Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2228082
Siobhan Angus
The hydraulic mining pioneered by The North Bloomfield Mining & Gravel Co at Malakoff Diggins, California was environmentally devastating. So much so that in 1878, farmers downstream mobilized. Organized under the The Anti-Debris Association, they sued The North Bloomfield Mining & Gravel Co. for damaging their farms and livelihood. To provide evidence of the debris and flooding, they hired John A. Todd to photograph the environmental impacts of hydraulic blasting. Todd’s photographs were submitted as evidence in the court case. The decision in Edward Woodruff vs. North Bloomfield [1884] determined that the mine should be shut down, resulting in the first environmental legal decision issued in the United States. In Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution, Conohar Scott argues that the deployment of Todd’s photographs in EdwardWoodruff vs. North Bloomfield reflects the emergence of environmentally activist photography. Scott does not suggest the photographs were pivotal to the decision—they augmented 200 witness testimonials and 200,000 documents. The value of the images as evidence, though, was rooted in the perceived indexical nature of photography. Formally, the images draw on pictorial framing devices, but critically, for Scott, the images were annotated with “ascriptions of blame” (41). Textual descriptions aligned with witness testimony and moved the photographs beyond mere illustration. Scott’s analysis of Todd’s little-known photographs nuances our understanding of photography’s role in the context of mining at Malakoff Diggins. Carleton Watkins documented the mining operation a decade before but rendered mining aesthetic through skillful framing, suitable for pictures commissioned by North Bloomfield to encourage capital investment. Photography thus “cut both ways”; still, Scott argues that Todd’s case study reveals that “an alternate history of the medium exists in
{"title":"Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution","authors":"Siobhan Angus","doi":"10.1080/17514517.2023.2228082","DOIUrl":"https://doi.org/10.1080/17514517.2023.2228082","url":null,"abstract":"The hydraulic mining pioneered by The North Bloomfield Mining & Gravel Co at Malakoff Diggins, California was environmentally devastating. So much so that in 1878, farmers downstream mobilized. Organized under the The Anti-Debris Association, they sued The North Bloomfield Mining & Gravel Co. for damaging their farms and livelihood. To provide evidence of the debris and flooding, they hired John A. Todd to photograph the environmental impacts of hydraulic blasting. Todd’s photographs were submitted as evidence in the court case. The decision in Edward Woodruff vs. North Bloomfield [1884] determined that the mine should be shut down, resulting in the first environmental legal decision issued in the United States. In Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution, Conohar Scott argues that the deployment of Todd’s photographs in EdwardWoodruff vs. North Bloomfield reflects the emergence of environmentally activist photography. Scott does not suggest the photographs were pivotal to the decision—they augmented 200 witness testimonials and 200,000 documents. The value of the images as evidence, though, was rooted in the perceived indexical nature of photography. Formally, the images draw on pictorial framing devices, but critically, for Scott, the images were annotated with “ascriptions of blame” (41). Textual descriptions aligned with witness testimony and moved the photographs beyond mere illustration. Scott’s analysis of Todd’s little-known photographs nuances our understanding of photography’s role in the context of mining at Malakoff Diggins. Carleton Watkins documented the mining operation a decade before but rendered mining aesthetic through skillful framing, suitable for pictures commissioned by North Bloomfield to encourage capital investment. Photography thus “cut both ways”; still, Scott argues that Todd’s case study reveals that “an alternate history of the medium exists in","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43122302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2228586
B. Rangiwai, D. Enari
Abstract This paper explores the differences between Māori and Samoan approaches to post-mortem photography. This paper will show that Māori consider the notion of post-mortem photography as offensive, while for some Samoans, post-mortem photography is acceptable. This article emerges due to the scarcity of research on post-mortem photography in Indigenous communities. We analyze the underlying beliefs of these communities in relation to post-mortem photography. As two researchers from these communities, we call upon our ancestral and academic knowledge to tell this story.
{"title":"Indigenous Cultures and Post-Mortem Photography","authors":"B. Rangiwai, D. Enari","doi":"10.1080/17514517.2023.2228586","DOIUrl":"https://doi.org/10.1080/17514517.2023.2228586","url":null,"abstract":"Abstract This paper explores the differences between Māori and Samoan approaches to post-mortem photography. This paper will show that Māori consider the notion of post-mortem photography as offensive, while for some Samoans, post-mortem photography is acceptable. This article emerges due to the scarcity of research on post-mortem photography in Indigenous communities. We analyze the underlying beliefs of these communities in relation to post-mortem photography. As two researchers from these communities, we call upon our ancestral and academic knowledge to tell this story.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44991544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2233181
Xuan Zhang, Shaohan Wang
Abstract To support the Silk Roads Transboundary Serial Nomination Project, the International Conservation Center-Xi’an developed the Silk Roads Archive and Information Management System (AIMS), with a primary function of exploring SR’s transcultural narrative. Focusing on the historical and contemporary photographs documented in AIMS, this essay introduces the different types of photographs from different times to demonstrate Silk Road’s narrative.
{"title":"The Narrative across Photographs: The Silk Roads Photography Gallery","authors":"Xuan Zhang, Shaohan Wang","doi":"10.1080/17514517.2023.2233181","DOIUrl":"https://doi.org/10.1080/17514517.2023.2233181","url":null,"abstract":"Abstract To support the Silk Roads Transboundary Serial Nomination Project, the International Conservation Center-Xi’an developed the Silk Roads Archive and Information Management System (AIMS), with a primary function of exploring SR’s transcultural narrative. Focusing on the historical and contemporary photographs documented in AIMS, this essay introduces the different types of photographs from different times to demonstrate Silk Road’s narrative.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44172725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2181803
Lauren Walden
Abstract Rather than merely draw inspiration from Surrealism, I argue that Mexican photographer Lola Álvarez Bravo actually subverts some of its founding tenets and iconography. Though archived letters documenting the turbulent relationship with her former husband Manuel Álvarez Bravo, I contend that empirical experience incited her to deconstruct the male anatomy similarly to the surrealist treatment of the female body, photographically subverting surrealist iconography from within. I consider how Lola’s staunchly Catholic religious beliefs impacted upon her feminist stance and how she navigated the female iconography of the Catholic faith in a Surrealist manner. Subsequently, I chart how Lola’s photography reversed stereotypical gender roles in a post-revolutionary society, repurposing the surrealist penchant for the mannequin in the service of feminism. Lola’s practice corresponds to a form of intersectional feminism, whereby her own battles concurrently engender sympathy for other marginalized communities such as the poor and the indigenous. Nevertheless, due to her reliance upon government commissions, her photographic repertoire does sometimes stray into propaganda despite her ardent denials thereof; Manuel clearly had more artistic freedom compared to Lola. Lola’s subversion of surrealism is underpinned by the dichotomy of the generalized and concrete other, elaborated by feminist-cosmopolitan philosopher Seyla Benhabib.
{"title":"Lola Álvarez Bravo: Subverting Surrealist Photography in Mexico","authors":"Lauren Walden","doi":"10.1080/17514517.2023.2181803","DOIUrl":"https://doi.org/10.1080/17514517.2023.2181803","url":null,"abstract":"Abstract Rather than merely draw inspiration from Surrealism, I argue that Mexican photographer Lola Álvarez Bravo actually subverts some of its founding tenets and iconography. Though archived letters documenting the turbulent relationship with her former husband Manuel Álvarez Bravo, I contend that empirical experience incited her to deconstruct the male anatomy similarly to the surrealist treatment of the female body, photographically subverting surrealist iconography from within. I consider how Lola’s staunchly Catholic religious beliefs impacted upon her feminist stance and how she navigated the female iconography of the Catholic faith in a Surrealist manner. Subsequently, I chart how Lola’s photography reversed stereotypical gender roles in a post-revolutionary society, repurposing the surrealist penchant for the mannequin in the service of feminism. Lola’s practice corresponds to a form of intersectional feminism, whereby her own battles concurrently engender sympathy for other marginalized communities such as the poor and the indigenous. Nevertheless, due to her reliance upon government commissions, her photographic repertoire does sometimes stray into propaganda despite her ardent denials thereof; Manuel clearly had more artistic freedom compared to Lola. Lola’s subversion of surrealism is underpinned by the dichotomy of the generalized and concrete other, elaborated by feminist-cosmopolitan philosopher Seyla Benhabib.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48860204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17514517.2022.2126160
Matthias Johannes Pfaller Schmid
Abstract This article investigates photography as a tool of neocolonial territorial politics in the Cordillera of the Andes Boundary Case of 1902, in which Chile and Argentina re-negotiated their border in Patagonia. To avoid an impending war, they brought their case to the English King for arbitration. Scientists from all three sides compiled reports, maps and notably, photographs, providing proof for each country’s interpretation of the border. In a first step, I argue that the images of the hitherto uncharted land posed a challenge to the understanding of this land as national territory, having first to undergo a process of overcoming the uncertainty of empty space and acquiring scientific meaning during the arbitration. In a second step, I trace how the photographs and the case itself were resignified as expressions of neocolonial modernity and nation building. In this process, the previously limited capacity of photography was extended to support legal claims. The analysis of the development of the visual material in the trilateral negotiation distills the key factors that made the survey photography of this case successful in terms of contemporary imperial standards, or in other words, an example of ‘best practice’.
{"title":"Between Topographical Groundwork and Neocolonial Aspirations: The ‘Best Practice’ of Survey Photography in the Chilean-Argentine Boundary Case of 1902","authors":"Matthias Johannes Pfaller Schmid","doi":"10.1080/17514517.2022.2126160","DOIUrl":"https://doi.org/10.1080/17514517.2022.2126160","url":null,"abstract":"Abstract This article investigates photography as a tool of neocolonial territorial politics in the Cordillera of the Andes Boundary Case of 1902, in which Chile and Argentina re-negotiated their border in Patagonia. To avoid an impending war, they brought their case to the English King for arbitration. Scientists from all three sides compiled reports, maps and notably, photographs, providing proof for each country’s interpretation of the border. In a first step, I argue that the images of the hitherto uncharted land posed a challenge to the understanding of this land as national territory, having first to undergo a process of overcoming the uncertainty of empty space and acquiring scientific meaning during the arbitration. In a second step, I trace how the photographs and the case itself were resignified as expressions of neocolonial modernity and nation building. In this process, the previously limited capacity of photography was extended to support legal claims. The analysis of the development of the visual material in the trilateral negotiation distills the key factors that made the survey photography of this case successful in terms of contemporary imperial standards, or in other words, an example of ‘best practice’.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44121777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17514517.2022.2147706
Lorraine Sim
Abstract Many women were actively engaged in photography in Australia from the nineteenth century. However, women’s contributions to the field are under-represented in extant histories of Australian photography, particularly photography prior to the 1970s. This essay explores some of the reasons for that erasure and offers two acts of historical and textual recovery. Drawing on new archival research, I examine the lives and work of two little-known Australian women photographers of the early twentieth century: Pegg Clarke and Eleanor Georgina Shaw. Pegg Clarke (1890–1956) was a successful studio, portrait and art photographer who was active from the 1910s through to the 1950s. Eleanor Georgina Shaw (E. G. Shaw; 1870–1954) was an amateur street, urban and architectural photographer who was active in Sydney from the 1910s through to the 1930s. In navigating some of the epistemological and practical challenges of working with these archival collections, and at times engaging in what Saidiya Hartman calls ‘critical fabulation’, I weave together the fragmentary remains of these two women’s careers in an attempt to place them on the critical map. I also offer some speculations as to how their work might provide an opportunity to revise, if in modest ways, extant histories of Australian photography.
19世纪以来，澳大利亚有许多女性积极投身于摄影事业。然而，女性对这一领域的贡献在现存的澳大利亚摄影史中，尤其是在20世纪70年代之前的摄影史中，代表性不足。本文探讨了这种抹除的一些原因，并提出了历史和文本恢复的两种行为。根据新的档案研究，我研究了20世纪初两位鲜为人知的澳大利亚女摄影师的生活和工作:佩吉·克拉克和埃莉诺·乔治娜·肖。佩吉·克拉克(1890-1956)是一位成功的工作室、肖像和艺术摄影师，活跃于20世纪10年代至50年代。埃莉诺·乔治娜·肖(E. G. Shaw;(1870-1954)是一名业余街头、城市和建筑摄影师，从20世纪10年代到30年代活跃在悉尼。在处理这些档案收藏的认识论和实践挑战时，有时会参与赛迪亚·哈特曼(Saidiya Hartman)所说的“批判性虚构”，我将这两位女性职业生涯的碎片碎片编织在一起，试图将她们置于批判性地图上。我还提出了一些猜测，关于他们的作品如何提供一个机会，以适度的方式修改澳大利亚摄影的现存历史。
{"title":"A Different Lens: Pegg Clarke, E. G. Shaw and the History of Australian Women’s Photography","authors":"Lorraine Sim","doi":"10.1080/17514517.2022.2147706","DOIUrl":"https://doi.org/10.1080/17514517.2022.2147706","url":null,"abstract":"Abstract Many women were actively engaged in photography in Australia from the nineteenth century. However, women’s contributions to the field are under-represented in extant histories of Australian photography, particularly photography prior to the 1970s. This essay explores some of the reasons for that erasure and offers two acts of historical and textual recovery. Drawing on new archival research, I examine the lives and work of two little-known Australian women photographers of the early twentieth century: Pegg Clarke and Eleanor Georgina Shaw. Pegg Clarke (1890–1956) was a successful studio, portrait and art photographer who was active from the 1910s through to the 1950s. Eleanor Georgina Shaw (E. G. Shaw; 1870–1954) was an amateur street, urban and architectural photographer who was active in Sydney from the 1910s through to the 1930s. In navigating some of the epistemological and practical challenges of working with these archival collections, and at times engaging in what Saidiya Hartman calls ‘critical fabulation’, I weave together the fragmentary remains of these two women’s careers in an attempt to place them on the critical map. I also offer some speculations as to how their work might provide an opportunity to revise, if in modest ways, extant histories of Australian photography.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48367897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-14DOI: 10.1080/17514517.2022.2116899
L. O’Hagan, Elisa Serafinelli
Abstract This article seeks to situate drone imagery within a more extensive lineage of practice by focusing on one particular form with which it is comparable: pigeon photography. Using a combination of visual social semiotic analysis, literature from Drone Studies, and archival research, it highlights four overarching characteristics shared between photographs taken by pigeons between 1908 and 1912 and contemporary drone visuals produced by hobbyists: verticality, geographical reimaginations, access to inaccessible places, and aerial self-portraits. In doing so, it aims to develop a better understanding of the social and material affordances/constraints of aerial photography, its meaning potentials and how they may have changed across space and time, and the social relations that are reflected in and shaped by its images. The article concludes by suggesting a nuanced perspective into the relationship between “new” and “old” media, arguing that images taken by drones and pigeons have similarities in their forms and functions, but their creation is guided by different ideological values and bounded by the potentials, norms, and traditions of the time. This perspective builds upon the recent turn in media studies toward transhistorical approaches to place seemingly novel contemporary communication technology within historical patterns of practice and use.
{"title":"Transhistoricizing the Drone: A Comparative Visual Social Semiotic Analysis of Pigeon and Domestic Drone Photography","authors":"L. O’Hagan, Elisa Serafinelli","doi":"10.1080/17514517.2022.2116899","DOIUrl":"https://doi.org/10.1080/17514517.2022.2116899","url":null,"abstract":"Abstract This article seeks to situate drone imagery within a more extensive lineage of practice by focusing on one particular form with which it is comparable: pigeon photography. Using a combination of visual social semiotic analysis, literature from Drone Studies, and archival research, it highlights four overarching characteristics shared between photographs taken by pigeons between 1908 and 1912 and contemporary drone visuals produced by hobbyists: verticality, geographical reimaginations, access to inaccessible places, and aerial self-portraits. In doing so, it aims to develop a better understanding of the social and material affordances/constraints of aerial photography, its meaning potentials and how they may have changed across space and time, and the social relations that are reflected in and shaped by its images. The article concludes by suggesting a nuanced perspective into the relationship between “new” and “old” media, arguing that images taken by drones and pigeons have similarities in their forms and functions, but their creation is guided by different ideological values and bounded by the potentials, norms, and traditions of the time. This perspective builds upon the recent turn in media studies toward transhistorical approaches to place seemingly novel contemporary communication technology within historical patterns of practice and use.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60115300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-24DOI: 10.1080/17514517.2022.2096280
Carol Payne
Abstract This article examines the role of visuality in both the imposition of settler colonial authority and its contestation. As a specific case study, I discuss a group of images made by photographer Gar Lunney under the auspices of the National Film Board of Canada’s Still Photography Division (NFB) during the historic 1956 Arctic tour conducted by then Canadian Governor General Vincent Massey. I argue that these images thematize visuality itself and, as such, expose the colonized North American Arctic of the 1950s as a field of racialized visuality. In the first part of the essay, I closely read Lunney’s 1956 images and their histories, with particular attention to indications of the gaze. In the second part of the essay, I turn to recent decolonizing strategies for approaching the colonial photograph, again using Lunney’s photographs of the 1956 tour as a case study. I identify two key decolonizing strategies: first, attention to the agency of the sitter in the photograph and, second, recent Inuit re-narrativizations and remediations of images.
{"title":"Inuit, the Crown, and Racialized Visuality: Photographs from the 1956 Canadian Governor General’s Arctic Tour","authors":"Carol Payne","doi":"10.1080/17514517.2022.2096280","DOIUrl":"https://doi.org/10.1080/17514517.2022.2096280","url":null,"abstract":"Abstract This article examines the role of visuality in both the imposition of settler colonial authority and its contestation. As a specific case study, I discuss a group of images made by photographer Gar Lunney under the auspices of the National Film Board of Canada’s Still Photography Division (NFB) during the historic 1956 Arctic tour conducted by then Canadian Governor General Vincent Massey. I argue that these images thematize visuality itself and, as such, expose the colonized North American Arctic of the 1950s as a field of racialized visuality. In the first part of the essay, I closely read Lunney’s 1956 images and their histories, with particular attention to indications of the gaze. In the second part of the essay, I turn to recent decolonizing strategies for approaching the colonial photograph, again using Lunney’s photographs of the 1956 tour as a case study. I identify two key decolonizing strategies: first, attention to the agency of the sitter in the photograph and, second, recent Inuit re-narrativizations and remediations of images.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49608689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-19DOI: 10.1080/17514517.2022.2083372
Juma Kasadha, Rajab Idd Muyingo
Abstract This article explores photographic education in Uganda. It presents exploratory observations in the study of photography at Ugandan Universities. Specifically, it examines the nature of students admitted to study Photography and students’ practice of photography. It also explores the use of student-centered learning techniques; and highlights the drawbacks, Government policy and photographic funding in Uganda. We deduce that for photographic education to thrive in Uganda, there is need for government to establish specific policies that encourage and reward photography; and the need for academic institutions to engage in photography research, and introduction of photography programs at degree, master and doctorate levels.
{"title":"Photographic Education in Uganda","authors":"Juma Kasadha, Rajab Idd Muyingo","doi":"10.1080/17514517.2022.2083372","DOIUrl":"https://doi.org/10.1080/17514517.2022.2083372","url":null,"abstract":"Abstract This article explores photographic education in Uganda. It presents exploratory observations in the study of photography at Ugandan Universities. Specifically, it examines the nature of students admitted to study Photography and students’ practice of photography. It also explores the use of student-centered learning techniques; and highlights the drawbacks, Government policy and photographic funding in Uganda. We deduce that for photographic education to thrive in Uganda, there is need for government to establish specific policies that encourage and reward photography; and the need for academic institutions to engage in photography research, and introduction of photography programs at degree, master and doctorate levels.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47990584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-18DOI: 10.1080/17514517.2022.2063600
Warren Neidich, Erik Morse
Abstract This interview between the writer and critic Erik Morse and the artist and theorist Warren Neidich took place over the course of two months in the fall/winter 2021–2022. The interview focuses on a body of work entitled the Hybrid Dialectics produced between 1997–2002 that served as bridge between his earlier perfomative reenactments and fictitious documents entitled, American History Reinvented,1985–1993, and his more recent neon sculptures most notably the Pizzagate Neon, 2017–2021 and his A Proposition for an alt Parthenon Marbles Recoded: The Phantom as Other (2021–2022). Neidich's project extends his interdisciplinary experiments carried out in the fields of cinema studies, structural film and apparatus theory which foregrounded cinematic devices and tools at the expense of the image. This forms the foundation of Neidich’s engagement with photographic medium as a form of politicized aesthetics embedded in a bidirectional embodied and extended cognition. His hybrid dialectics take off where artists like Michael Snow and Tony Conrad left off. They are the result of grafted neuro-opthalmologic devices, used in the measurement of squint and skewed gaze, upon the photographic lens which results in a destabilized and estranged image; making them other and queered while at the same time challenging the stillness of the photographic object. The neuro-photographic assemblages release the vibrant energy of their human and non-human subjects distributing them across the surface of the photographic paper. These portray a lexicon of control that would later appear again, in his recent neon sculptures in the form of the Google effect, meme magic, and click bait. The Hybrid Dialects represented forms of dissensus against what Guy Debord called the Society of the Spectacle where as Neidich’s recent neon work is a rebuttal of the consciousness industry of social media and Big Data.
{"title":"The Hybrid Dialectics Interview between Warren S. Neidich and Erik Morse","authors":"Warren Neidich, Erik Morse","doi":"10.1080/17514517.2022.2063600","DOIUrl":"https://doi.org/10.1080/17514517.2022.2063600","url":null,"abstract":"Abstract This interview between the writer and critic Erik Morse and the artist and theorist Warren Neidich took place over the course of two months in the fall/winter 2021–2022. The interview focuses on a body of work entitled the Hybrid Dialectics produced between 1997–2002 that served as bridge between his earlier perfomative reenactments and fictitious documents entitled, American History Reinvented,1985–1993, and his more recent neon sculptures most notably the Pizzagate Neon, 2017–2021 and his A Proposition for an alt Parthenon Marbles Recoded: The Phantom as Other (2021–2022). Neidich's project extends his interdisciplinary experiments carried out in the fields of cinema studies, structural film and apparatus theory which foregrounded cinematic devices and tools at the expense of the image. This forms the foundation of Neidich’s engagement with photographic medium as a form of politicized aesthetics embedded in a bidirectional embodied and extended cognition. His hybrid dialectics take off where artists like Michael Snow and Tony Conrad left off. They are the result of grafted neuro-opthalmologic devices, used in the measurement of squint and skewed gaze, upon the photographic lens which results in a destabilized and estranged image; making them other and queered while at the same time challenging the stillness of the photographic object. The neuro-photographic assemblages release the vibrant energy of their human and non-human subjects distributing them across the surface of the photographic paper. These portray a lexicon of control that would later appear again, in his recent neon sculptures in the form of the Google effect, meme magic, and click bait. The Hybrid Dialects represented forms of dissensus against what Guy Debord called the Society of the Spectacle where as Neidich’s recent neon work is a rebuttal of the consciousness industry of social media and Big Data.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48337192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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