Pub Date : 2021-07-03DOI: 10.1080/01973762.2021.1963117
A. Moskowitz
This paper suggests that Bardini’s campaign to demonstrate the value of Early Modern Italian art and artifacts when that culture was disdained followed upon the heels of Alinari’s mission of the 1850s onward to document every monumental and scenic site in Italy, including people and customs. Both agendas were promoted through photography. By dispersing images of “il Bel Paese” and its inhabitants, Alinari produced a visual archive of ruined monuments and vanishing customs, stimulating a sense of Italian identity among the peninsula’s inhabitants whose characteristics were so richly documented. Bardini, in turn, photographed sculptures and objects aesthetically displayed and evoking an artisanal past, leading to an increased regard for, and heightened monetary value of, the items so evocatively displayed in his showrooms. Unlike Alinari and other firms, Bardini was not a professional but was the only dealer early on to develop an expertise in photography. These skills were crucial in promoting and marketing the Golden Age of Italian art. Peasants, posed and placed within picturesque settings, and ‘portraits’ of sculptures or household furnishings against neutral backgrounds, entered into the mental and visual stock of observers by way of photographs, resulting in turning an imagined Italian identity into a concrete reality.
{"title":"Stefano Bardini’s Photographic Archive, “il Bel Paese”, and the Golden Age of Italian Art","authors":"A. Moskowitz","doi":"10.1080/01973762.2021.1963117","DOIUrl":"https://doi.org/10.1080/01973762.2021.1963117","url":null,"abstract":"This paper suggests that Bardini’s campaign to demonstrate the value of Early Modern Italian art and artifacts when that culture was disdained followed upon the heels of Alinari’s mission of the 1850s onward to document every monumental and scenic site in Italy, including people and customs. Both agendas were promoted through photography. By dispersing images of “il Bel Paese” and its inhabitants, Alinari produced a visual archive of ruined monuments and vanishing customs, stimulating a sense of Italian identity among the peninsula’s inhabitants whose characteristics were so richly documented. Bardini, in turn, photographed sculptures and objects aesthetically displayed and evoking an artisanal past, leading to an increased regard for, and heightened monetary value of, the items so evocatively displayed in his showrooms. Unlike Alinari and other firms, Bardini was not a professional but was the only dealer early on to develop an expertise in photography. These skills were crucial in promoting and marketing the Golden Age of Italian art. Peasants, posed and placed within picturesque settings, and ‘portraits’ of sculptures or household furnishings against neutral backgrounds, entered into the mental and visual stock of observers by way of photographs, resulting in turning an imagined Italian identity into a concrete reality.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"37 1","pages":"155 - 173"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47793460","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}
Pub Date : 2021-07-03DOI: 10.1080/01973762.2023.2238486
Ilya Brookwell
This paper asks what we can learn from discomfort in virtual reality (VR) beyond perception-altering or consciousness-raising technical affordances. I accomplish this by directing focus upon the everyday VR user and using ethnographic participant observation. I first define a working concept called “discomforting VR” within the context of a corporate marketing scheme, a concept that focuses on unsettling feelings generated by VR experiences. Second, I report on research methods that aim to take a grounded approach toward how to better listen to and feel users in VR. I present two distinct “ethnographic logs,” which are a narration from fieldwork in operation, and I argue that VR can best be understood as a technology that hosts significant community. These findings take us beyond understanding VR as a space offering an embodied sense of immersion/interaction. The paper is a contribution to those interested in the study of Social VR. It will serve as a resource to any who wish to think productively about VR as a focal point for contemporary digital life.
{"title":"“Discomforting VR”: Listening, Feeling, Contacting Virtual Reality Community","authors":"Ilya Brookwell","doi":"10.1080/01973762.2023.2238486","DOIUrl":"https://doi.org/10.1080/01973762.2023.2238486","url":null,"abstract":"This paper asks what we can learn from discomfort in virtual reality (VR) beyond perception-altering or consciousness-raising technical affordances. I accomplish this by directing focus upon the everyday VR user and using ethnographic participant observation. I first define a working concept called “discomforting VR” within the context of a corporate marketing scheme, a concept that focuses on unsettling feelings generated by VR experiences. Second, I report on research methods that aim to take a grounded approach toward how to better listen to and feel users in VR. I present two distinct “ethnographic logs,” which are a narration from fieldwork in operation, and I argue that VR can best be understood as a technology that hosts significant community. These findings take us beyond understanding VR as a space offering an embodied sense of immersion/interaction. The paper is a contribution to those interested in the study of Social VR. It will serve as a resource to any who wish to think productively about VR as a focal point for contemporary digital life.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"37 1","pages":"223 - 244"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44988974","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}
Pub Date : 2021-04-03DOI: 10.1080/01973762.2022.2132902
S. Polsky
Early forms of photography play a unique role in establishing an Anthropocenean consciousness in the mid-nineteenth century that witnesses human relationships with nature as exclusively transactional, by centring its focus on the violent displacement of people from their contexts simultaneous to the violent displacement of objects from their contexts. Such practices of perception were co-constituted with other forms of excessive violence that eventually became unique to the geography of the American West. By photographing Native Americans as objects, white American male photographers were able to transform them into relics, and in so doing, cast the Indigenous cultures from which they were drawn as fundamentally dead, turning the enemy figuratively into the past, and practically into oblivion to the degree that it is possible for institutions to confine them to ‘natural’ history through the twinned force of taking both object and image from them. It was, therefore, not so much a case of designating colonised populations, as designing them aesthetically so that they fit in a material sense of belonging to an order greater than themselves. Violence in this sense becomes a relational project to how we understand mankind itself and its origins in a racial science that allowed for this living body of photography to enter in and make itself known as both a witness and a trace of the past generating whole environments through which such systems of knowledge could and did endure to our present moment.
{"title":"Optical Survey: Anthropocenean Consciousness of the Photographic Image","authors":"S. Polsky","doi":"10.1080/01973762.2022.2132902","DOIUrl":"https://doi.org/10.1080/01973762.2022.2132902","url":null,"abstract":"Early forms of photography play a unique role in establishing an Anthropocenean consciousness in the mid-nineteenth century that witnesses human relationships with nature as exclusively transactional, by centring its focus on the violent displacement of people from their contexts simultaneous to the violent displacement of objects from their contexts. Such practices of perception were co-constituted with other forms of excessive violence that eventually became unique to the geography of the American West. By photographing Native Americans as objects, white American male photographers were able to transform them into relics, and in so doing, cast the Indigenous cultures from which they were drawn as fundamentally dead, turning the enemy figuratively into the past, and practically into oblivion to the degree that it is possible for institutions to confine them to ‘natural’ history through the twinned force of taking both object and image from them. It was, therefore, not so much a case of designating colonised populations, as designing them aesthetically so that they fit in a material sense of belonging to an order greater than themselves. Violence in this sense becomes a relational project to how we understand mankind itself and its origins in a racial science that allowed for this living body of photography to enter in and make itself known as both a witness and a trace of the past generating whole environments through which such systems of knowledge could and did endure to our present moment.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"37 1","pages":"91 - 105"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48943272","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}
Pub Date : 2021-04-03DOI: 10.1080/01973762.2022.2159152
P. Ainsworth, Sam Plagerson, T. Milnes
The multi-media research collective, The Preserving Machine, was initiated through collaborative discussion in response to Philip K. Dick’s 1953 short story of the same name. This article considers Dick’s story in light of current forms of image-making apparatus, specifically in relation to photogrammetry. Dick’s protagonist, Doc. Labyrinth’s design and ambitions of The Preserving Machine to safeguard cultural heritage in the light of ecological catastrophe resonates with the application of 3D imaging technologies in cultural heritage industries. However, his positionality is problematic as it both highlights the nature of preservation as being potentially extractive and does not account for the agency of the machine in the process. The text foregrounds the ways in which current computational forms of photogrammetry are conceived in the humanities, with reference to the language of post-cinema, gaming and, most importantly, photography. The argument is structured to mirror the digital production pipeline of photogrammetric processes to highlight the problematic industry rhetoric claiming objectivity, accuracy and automation. This methodology thus deals with issues surrounding the choice and capture of data input, consideration of the black-boxed processing and mutative automation and expectations surrounding reproducibility. The authors propose that current forms of conceptualising photogrammetry are insufficient to account for these hybridised digital image forms solely through the language of index, likeness and simulacrum associated with photographic theoretical dialogue. Instead, these 3D images need to be considered relationally to wider assemblages of meanings that are less readily understood through singular, coherent theoretical readings.
{"title":"The Photogrammetric Image and Black-Boxed Mutative Automation Considered through Philip K. Dick’s The Preserving Machine","authors":"P. Ainsworth, Sam Plagerson, T. Milnes","doi":"10.1080/01973762.2022.2159152","DOIUrl":"https://doi.org/10.1080/01973762.2022.2159152","url":null,"abstract":"The multi-media research collective, The Preserving Machine, was initiated through collaborative discussion in response to Philip K. Dick’s 1953 short story of the same name. This article considers Dick’s story in light of current forms of image-making apparatus, specifically in relation to photogrammetry. Dick’s protagonist, Doc. Labyrinth’s design and ambitions of The Preserving Machine to safeguard cultural heritage in the light of ecological catastrophe resonates with the application of 3D imaging technologies in cultural heritage industries. However, his positionality is problematic as it both highlights the nature of preservation as being potentially extractive and does not account for the agency of the machine in the process. The text foregrounds the ways in which current computational forms of photogrammetry are conceived in the humanities, with reference to the language of post-cinema, gaming and, most importantly, photography. The argument is structured to mirror the digital production pipeline of photogrammetric processes to highlight the problematic industry rhetoric claiming objectivity, accuracy and automation. This methodology thus deals with issues surrounding the choice and capture of data input, consideration of the black-boxed processing and mutative automation and expectations surrounding reproducibility. The authors propose that current forms of conceptualising photogrammetry are insufficient to account for these hybridised digital image forms solely through the language of index, likeness and simulacrum associated with photographic theoretical dialogue. Instead, these 3D images need to be considered relationally to wider assemblages of meanings that are less readily understood through singular, coherent theoretical readings.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"37 1","pages":"121 - 138"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42361387","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}
Pub Date : 2021-04-03DOI: 10.1080/01973762.2022.2149299
Stefka Hristova
Machine learning algorithms and artificial intelligence have made photographic manipulation easy and seamless. In thinking about the ways in which artificial intelligence has altered the truth-value of photography, this article explores the importance of situating the current debates over fake news and photographic manipulation in a larger historical context. More specifically, it suggests that it is equally important to understand both the inner workings of artificial intelligence as well as the foundations of indexicality that warrant the truth-value of both analog film and video. In the era of analog flexible film then, the negative was often seen as a source of truth, whereas the positive was understood as being manipulatable and manipulated. In the age of digital photography, the idea of a digital negative has come to articulate yet another attempt to anchor the visual in a regime of truth. RAW formats are now seen as comparable to an analog negative. These RAW formats are developed in an Adobe software application called Lightroom rather than in a physical darkroom which facilitated the making of an analog positive image out of an analog negative. The article concludes with an appeal for the importance of teaching both current and obsolete methods of media making in order to foster critical visual literacy and argues that the darkroom has become yet again a crucial place for rediscovering the power of photography to expose both its authenticity and its malleability.
{"title":"Traces: Photographic Negatives and the Quest for Truth","authors":"Stefka Hristova","doi":"10.1080/01973762.2022.2149299","DOIUrl":"https://doi.org/10.1080/01973762.2022.2149299","url":null,"abstract":"Machine learning algorithms and artificial intelligence have made photographic manipulation easy and seamless. In thinking about the ways in which artificial intelligence has altered the truth-value of photography, this article explores the importance of situating the current debates over fake news and photographic manipulation in a larger historical context. More specifically, it suggests that it is equally important to understand both the inner workings of artificial intelligence as well as the foundations of indexicality that warrant the truth-value of both analog film and video. In the era of analog flexible film then, the negative was often seen as a source of truth, whereas the positive was understood as being manipulatable and manipulated. In the age of digital photography, the idea of a digital negative has come to articulate yet another attempt to anchor the visual in a regime of truth. RAW formats are now seen as comparable to an analog negative. These RAW formats are developed in an Adobe software application called Lightroom rather than in a physical darkroom which facilitated the making of an analog positive image out of an analog negative. The article concludes with an appeal for the importance of teaching both current and obsolete methods of media making in order to foster critical visual literacy and argues that the darkroom has become yet again a crucial place for rediscovering the power of photography to expose both its authenticity and its malleability.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"37 1","pages":"106 - 120"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44277384","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}
Pub Date : 2021-04-03DOI: 10.1080/01973762.2023.2186768
A. Ferraro, Marco Tamborini
Can abstraction be considered as an interdisciplinary historical condition? In what ways does it affect the definition of the abstract image? This paper answers these questions by focusing on a specific case study – Beaumont Newhall’s article “The New Abstract Vision” (1947) – that presents a relevant, and yet underrated, interplay between the artistic and scientific domains in representing abstraction. By proposing abstraction as a cultural feature of modernity and as a form of materialized epistemology, we draw up four fundamental concepts that define the abstract image nowadays: the historical relation of the abstraction with the unseen, the role of imagination in artistic and in scientific discoveries in depicting the unseen, and the popularization of abstract images in post-war modernity. The final sections of the paper are dedicated to a wide reflection on contemporary philosophers and scholars in visual studies who, like Newhall did almost forty years before, insist on the necessity of a new iconology for abstract pictures and images.
{"title":"Abstraction in Contemporary Visual Culture as an Interplay between Imagination, Image and Scientific Knowledge","authors":"A. Ferraro, Marco Tamborini","doi":"10.1080/01973762.2023.2186768","DOIUrl":"https://doi.org/10.1080/01973762.2023.2186768","url":null,"abstract":"Can abstraction be considered as an interdisciplinary historical condition? In what ways does it affect the definition of the abstract image? This paper answers these questions by focusing on a specific case study – Beaumont Newhall’s article “The New Abstract Vision” (1947) – that presents a relevant, and yet underrated, interplay between the artistic and scientific domains in representing abstraction. By proposing abstraction as a cultural feature of modernity and as a form of materialized epistemology, we draw up four fundamental concepts that define the abstract image nowadays: the historical relation of the abstraction with the unseen, the role of imagination in artistic and in scientific discoveries in depicting the unseen, and the popularization of abstract images in post-war modernity. The final sections of the paper are dedicated to a wide reflection on contemporary philosophers and scholars in visual studies who, like Newhall did almost forty years before, insist on the necessity of a new iconology for abstract pictures and images.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"37 1","pages":"139 - 154"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42612785","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}
Pub Date : 2021-01-02DOI: 10.1080/01973762.2022.2136343
Shahar Marnin-Distelfeld, Tal Meler
This article examines projects of female Arab-Palestinian college art students in the Israeli periphery. The projects focus on the students’ living environment, domestic space, and the transition from their childhood home to the new post-marriage house. They experience this transition, which usually also means leaving the familiar environment of their village of origin for another place, as a significant step that involves mixed feelings of self-fulfillment through marriage and the pain of separating from their childhood homes. A qualitative analysis of the projects relying on a methodology of visual interpretation and interviews with the students revealed their ambivalent attitude towards this step. Findings showed that the projects reflect a gendered geography related to the perception of domestic space. The students express an intermediate position of “individualized traditionalism,” compatible with their choice to describe the domestic space as embodying a tension between conservative perceptions of marriage and personal reflections on marriage. It was also found that the projects reflect a “low gaze,” a downward view on the students’ part when they observe the world around them through familiar and concrete objects and limited spaces while practicing art. Their observations emanate from both a state of belonging and an external and critical perspective. Their choice of a realistic-naive painting style and depictions devoid of human figures emphasizes the cultural and gender caution they display when expressing their position, echoing the perceptions of their society.
{"title":"Leaving Home: Decoding Art Projects of Female Arab-Palestinian Students","authors":"Shahar Marnin-Distelfeld, Tal Meler","doi":"10.1080/01973762.2022.2136343","DOIUrl":"https://doi.org/10.1080/01973762.2022.2136343","url":null,"abstract":"This article examines projects of female Arab-Palestinian college art students in the Israeli periphery. The projects focus on the students’ living environment, domestic space, and the transition from their childhood home to the new post-marriage house. They experience this transition, which usually also means leaving the familiar environment of their village of origin for another place, as a significant step that involves mixed feelings of self-fulfillment through marriage and the pain of separating from their childhood homes. A qualitative analysis of the projects relying on a methodology of visual interpretation and interviews with the students revealed their ambivalent attitude towards this step. Findings showed that the projects reflect a gendered geography related to the perception of domestic space. The students express an intermediate position of “individualized traditionalism,” compatible with their choice to describe the domestic space as embodying a tension between conservative perceptions of marriage and personal reflections on marriage. It was also found that the projects reflect a “low gaze,” a downward view on the students’ part when they observe the world around them through familiar and concrete objects and limited spaces while practicing art. Their observations emanate from both a state of belonging and an external and critical perspective. Their choice of a realistic-naive painting style and depictions devoid of human figures emphasizes the cultural and gender caution they display when expressing their position, echoing the perceptions of their society.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"37 1","pages":"63 - 89"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43929398","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}
Pub Date : 2021-01-02DOI: 10.1080/01973762.2022.2123629
I. Dawson, Ing-Marie Back Danielsson, A. Jones, L. Minkin, P. Reilly
This paper presents a diffractive dialogue between ethnographic accounts of imagery, digital or computational imaging, and art and archaeology practices. It develops the notion of images in the making in the context of the digital domain, to discuss what an image is and can be today. It focuses on two digital imaging techniques developed within archaeology and cultural heritage – reflectance transformation imaging and structure from motion photogrammetry – exploring how these techniques play out in heritage and art world contexts and practices. The paper highlights digital images as unstable compositions, and explores how digital images in the making enable us to reconsider the shifting temporal character of the image, and discuss the way in which the digital image forces us to disrupt the representational assumptions bound up in the relationship between the virtual and the actual. The authors argue that the diffractive moments in these encounters between archaeology and art practice disclose the potential of digital imaging to recursively question the complex ontological composition of images and the ability of images to act and affect.
{"title":"Diffracting Digital Images in the Making","authors":"I. Dawson, Ing-Marie Back Danielsson, A. Jones, L. Minkin, P. Reilly","doi":"10.1080/01973762.2022.2123629","DOIUrl":"https://doi.org/10.1080/01973762.2022.2123629","url":null,"abstract":"This paper presents a diffractive dialogue between ethnographic accounts of imagery, digital or computational imaging, and art and archaeology practices. It develops the notion of images in the making in the context of the digital domain, to discuss what an image is and can be today. It focuses on two digital imaging techniques developed within archaeology and cultural heritage – reflectance transformation imaging and structure from motion photogrammetry – exploring how these techniques play out in heritage and art world contexts and practices. The paper highlights digital images as unstable compositions, and explores how digital images in the making enable us to reconsider the shifting temporal character of the image, and discuss the way in which the digital image forces us to disrupt the representational assumptions bound up in the relationship between the virtual and the actual. The authors argue that the diffractive moments in these encounters between archaeology and art practice disclose the potential of digital imaging to recursively question the complex ontological composition of images and the ability of images to act and affect.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"37 1","pages":"31 - 43"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48085680","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}
Pub Date : 2021-01-02DOI: 10.1080/01973762.2022.2134032
Sabrina Melcher, Chiara Zuanni
Developments in the digital field have introduced new opportunities not only for museums to engage with their visitors, but also for researchers to learn about visitors’ experiences through their online behaviour. This article discusses how the mediation and perception of exhibited photographs in museums can be researched through an analysis of Instagram posts, using text-mining methods. A case study examining the World Press Photo 20 exhibition at the WestLicht museum in Vienna was used to explore three different framings of the World Press photos: first, how the photographs were initially used within newspaper articles as a news source; second, how the museum communicated the exhibited photos on social media; and third, how visitors reflected on the exhibition and the museum visit on Instagram.
{"title":"Talking about the World Press Photo 20 Exhibition at the WestLicht: Analysing Communication Frames on Social Media","authors":"Sabrina Melcher, Chiara Zuanni","doi":"10.1080/01973762.2022.2134032","DOIUrl":"https://doi.org/10.1080/01973762.2022.2134032","url":null,"abstract":"Developments in the digital field have introduced new opportunities not only for museums to engage with their visitors, but also for researchers to learn about visitors’ experiences through their online behaviour. This article discusses how the mediation and perception of exhibited photographs in museums can be researched through an analysis of Instagram posts, using text-mining methods. A case study examining the World Press Photo 20 exhibition at the WestLicht museum in Vienna was used to explore three different framings of the World Press photos: first, how the photographs were initially used within newspaper articles as a news source; second, how the museum communicated the exhibited photos on social media; and third, how visitors reflected on the exhibition and the museum visit on Instagram.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"37 1","pages":"44 - 62"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44077808","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}
Pub Date : 2020-10-01DOI: 10.1080/01973762.2022.2041218
Marianna Charitonidou
The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art.
{"title":"Interactive art as reflective experience: Imagineers and ultra-technologists as interaction designers","authors":"Marianna Charitonidou","doi":"10.1080/01973762.2022.2041218","DOIUrl":"https://doi.org/10.1080/01973762.2022.2041218","url":null,"abstract":"The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"36 1","pages":"382 - 396"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42705983","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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