Pub Date : 2016-11-01DOI: 10.1525/AFT.2016.44.3.41
Néha Hirve
{"title":"Review: Jet Lag, by Chien-Chi Chang and edited by Anna-Patricia Kahn","authors":"Néha Hirve","doi":"10.1525/AFT.2016.44.3.41","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.41","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127808449","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 : 2016-11-01DOI: 10.1525/AFT.2016.44.3.22
E. Mudie
Widespread deaths can be observed from time to time among the forms of life on Earth. Please do not plan a trip to Planet Earth for the duration of these rare catastrophes. --Hiroshi Sugimoto, notes for A First Visitors Guide (1) Over the course of its approximate 3.5 billion-year history of life, (2) the Earth has witnessed five mass extinction events thought to be triggered by causes as diverse as asteroid strikes, volcanic eruptions, ice ages, and other extreme shifts in climate. The fifth and most recent mass extinction event, the Cretaceous-Tertiary mass extinction, occurred some sixty-six million years ago, and while it resulted in the loss of up to eights percent of species, (3) it is most known for the death of the dinosaurs. Fast forward to today, and scientists estimate we are currently losing animal and plant species at more than one thousand times the background or natural extinction rate. The evidence increasingly suggests we are living in a period of such highly elevated species loss as to warrant its naming as the sixth great mass extinction event. It is the first in the Earth's history for which human activity can be counted as a primary causal agent and, in turn, there is no guarantee the human race will survive it. What will be the fate, then, of the planet after the event of human extinction? And what role can the photographic medium play in conceptualizing such an unthinkable event as the disappearance of human and nonhuman life? When the Japanese American photographer Hiroshi Sugimoto presented his ruinous and highly personal vision of humanity's end days. Aujourd'hui, Le Monde Est Mart [Lost Human Genetic Archive/(4) at the Palais de Tokyo in 2014, the artist's response reflected what is emerging as a distinctly speculative turn in contemporary art in response to the present extinction crisis. For his Paris installation, Sugimoto mixed his vast and eclectic collection of objects witli images from his photographic oeuvre to construct thirty-three diorama-like scenarios extrapolating on how human civilization might end and featuring fictitious characters who had either agreed, or declined, to archive their genetic information for the future. Where visions of a future Earth bereft of humankind were once the domain of science fiction novelists and apocalyptic Hollywood cinema, Sugimoto's Last Human Genetic Archive signals the extent to which the imminent threat of extinction, both human and nonhuman, exercises the imagination and concern of a growing number of artists, including photographers. As a trace, a document, and an index of the real that fixes a moment in time before its disappearance, the photograph has for some time now been implicated in extinction and conservation discourses, most notably as a memento mori that performs the work of memorialization and mourning for lost and vanishing species. Yet the future-oriented perspective invoked in addressing the fate of the planet after our own extinction, coupled with the pr
在地球上的各种生命形式中，可以不时地观察到广泛的死亡。在这些罕见的灾难期间，请不要计划去地球旅行。在大约35亿年的生命历史中，地球经历了五次大灭绝事件，据信是由小行星撞击、火山爆发、冰河时代和其他极端气候变化等多种原因引发的。第五次也是最近的一次大灭绝事件是白垩纪-第三纪大灭绝，发生在大约6600万年前，虽然它导致了多达8%的物种灭绝，但最著名的是恐龙的死亡。快进到今天，科学家们估计，我们目前正在以超过自然灭绝率1000倍的速度失去动植物物种。越来越多的证据表明，我们正生活在一个物种灭绝高度加剧的时期，以至于有理由将其命名为第六次大灭绝事件。这是地球历史上第一次人类活动被认为是主要原因，反过来，也不能保证人类能够生存下来。那么，在人类灭绝之后，地球的命运将会是怎样的呢?在将人类和非人类生命的消失这一不可想象的事件概念化的过程中，摄影媒介又能发挥什么作用呢?当日裔美国摄影师杉本博司(Hiroshi Sugimoto)展示了他对人类末日的毁灭性和高度个人化的看法。Aujourd'hui, Le Monde Est Mart[失落的人类基因档案/(4)]，2014年在东京宫展出，艺术家的回应反映了当代艺术中出现的明显的投机转向，以应对当前的灭绝危机。在他的巴黎装置作品中，杉本将他大量收藏的物品与他摄影作品中的图像混合在一起，构建了33个类似立体模型的场景，推断人类文明可能如何结束，并以虚构的角色为特征，这些角色要么同意，要么拒绝，为未来存档他们的基因信息。杉本的《最后的人类基因档案》曾经是科幻小说家和末日好莱坞电影的主题，但它表明，人类和非人类即将灭绝的威胁在多大程度上激发了包括摄影师在内的越来越多艺术家的想象力和关注。作为一种痕迹，一种文件，一种真实的索引，它在消失之前的某个时刻固定下来，一段时间以来，照片一直与灭绝和保护话语联系在一起，最明显的是作为一种纪念和哀悼失去和正在消失的物种的“死亡纪念”。然而，以未来为导向的视角在解决我们自己灭绝后地球的命运时，再加上后人类、新唯物主义和生态批判方法的扩散，这些方法正在重新定义灭绝问题，超越人类中心主义的救赎和生存主义叙事的限制，就死亡和哀悼而言，摄影与灭绝的关系提出了许多挑战。那么，鉴于克莱尔·科尔布鲁克(Claire Colebrook)在她的《后人类之死:灭绝论文集》(2014)中提出的争议性呼吁，这张照片将何去何从?她在书中问道，如果我们“想象一种解读世界的模式，以及它的人为sears，它将自己从围绕人类生存的地球表面上解放出来”，可能会出现什么?那么，“我们如何阅读或感知其他时间线、其他观点和其他节奏呢?”’”(5)为了超越哀悼，(6)摄影在灭绝时代面临的挑战是多方面的。按照Colebrook的模式，在时间性的层面上，摄影必须适应记录时间的流逝，不仅在人类事件的尺度上，而且在更广泛的地质，甚至宇宙的时间尺度上。．．．
{"title":"Beyond Mourning: On Photography and Extinction","authors":"E. Mudie","doi":"10.1525/AFT.2016.44.3.22","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.22","url":null,"abstract":"Widespread deaths can be observed from time to time among the forms of life on Earth. Please do not plan a trip to Planet Earth for the duration of these rare catastrophes. --Hiroshi Sugimoto, notes for A First Visitors Guide (1) Over the course of its approximate 3.5 billion-year history of life, (2) the Earth has witnessed five mass extinction events thought to be triggered by causes as diverse as asteroid strikes, volcanic eruptions, ice ages, and other extreme shifts in climate. The fifth and most recent mass extinction event, the Cretaceous-Tertiary mass extinction, occurred some sixty-six million years ago, and while it resulted in the loss of up to eights percent of species, (3) it is most known for the death of the dinosaurs. Fast forward to today, and scientists estimate we are currently losing animal and plant species at more than one thousand times the background or natural extinction rate. The evidence increasingly suggests we are living in a period of such highly elevated species loss as to warrant its naming as the sixth great mass extinction event. It is the first in the Earth's history for which human activity can be counted as a primary causal agent and, in turn, there is no guarantee the human race will survive it. What will be the fate, then, of the planet after the event of human extinction? And what role can the photographic medium play in conceptualizing such an unthinkable event as the disappearance of human and nonhuman life? When the Japanese American photographer Hiroshi Sugimoto presented his ruinous and highly personal vision of humanity's end days. Aujourd'hui, Le Monde Est Mart [Lost Human Genetic Archive/(4) at the Palais de Tokyo in 2014, the artist's response reflected what is emerging as a distinctly speculative turn in contemporary art in response to the present extinction crisis. For his Paris installation, Sugimoto mixed his vast and eclectic collection of objects witli images from his photographic oeuvre to construct thirty-three diorama-like scenarios extrapolating on how human civilization might end and featuring fictitious characters who had either agreed, or declined, to archive their genetic information for the future. Where visions of a future Earth bereft of humankind were once the domain of science fiction novelists and apocalyptic Hollywood cinema, Sugimoto's Last Human Genetic Archive signals the extent to which the imminent threat of extinction, both human and nonhuman, exercises the imagination and concern of a growing number of artists, including photographers. As a trace, a document, and an index of the real that fixes a moment in time before its disappearance, the photograph has for some time now been implicated in extinction and conservation discourses, most notably as a memento mori that performs the work of memorialization and mourning for lost and vanishing species. Yet the future-oriented perspective invoked in addressing the fate of the planet after our own extinction, coupled with the pr","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124974173","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 : 2016-11-01DOI: 10.1525/AFT.2016.44.3.38
Jaclyn Meloche
{"title":"Review: Carol Sawyer: The Natalie Brettschneider Archive","authors":"Jaclyn Meloche","doi":"10.1525/AFT.2016.44.3.38","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.38","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121461253","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 : 2016-11-01DOI: 10.1525/AFT.2016.44.3.34
A. Chase
The Female Gaze, Part Two: Women Look at Men CHEIM & READ NEW YORK CITY JUNE 23-AUGUST 31, 2016 Artists have always flattered those with the most power--and money--by giving them what they desire to view, and for most of Western history it has been white heteropatriarchy that has been in control. A wise cultural critic would say it's therefore no surprise that many of the images made by and for men are of desirable women. But hindsight is 20/20, and it's only due to some smart deconstructionist theory that we now understand the complex politics of "looking." In 1972, John Berger illustrated how a culture's "ways of seeing" are determined to a large degree by dominant social groups' subject positions and experiences. Drawing a direct expressive parallel between Jean-Auguste-Dominique Ingres's La Grande Odalisque (1814) and a Playboy pin-up, Berger opined that the essential way of seeing women, the essential use to which their images are put, has not changed. Women are depicted in a quite different way from men--not because the feminine is different from the masculine--but because the "ideal" spectator is always assumed to be male and the image of the woman is designed to flatter him. (1) Three years later, Laura Mulvey furthered Berger's ideas in her psychoanalytically grounded essay "Visual Pleasure and Narrative Cinema" (1975). Mulvey posited that mainstream cinema was centered upon the dualistic paradigm of "active/male" and "passive/female," ultimately making women the object of the "controlling male gaze." The idea that men do the looking and women are there to be looked at wasn't novel, but it was finally exposed for the social construct it is. Michel Foucault summed it up later that decade with his theories on surveillance, linking the "inspecting gaze" to power. In the intervening thirty years, academics have built upon and challenged these ideas, but always conceded that looking is inextricably bound to power. It seemed curious, then, that in the 2009 exhibition The Female Gaze: Women Look at Women, curator John Cheim conjectured that a female artist's gaze is somehow different from a male's. The press release stated that the group show would "debunk the notion of the male gaze by providing ... works in which the artist and subject do not relate as 'voyeur' and 'object,' but as woman and woman." Basing an exhibition on artists' gender identities is itself a perilous endeavor, but the presumption that there is no power dynamic simply because both artist and subject are women was naive at best, and willfully essentialist at worst. One such example from the 2009 show, Lisa Yuskavage's Heart (1996-97), in which a masturbating, pig-faced nude floats in a vacuous pink halo, certainly insinuates that women are more than capable of objectifying other women. It's even more problematic when the curator ignores the complexities of spectatorship. In that same exhibition, Sally Mann's Venus After School (1992), in which her pubescent daughter reclines
艺术家们总是通过给那些最有权力和金钱的人提供他们想看的东西来讨好他们，在西方历史的大部分时间里，一直是白人异性恋父权制在控制着他们。一位明智的文化评论家会说，因此，许多由男性制作或为男性制作的图像都是迷人的女性，这并不奇怪。但事后诸葛亮，正是由于一些聪明的解构主义理论，我们现在才理解了“看”的复杂政治。1972年，约翰·伯杰(John Berger)阐述了一种文化的“观察方式”在很大程度上是由占主导地位的社会群体的主体地位和经历决定的。伯杰把让-奥古斯特-多米尼克·安格尔(Jean-Auguste-Dominique Ingres)的《大淑女》(La Grande Odalisque, 1814)与《花花公子》(Playboy)的一幅海报画作了直接的类比，认为人们看待女性的基本方式，以及女性形象的基本用途，并没有改变。女性的描绘方式与男性截然不同——不是因为女性与男性不同——而是因为“理想的”观众总是被认为是男性，而女性的形象是为了讨好他而设计的。(1)三年后，劳拉·穆尔维在她以精神分析为基础的论文《视觉愉悦与叙事电影》(1975)中进一步深化了伯杰的思想。穆尔维认为，主流电影以“主动/男性”和“被动/女性”的二元范式为中心，最终使女性成为“控制男性目光”的对象。男人在看，女人在那里被看的想法并不新奇，但它最终暴露了它的社会结构。米歇尔·福柯(Michel Foucault)在那个年代后期用他的监视理论总结了这一点，将“检查的目光”与权力联系起来。在这中间的三十年里，学者们建立并挑战了这些观点，但总是承认外表与权力有着不可分割的联系。在2009年的展览《女性凝视:女性看女性》(the Female Gaze: Women Look at Women)中，策展人约翰·谢姆(John cheem)推测，女性艺术家的凝视与男性艺术家的凝视在某种程度上有所不同，这似乎很奇怪。新闻稿称，群展将“揭穿男性凝视的观念，提供……在这些作品中，艺术家和主体不是‘偷窥者’和‘客体’，而是女人和女人。”把展览建立在艺术家的性别身份上，本身就是一种危险的尝试，但是，仅仅因为艺术家和主题都是女性就认为没有权力动态的假设，往好了说，是天真的，往坏了说，是故意的本质主义。在2009年的展览中，丽莎·尤斯卡瓦奇(Lisa Yuskavage)的《心》(Heart, 1996-97)就是这样一个例子，在这个展览中，一个自慰的、猪脸的裸体者漂浮在空洞的粉色光环中，当然暗示了女人比物化其他女人更有能力。当策展人忽视观众的复杂性时，问题就更大了。在同一场展览中，莎莉·曼的《放学后的维纳斯》(1992)，画中她青春期的女儿像文艺复兴时期的少女一样斜倚着，也与凯姆的论文相悖。这张照片是由拍摄对象的母亲拍摄的，但通过异性恋男性的目光，照片中的对象仍然可以被解读为一个诱人的洛丽塔。不幸的是，《女性注视》第二部分:女性注视男性在凝视、旁观和权力的表现上并没有表现得更好。对于展出的38件作品，它提出了一个或多或少与之前相同的问题:“如果这些作品是由男性创作的，我们会有不同的反应吗?”正确的答案是肯定的，因为刻板印象根深蒂固，但我们为什么会有不同的反应从来没有争议过。这部剧确实声称要“直接讨论性别和性取向”，但在变性人卫生间引发轩然大波的夏天，这种过于简单化的措辞最终显得在智力上很懒惰。毫无疑问:这是一场非凡的艺术才华、技巧和睿智的展览，在一个空间里看到这么多女性的作品是一件令人愉快的事情。…
{"title":"The Female Gaze, Part Two: Women Look at Men","authors":"A. Chase","doi":"10.1525/AFT.2016.44.3.34","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.34","url":null,"abstract":"The Female Gaze, Part Two: Women Look at Men CHEIM & READ NEW YORK CITY JUNE 23-AUGUST 31, 2016 Artists have always flattered those with the most power--and money--by giving them what they desire to view, and for most of Western history it has been white heteropatriarchy that has been in control. A wise cultural critic would say it's therefore no surprise that many of the images made by and for men are of desirable women. But hindsight is 20/20, and it's only due to some smart deconstructionist theory that we now understand the complex politics of \"looking.\" In 1972, John Berger illustrated how a culture's \"ways of seeing\" are determined to a large degree by dominant social groups' subject positions and experiences. Drawing a direct expressive parallel between Jean-Auguste-Dominique Ingres's La Grande Odalisque (1814) and a Playboy pin-up, Berger opined that the essential way of seeing women, the essential use to which their images are put, has not changed. Women are depicted in a quite different way from men--not because the feminine is different from the masculine--but because the \"ideal\" spectator is always assumed to be male and the image of the woman is designed to flatter him. (1) Three years later, Laura Mulvey furthered Berger's ideas in her psychoanalytically grounded essay \"Visual Pleasure and Narrative Cinema\" (1975). Mulvey posited that mainstream cinema was centered upon the dualistic paradigm of \"active/male\" and \"passive/female,\" ultimately making women the object of the \"controlling male gaze.\" The idea that men do the looking and women are there to be looked at wasn't novel, but it was finally exposed for the social construct it is. Michel Foucault summed it up later that decade with his theories on surveillance, linking the \"inspecting gaze\" to power. In the intervening thirty years, academics have built upon and challenged these ideas, but always conceded that looking is inextricably bound to power. It seemed curious, then, that in the 2009 exhibition The Female Gaze: Women Look at Women, curator John Cheim conjectured that a female artist's gaze is somehow different from a male's. The press release stated that the group show would \"debunk the notion of the male gaze by providing ... works in which the artist and subject do not relate as 'voyeur' and 'object,' but as woman and woman.\" Basing an exhibition on artists' gender identities is itself a perilous endeavor, but the presumption that there is no power dynamic simply because both artist and subject are women was naive at best, and willfully essentialist at worst. One such example from the 2009 show, Lisa Yuskavage's Heart (1996-97), in which a masturbating, pig-faced nude floats in a vacuous pink halo, certainly insinuates that women are more than capable of objectifying other women. It's even more problematic when the curator ignores the complexities of spectatorship. In that same exhibition, Sally Mann's Venus After School (1992), in which her pubescent daughter reclines","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128339643","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":"Riga Photography Biennial 2016","authors":"Jacquelyn M. Davis","doi":"10.1525/AFT.2016.44.3.2","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.2","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115096988","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 : 2016-11-01DOI: 10.1525/AFT.2016.44.3.32
Godfre Leung
{"title":"Review: Cao Fei","authors":"Godfre Leung","doi":"10.1525/AFT.2016.44.3.32","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.32","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115331246","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 : 2016-11-01DOI: 10.1525/AFT.2016.44.3.28
Suzanne E. Szucs
{"title":"Review: Less Than One","authors":"Suzanne E. Szucs","doi":"10.1525/AFT.2016.44.3.28","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.28","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129081781","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 THIRD ISLAND TRIENNALE, MILAN DECEMBER 1-20, 2015 OIGO n.1 The Third Island Edited by Antonio Ottomanelli Planar Books, 2015 240 pp (book) +42 (booklet)/38 [euro] In the post-photographic era, where image dissemination on the internet has made billions of images, from satellite photography to Instagram, readily available, is there any meaningful room left for documentary photography with a strong social bent? A new, ambitious project by OIGO (International Observatory on Major Works), a collective of photographers, argues in favor of the affirmative, with a book and traveling exhibition curated by Italian photographer Antonio Ottomanelli, titled The Third Island. Its first installment, The Third Island, brought together photographers and writers in 2014 to focus on the impoverished region of Calabria, and particularly its often failed infrastructure, which is frequently the first thing Italians think of when they hear the word "Calabria." The goal is to prod politicians, city planners, and citizens to take a critical look at the long-term effects of such building projects on the economy, environment, and landscape. The Third Island culminated in an eponymous book publication and a collateral photo exhibition at the Triennale International Exhibition in Milan (December 1-20, 2015) and amalgamated a kaleidoscope of voices and contributions. The next show (December 13, 2016-February 14, 2017) is expected to open in Rome at the National Graphics Institute in December 2016 with some new, additional shots by photographers Armando Perna and Maurizio Montagna. The focus of the investigation stemmed from Ottomanelli's participation in the Monditalia section of Rem Koolhaas's 2014 Venice Biennale of Architecture, where participants were invited to reflect on Italy as a "case study" within the coordinates of architecture. Calabria, the toe to Italy's boot, has an ignoble reputation for its large number of unfinished construction projects that dot the horizon, its hotels and illegal villas that stand as concrete skeletons overlooking the Mediterranean and, most notably, its highways. Geographically, the region is dominated by rugged mountains. Promontories impede on the shoreline. Such majestic yet inhospitable terrain has helped make Calabria one of the least developed areas in the country, which in turn makes it vulnerable to the 'Ndrangheta, the local mafia that today stretches the width of the globe, generating billions of euros every year in illicit trade. The region remains largely unknown also to most Italians. "When we hear about Calabria, it's usually on the news, because of some legal orders or mafia-related facts," said Ottomanelli. "We're accustomed to a certain rhetoric in the way the region is portrayed, which has generated a very static perception at a collective level." (1) But with The Third Island, OIGO has taken it upon itself to research and document this problematic territory without sensationalizing it. The group consists of eleven
第三届岛屿三年展，米兰，2015年12月1-20日平面图书，2015 240页(书)+42页(小册子)/38[欧元]在后摄影时代，互联网上的图像传播使得从卫星摄影到Instagram的数十亿张图像随处可见，那么具有强烈社会色彩的纪实摄影还有什么有意义的空间吗?由一群摄影师组成的OIGO(国际大型作品观察站)发起了一项雄心勃勃的新项目，该项目由意大利摄影师Antonio Ottomanelli策划，名为《第三岛》(the Third Island)。2014年，它的第一部作品《第三岛》(The Third Island)将摄影师和作家聚集在一起，聚焦于贫困的卡拉布里亚地区，尤其是那里经常出现故障的基础设施。意大利人听到“卡拉布里亚”这个词时，首先想到的往往是这个地区。其目的是促使政治家、城市规划者和市民以批判的眼光看待此类建筑项目对经济、环境和景观的长期影响。《第三岛》在米兰三年展(2015年12月1日至20日)上出版了一本同名书籍，并举办了一场摄影展，汇集了各种声音和贡献。下一届展览(2016年12月13日- 2017年2月14日)预计将于2016年12月在罗马国家图形研究所开幕，届时摄影师阿曼多·佩纳和毛里齐奥·蒙塔尼亚将拍摄更多的新照片。调查的重点源于Ottomanelli参加了Rem Koolhaas 2014年威尼斯建筑双年展的Monditalia部分，参与者被邀请在建筑坐标内反思意大利作为“案例研究”。卡拉布里亚(Calabria)是意大利的脚尖，由于大量未完工的建筑项目点缀在地平线上，酒店和非法别墅像混凝土骨架一样矗立在那里，俯瞰着地中海，最引人注目的是它的高速公路，因此声名狼藉。从地理上看，该地区多为崎岖的山脉。海岬挡住了海岸线。如此雄伟而荒凉的地形使卡拉布里亚成为该国最不发达的地区之一，这反过来又使它容易受到当地黑手党“恩德拉赫塔”(Ndrangheta)的攻击，该黑手党如今遍布全球，每年通过非法贸易创造数十亿欧元的收入。大多数意大利人对这个地区仍然知之甚少。“当我们听到卡拉布里亚的消息时，通常会出现在新闻上，因为一些法律命令或与黑手党有关的事实，”Ottomanelli说。“我们习惯于该地区被描绘成某种修辞，这在集体层面上产生了一种非常静态的看法。”但在《第三岛》中，OIGO承担起了研究和记录这片有问题的领土的责任，但又不会引起轰动。这个团体包括11名个人摄影师，一个由两名摄影师组成的团体，以及越来越多的知识分子和记者。他们的项目向我们展示了一个多样化和碎片化的土地，每个摄影师和作家带来的个人语言和口音的多样性强调了其异质性。Andrea Botto, Allegra Martin, Montagna, Perna和Filippo Romano(仅举几例)的照片与档案材料和书面文本混合在一起。由Teddy Cruz、Marco Ferrari和Pelin Tan等思想家和实践者编写的类似词典附加在卷的末尾，并提出了可能构成“主要”基础设施的非传统和意想不到的定义。“目的是通过调查意大利的景观来促进对当今意大利的反思，”Ottomanelli告诉我，“通过这个过程，启动对主要基础设施主题的跨学科反思。”．．．
{"title":"The Third Island","authors":"Luisa Grigoletto","doi":"10.1525/aft.2016.44.3.4","DOIUrl":"https://doi.org/10.1525/aft.2016.44.3.4","url":null,"abstract":"THE THIRD ISLAND TRIENNALE, MILAN DECEMBER 1-20, 2015 OIGO n.1 The Third Island Edited by Antonio Ottomanelli Planar Books, 2015 240 pp (book) +42 (booklet)/38 [euro] In the post-photographic era, where image dissemination on the internet has made billions of images, from satellite photography to Instagram, readily available, is there any meaningful room left for documentary photography with a strong social bent? A new, ambitious project by OIGO (International Observatory on Major Works), a collective of photographers, argues in favor of the affirmative, with a book and traveling exhibition curated by Italian photographer Antonio Ottomanelli, titled The Third Island. Its first installment, The Third Island, brought together photographers and writers in 2014 to focus on the impoverished region of Calabria, and particularly its often failed infrastructure, which is frequently the first thing Italians think of when they hear the word \"Calabria.\" The goal is to prod politicians, city planners, and citizens to take a critical look at the long-term effects of such building projects on the economy, environment, and landscape. The Third Island culminated in an eponymous book publication and a collateral photo exhibition at the Triennale International Exhibition in Milan (December 1-20, 2015) and amalgamated a kaleidoscope of voices and contributions. The next show (December 13, 2016-February 14, 2017) is expected to open in Rome at the National Graphics Institute in December 2016 with some new, additional shots by photographers Armando Perna and Maurizio Montagna. The focus of the investigation stemmed from Ottomanelli's participation in the Monditalia section of Rem Koolhaas's 2014 Venice Biennale of Architecture, where participants were invited to reflect on Italy as a \"case study\" within the coordinates of architecture. Calabria, the toe to Italy's boot, has an ignoble reputation for its large number of unfinished construction projects that dot the horizon, its hotels and illegal villas that stand as concrete skeletons overlooking the Mediterranean and, most notably, its highways. Geographically, the region is dominated by rugged mountains. Promontories impede on the shoreline. Such majestic yet inhospitable terrain has helped make Calabria one of the least developed areas in the country, which in turn makes it vulnerable to the 'Ndrangheta, the local mafia that today stretches the width of the globe, generating billions of euros every year in illicit trade. The region remains largely unknown also to most Italians. \"When we hear about Calabria, it's usually on the news, because of some legal orders or mafia-related facts,\" said Ottomanelli. \"We're accustomed to a certain rhetoric in the way the region is portrayed, which has generated a very static perception at a collective level.\" (1) But with The Third Island, OIGO has taken it upon itself to research and document this problematic territory without sensationalizing it. The group consists of eleven ","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132239877","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}
When Providence Healthcare won a legal challenge in May 2014 at British Columbia's Supreme Court to prescribe medically supervised heroin to two hundred and two of Vancouver's most severely addicted drug users, a firestorm lit up online. Many called it a positive step for harm reduction that would help keep addicts from engaging in crime and using potentially lethal street drugs. Others said it was shameful that taxpayers would be funding a program for drug users who "contribute nothing to society," according to one individual. Many had even more scathing things to say about heroin users. While heroin-assisted treatment programs have long been recognized as scientifically sound and cost-saving in countries across Europe such as the United Kingdom, Switzerland, the Netherlands, and Denmark, this is the first time one has been offered outside of a clinical study in North America. Realizing how deeply divided the public was about heroin-assisted treatment, I suspected it was due to a lack of information. I wondered if documentary photography could play a role in educating people about compassionate, science-based treatment for drug users. I began planning a photo documentary project that I hoped would help humanize some of the long-term heroin users taking part in the Study to Assess Longer-term Opioid Medication Effectiveness (SALOME). My intention was to help foster empathy toward vulnerable drug users and allow people to come to their own conclusions about heroin-assisted treatment. The scale of the heroin addiction Across Canada, as many as ninety thousand people (1) are addicted to heroin, according to Providence Healthcare. The New York Times has reported on a heroin "epidemic" sweeping across the United States. (2) Thousands of heroin users receive methadone and other forms of treatment. However, for some of the most chronic and vulnerable addicts, nothing has worked. "Ninety percent of the refractory people- the people who've tried the treatments and haven't benefited from them, haven't been retained in care-need another option." Dr. Scott MacDonald, lead physician at Providence Healthcare's Crosstown Clinic, told me. "Heroin-assisted treatment works. It gets people into care, and that's what's important to me, that's what's important for their health and what's important for our society." (3) "Dark, seedy, secret worlds" 1 began to explore the work of some of the most influential documentary photographers who have focused on heroin users in recent decades. What 1 learned is that most of them have consistently represented heroin users as exotic, primitive, dangerous to society, and essentially as outcasts. "There is a tendency in drug photography to attempt to make images of dark, seedy, secret worlds," writes drug policy expert John Fitzgerald. "This can have the effect of Othering the subject, or making them different through eroticizing or exoticizing them." (4) Many viewed Larry Clark's 1971 photo work Tulsa, about young people experimen
{"title":"Outcasts: Exploring Documentary Photography and Photo-Elicitation with Longterm Heroin Users","authors":"A. Goodman","doi":"10.1525/aft.2016.44.3.8","DOIUrl":"https://doi.org/10.1525/aft.2016.44.3.8","url":null,"abstract":"When Providence Healthcare won a legal challenge in May 2014 at British Columbia's Supreme Court to prescribe medically supervised heroin to two hundred and two of Vancouver's most severely addicted drug users, a firestorm lit up online. Many called it a positive step for harm reduction that would help keep addicts from engaging in crime and using potentially lethal street drugs. Others said it was shameful that taxpayers would be funding a program for drug users who \"contribute nothing to society,\" according to one individual. Many had even more scathing things to say about heroin users. While heroin-assisted treatment programs have long been recognized as scientifically sound and cost-saving in countries across Europe such as the United Kingdom, Switzerland, the Netherlands, and Denmark, this is the first time one has been offered outside of a clinical study in North America. Realizing how deeply divided the public was about heroin-assisted treatment, I suspected it was due to a lack of information. I wondered if documentary photography could play a role in educating people about compassionate, science-based treatment for drug users. I began planning a photo documentary project that I hoped would help humanize some of the long-term heroin users taking part in the Study to Assess Longer-term Opioid Medication Effectiveness (SALOME). My intention was to help foster empathy toward vulnerable drug users and allow people to come to their own conclusions about heroin-assisted treatment. The scale of the heroin addiction Across Canada, as many as ninety thousand people (1) are addicted to heroin, according to Providence Healthcare. The New York Times has reported on a heroin \"epidemic\" sweeping across the United States. (2) Thousands of heroin users receive methadone and other forms of treatment. However, for some of the most chronic and vulnerable addicts, nothing has worked. \"Ninety percent of the refractory people- the people who've tried the treatments and haven't benefited from them, haven't been retained in care-need another option.\" Dr. Scott MacDonald, lead physician at Providence Healthcare's Crosstown Clinic, told me. \"Heroin-assisted treatment works. It gets people into care, and that's what's important to me, that's what's important for their health and what's important for our society.\" (3) \"Dark, seedy, secret worlds\" 1 began to explore the work of some of the most influential documentary photographers who have focused on heroin users in recent decades. What 1 learned is that most of them have consistently represented heroin users as exotic, primitive, dangerous to society, and essentially as outcasts. \"There is a tendency in drug photography to attempt to make images of dark, seedy, secret worlds,\" writes drug policy expert John Fitzgerald. \"This can have the effect of Othering the subject, or making them different through eroticizing or exoticizing them.\" (4) Many viewed Larry Clark's 1971 photo work Tulsa, about young people experimen","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132870175","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}
Located in Geneva, Switzerland, the European Organization for Nuclear Research, known as CERN (from the French Conseil Europeen pour la Recherche Nucleaire) is an immense international research project in particle physics that inquires into the origin and composition of the universe under the motto "CERN accelerating science." One interesting study aims at demonstrating the theory behind the Brout-EnglertHiggs mechanism, that the whole universe existed within a field (the Higgs field) after the Big Bang, which would have allowed the particles to interact and have mass. This would ultimately explain how we exist. In order to pursue the research, extensive means have been employed over several decades. Anyone visiting the premises cannot but be impressed by the vastness and magnitude of the initiative. In order to fully describe it, one has to resort to impressive if not showy numbers: the underground facilities of the now famous Large Hadron Collider consist of an imposing ring that measures twenty-seven kilometers, is buried approximately one hundred meters underground, and is so big that it crosses the border between Switzerland and France. No fewer than two thousand people employed by CERN run its daily activities, and nearly ten thousand scientists from over one hundred countries have collaborated over several decades. Finally, what could be more impressive than this?: CERN scientists' collisions of particles are described as the hottest spots in the universe, hotter than the sun--or, to be precise: one hundred thousand times hotter than the center of the sun (albeit for an extremely short period of time). It is in this unique context that international cultural strategist and curator Ariane Koek initiated, designed, and directed Arts at CERN (formerly Arts@CERN) to give time and space for artists and scientists to explore and work together. Since 2011, Arts at CERN has hosted a series of residency programs for artists. (1) Yet the uniqueness of Arts at CERN is not just that artists can visit and be inspired by CERN. Its uniqueness lies in offering artists the opportunity to meet scientists and to learn about and become immersed in various scientific theories and problems without any expected or defined product or outcome. Arts at CERN's mottos are "Colliding Art and Science" and "Great Arts for Great Science"--and the result is captivating. [ILLUSTRATION OMITTED] One of the first artworks produced from the art/science "collision" is Versuch unter Kreisen (2012) by German artist Julius von Bismarck. In the exhibition space, four industrial lights hang from the ceiling, rotating in motorized patterns. As viewers enter the space, they automatically try to identify the patterns, but the lights move between order and chaos, between law and disorder. Although there is no overall regular circling of the lights, the mind tries to recognize a law to rationalize them, and this is the most interesting aspect of the piece. There is a pressing need to und
位于瑞士日内瓦的欧洲核子研究组织，简称CERN(来自法语Conseil Europeen pour la Recherche Nucleaire)是粒子物理学领域的一个庞大的国际研究项目，以“CERN加速科学”为座右铭，探索宇宙的起源和组成。一项有趣的研究旨在证明brout - englerhiggs机制背后的理论，即在大爆炸之后，整个宇宙存在于一个场(希格斯场)中，这将允许粒子相互作用并具有质量。这将最终解释我们是如何存在的。几十年来，为了进行这项研究，人们采用了广泛的手段。任何参观该场所的人都不能不对该倡议的广泛性和规模印象深刻。为了充分描述它，人们不得不借助令人印象深刻的数字:现在著名的大型强子对撞机的地下设施由一个27公里长的壮观环组成，埋在地下大约100米，它是如此之大，以至于跨越了瑞士和法国之间的边界。欧洲核子研究中心的日常工作人员不少于2000人，来自100多个国家的近万名科学家在过去几十年里进行了合作。最后，还有什么比这更令人印象深刻的呢?当前位置欧洲核子研究中心科学家的粒子碰撞被描述为宇宙中最热的地方，比太阳还要热——或者，准确地说:比太阳中心还要热10万倍(尽管持续的时间极短)。正是在这种独特的背景下，国际文化战略家和策展人Ariane Koek发起、设计并指导了CERN的艺术(前身为Arts@CERN)，为艺术家和科学家提供了探索和共同工作的时间和空间。自2011年以来，欧洲核子研究中心的艺术已经为艺术家们举办了一系列的驻留项目。(1)然而，欧洲核子研究中心艺术的独特之处并不仅仅在于艺术家可以参观并受到欧洲核子研究中心的启发。它的独特之处在于为艺术家提供了与科学家见面的机会，并在没有任何预期或确定的产品或结果的情况下，学习并沉浸在各种科学理论和问题中。欧洲核子研究中心的艺术座右铭是“碰撞艺术与科学”和“伟大的艺术为伟大的科学”——结果是迷人的。从艺术与科学的“碰撞”中产生的第一批作品之一是德国艺术家朱利叶斯·冯·俾斯麦(Julius von Bismarck)于2012年创作的Versuch unter Kreisen。在展览空间中，四盏工业灯悬挂在天花板上，以机动模式旋转。当观众进入空间时，他们会自动尝试识别模式，但灯光在秩序和混乱之间，在法律和无序之间移动。虽然没有灯光的整体规则循环，但大脑试图识别出一种规律，使它们合理化，这是这件作品最有趣的方面。我们迫切需要了解光的“本质”。因此，“启蒙”装置在对模式的明显理解和缺乏理解之间摇摆。它最终为艺术和科学提供了一个震撼人心的隐喻:寻找自然的规律和非理性的美，以及通过一系列的发现和理论看到的对自然的失去和重新获得的理解。欧洲粒子物理研究所最近的一项作品是《地平线的不确定性》(2016)，由瑞士艺术家鲁迪·迪克利埃尔和文森特·哈尼、物理学家罗伯特·基弗和宇宙学家迭戈·拜厄斯创作，由POWA协会制作。在欧洲核子研究中心的一个仓库设施中，888台微型合成器和扬声器组成了一个网络，就像一个充满噼啪声和火花的银河。每个扬声器都有相同的算法，接收、分析并向三个相邻的扬声器发出不同的信息和声音。通常隐藏在多媒体装置中的扬声器，在这里是裸露的。…
{"title":"When Art and Science Collide: Arts at CERN","authors":"Gabrielle Decamous","doi":"10.1525/AFT.2016.44.3.6","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.6","url":null,"abstract":"Located in Geneva, Switzerland, the European Organization for Nuclear Research, known as CERN (from the French Conseil Europeen pour la Recherche Nucleaire) is an immense international research project in particle physics that inquires into the origin and composition of the universe under the motto \"CERN accelerating science.\" One interesting study aims at demonstrating the theory behind the Brout-EnglertHiggs mechanism, that the whole universe existed within a field (the Higgs field) after the Big Bang, which would have allowed the particles to interact and have mass. This would ultimately explain how we exist. In order to pursue the research, extensive means have been employed over several decades. Anyone visiting the premises cannot but be impressed by the vastness and magnitude of the initiative. In order to fully describe it, one has to resort to impressive if not showy numbers: the underground facilities of the now famous Large Hadron Collider consist of an imposing ring that measures twenty-seven kilometers, is buried approximately one hundred meters underground, and is so big that it crosses the border between Switzerland and France. No fewer than two thousand people employed by CERN run its daily activities, and nearly ten thousand scientists from over one hundred countries have collaborated over several decades. Finally, what could be more impressive than this?: CERN scientists' collisions of particles are described as the hottest spots in the universe, hotter than the sun--or, to be precise: one hundred thousand times hotter than the center of the sun (albeit for an extremely short period of time). It is in this unique context that international cultural strategist and curator Ariane Koek initiated, designed, and directed Arts at CERN (formerly Arts@CERN) to give time and space for artists and scientists to explore and work together. Since 2011, Arts at CERN has hosted a series of residency programs for artists. (1) Yet the uniqueness of Arts at CERN is not just that artists can visit and be inspired by CERN. Its uniqueness lies in offering artists the opportunity to meet scientists and to learn about and become immersed in various scientific theories and problems without any expected or defined product or outcome. Arts at CERN's mottos are \"Colliding Art and Science\" and \"Great Arts for Great Science\"--and the result is captivating. [ILLUSTRATION OMITTED] One of the first artworks produced from the art/science \"collision\" is Versuch unter Kreisen (2012) by German artist Julius von Bismarck. In the exhibition space, four industrial lights hang from the ceiling, rotating in motorized patterns. As viewers enter the space, they automatically try to identify the patterns, but the lights move between order and chaos, between law and disorder. Although there is no overall regular circling of the lights, the mind tries to recognize a law to rationalize them, and this is the most interesting aspect of the piece. There is a pressing need to und","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124461513","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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