomes.
一篇描述2016年6月在华宝豪斯举行的研讨会活动过程的文章，研究问题和结果。
{"title":"The Warburg Haus: Apparatus, inscription, data, speculation","authors":"Mick Finch, M. Westwood","doi":"10.1386/POP.8.1-2.3_2","DOIUrl":"https://doi.org/10.1386/POP.8.1-2.3_2","url":null,"abstract":"A text describing the process of a colloquium event held at the Warburg Haus in June 2016, the research questions and the outcomes.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"3-7"},"PeriodicalIF":0.0,"publicationDate":"2017-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/POP.8.1-2.3_2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45259409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article examines the technical apparatus of the Warburg Haus in Hamburg and its relationship to Aby Warburg’s art historical methodology. A link is made to an exhibition in 1941 by Saxl and Wittkower entitled English Art and the Mediterranean that was published in 1948 and again in 1969 as British Art and the Mediterranean. In turn, the manner in which this exhibition and publication was image led, the text serving to annotate the images, links to broadcast media, namely Clark’s Civilisation and Berger’s Ways of Seeing, as a strong example of a working practice.
{"title":"The Technical Apparatus of the Warburg Haus: possible returns from oblivion","authors":"Mick Finch","doi":"10.1386/pop.8.1-2.35_1","DOIUrl":"https://doi.org/10.1386/pop.8.1-2.35_1","url":null,"abstract":"The article examines the technical apparatus of the Warburg Haus in Hamburg and its relationship to Aby Warburg’s art historical methodology. A link is made to an exhibition in 1941 by Saxl and Wittkower entitled English Art and the Mediterranean that was published in 1948 and again in 1969 as British Art and the Mediterranean. In turn, the manner in which this exhibition and publication was image led, the text serving to annotate the images, links to broadcast media, namely Clark’s Civilisation and Berger’s Ways of Seeing, as a strong example of a working practice.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"35-51"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43586586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Borrowing some of Aby Warburg’s methods from his Mnemosyne Atlas, this paper experiments with an anti-linear, non-teleological method of writing fashion history. It investigates fashion movement, gesture and pose, and their afterlife in images and objects. It thus looks at the intersection of time and the gesture, particularly in relation to the idea of the ‘now’, a central organising principle of fashion. To this end, it juxtaposes images of the body in motion from sources as varied as scientific photography, etiquette manuals and fashion magazines. Spanning three centuries, though not chronologically, the images show a range of activities: not only fashion posing, but also tennis-playing, duelling, dancing, military marching, social gestures, and going to the races. The paper proposes that each image is charged with some quality or attribute that is also immanent in one or more of the others, even though they have no causal or temporal relationship.
{"title":"Fashion: from Attitudes to Poses","authors":"C. Evans","doi":"10.1386/pop.8.1-2.151_1","DOIUrl":"https://doi.org/10.1386/pop.8.1-2.151_1","url":null,"abstract":"Borrowing some of Aby Warburg’s methods from his Mnemosyne Atlas, this paper experiments with an anti-linear, non-teleological method of writing fashion history. It investigates fashion movement, gesture and pose, and their afterlife in images and objects. It thus looks at the intersection of time and the gesture, particularly in relation to the idea of the ‘now’, a central organising principle of fashion. To this end, it juxtaposes images of the body in motion from sources as varied as scientific photography, etiquette manuals and fashion magazines. Spanning three centuries, though not chronologically, the images show a range of activities: not only fashion posing, but also tennis-playing, duelling, dancing, military marching, social gestures, and going to the races. The paper proposes that each image is charged with some quality or attribute that is also immanent in one or more of the others, even though they have no causal or temporal relationship.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"151-170"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49025044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Hades as an accumulation of tertiary retentions","authors":"B. Stiegler","doi":"10.1386/POP.8.1-2.9_1","DOIUrl":"https://doi.org/10.1386/POP.8.1-2.9_1","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"9-16"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49301723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article examines the relationship between Aby Warburg and his library by analysing the media which is involved: first, the arrangement of the books according to the library’s principle of the ‘law of thse good neighbour’, which helps to order the books on the shelves. Second, the handling of the library is even more determined by Aby Warburg’s use of index cards and card indexes. Like his card index which is situated between him and the library, Aby Warburg himself is in between two library paradigms: on the one hand, as a person of the nineteenth century, Warburg belongs to the supporters of the systematic shelving instead of cataloguing the book collection. On the other hand his work is based on swift associations and direct responses to research questions, the associations not only thought up by words, but also visually, manually to be re-arranged on the shelves, which turns out to be a rather clumsy practice. The motor and initiator of these new orders is the card index with its mobile elements, allowing quick connections between the entities and resulting in enormous processes of re-shuffling of whole shelves and systematic arrangements in the book collection. It is especially the combination of these usually incompatible paradigms that makes the Kulturwissenschaftliche Bibliothek Warburg such a unique institution and rich example of knowledge practices in the twentieth century.
{"title":"Mobility on slips. Or: How to invest in paper. The Aby Warburg style","authors":"Markus Krajewski","doi":"10.1386/pop.8.1-2.97_1","DOIUrl":"https://doi.org/10.1386/pop.8.1-2.97_1","url":null,"abstract":"The article examines the relationship between Aby Warburg and his library by analysing the media which is involved: first, the arrangement of the books according to the library’s principle of the ‘law of thse good neighbour’, which helps to order the books on the shelves. Second, the handling of the library is even more determined by Aby Warburg’s use of index cards and card indexes. Like his card index which is situated between him and the library, Aby Warburg himself is in between two library paradigms: on the one hand, as a person of the nineteenth century, Warburg belongs to the supporters of the systematic shelving instead of cataloguing the book collection. On the other hand his work is based on swift associations and direct responses to research questions, the associations not only thought up by words, but also visually, manually to be re-arranged on the shelves, which turns out to be a rather clumsy practice. The motor and initiator of these new orders is the card index with its mobile elements, allowing quick connections between the entities and resulting in enormous processes of re-shuffling of whole shelves and systematic arrangements in the book collection. It is especially the combination of these usually incompatible paradigms that makes the Kulturwissenschaftliche Bibliothek Warburg such a unique institution and rich example of knowledge practices in the twentieth century.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"97-108"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/pop.8.1-2.97_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49365274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The tape readers: Financial trading as a visual practice","authors":"Richard J. Cochrane","doi":"10.1386/POP.8.1-2.109_1","DOIUrl":"https://doi.org/10.1386/POP.8.1-2.109_1","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"109-117"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/POP.8.1-2.109_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45688078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Metadata: New perspectives on Aby Warburg’s ‘critical iconology’","authors":"J. Müller","doi":"10.1386/POP.8.1-2.171_1","DOIUrl":"https://doi.org/10.1386/POP.8.1-2.171_1","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"171-182"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/POP.8.1-2.171_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41803211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Speculating on the biography of an apparatus","authors":"A. Hennig","doi":"10.1386/POP.8.1-2.76_1","DOIUrl":"https://doi.org/10.1386/POP.8.1-2.76_1","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"76-95"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42956711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Warburg’s cultural psychology as a tool for understanding Internet memes","authors":"Maria L. Felixmüller","doi":"10.1386/pop.8.1-2.211_1","DOIUrl":"https://doi.org/10.1386/pop.8.1-2.211_1","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"211-220"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/pop.8.1-2.211_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42081291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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