In 1970 a group of young radicals moved out of their SoHo loft and to Maple Tree Farm, a rambling 27-room boarding house in Lanesville, a tiny town in Upstate New York. They called themselves the Videofreex, and they operated as a collective, collaborative media-production unit. A year before this exodus from New York City, in 1969, two future Freex, David Cort and Parry Teasdale, met at the Woodstock Music Festival. They immediately recognized each other as fellow travelers by virtue of the fact that they both had early video cameras. IMAGE 1. Screenshot of The Now Project CBS TV by Videofreex being screened in December 1969 at the Prince Street studio (1969/2019); courtesy Videofreex. While living in the loft, owned by Videofreex Mary Curtis Ratcliffe, the group had been hosting all night parties and video screenings where they would play back video to each other or an array of amazed audience members. They also managed to be hired by CBS to make a “youth culture” video documentary series titled Subject to Change (1969). The Freex spent several months in production, collecting prescient, electrifying footage of protests, arrests, Abbie Hoffman saying “fuck,” Black Panthers discussing police violence, and psychedelic performance art. CBS had wanted something more au courant to take the place of the S mothers Brothers Comedy Hour , which had recently been cancelled amid much controversy over antiwar content. Perhaps unsurprisingly, the even more controversial (and certainly far more weird) Subject to Change show was cancelled before it was even aired. However, the Freex were allowed to keep equipment and their initial payments from the show, which outfitted them nicely for their subsequent …
1970年，一群年轻的激进分子搬出了他们在苏活区的阁楼，搬到了枫树农场。枫树农场是位于纽约州北部小镇兰斯维尔的一所杂乱无章的27间寄宿公寓。他们称自己为Videofreex，他们作为一个集体合作的媒体制作单位运作。离开纽约的前一年，也就是1969年，两位未来的Freex, David Cort和Parry Teasdale，在伍德斯托克音乐节上相遇。他们立刻认出彼此是同路人，因为他们都有早期的摄像机。图片1。The Now Project CBS TV by Videofreex于1969年12月在王子街工作室放映的截图(1969/2019);礼貌Videofreex。住在这个由玛丽·柯蒂斯·拉特克利夫(Mary Curtis Ratcliffe)拥有的阁楼里时，他们经常举办通宵派对和视频放映会，互相播放视频，或者向一群惊奇的观众播放视频。他们还被哥伦比亚广播公司(CBS)聘请，制作了一部名为《变化无常》(Subject to Change, 1969)的“青年文化”系列纪录片。Freex花了几个月的时间制作，收集了抗议、逮捕、阿比·霍夫曼(Abbie Hoffman)说“他妈的”、黑豹党(Black Panthers)讨论警察暴力和迷幻表演艺术的先见之明、令人震惊的镜头。哥伦比亚广播公司(CBS)曾希望以更新鲜的节目取代最近因反战内容引发争议而被取消的《母亲兄弟喜剧时间》(S mothers Brothers Comedy Hour)。也许并不令人意外的是，更有争议(当然也更奇怪)的《变化无常》节目在播出之前就被取消了。然而，Freex被允许保留设备和他们从展览中获得的初始付款，这使他们为随后的…
{"title":"Media Ecology and Cultural Climate Change","authors":"Liz Flyntz","doi":"10.1525/aft.2020.471005","DOIUrl":"https://doi.org/10.1525/aft.2020.471005","url":null,"abstract":"In 1970 a group of young radicals moved out of their SoHo loft and to Maple Tree Farm, a rambling 27-room boarding house in Lanesville, a tiny town in Upstate New York. They called themselves the Videofreex, and they operated as a collective, collaborative media-production unit.\u0000\u0000A year before this exodus from New York City, in 1969, two future Freex, David Cort and Parry Teasdale, met at the Woodstock Music Festival. They immediately recognized each other as fellow travelers by virtue of the fact that they both had early video cameras.\u0000\u0000\u0000\u0000IMAGE 1. \u0000Screenshot of The Now Project CBS TV by Videofreex being screened in December 1969 at the Prince Street studio (1969/2019); courtesy Videofreex.\u0000\u0000\u0000\u0000While living in the loft, owned by Videofreex Mary Curtis Ratcliffe, the group had been hosting all night parties and video screenings where they would play back video to each other or an array of amazed audience members. They also managed to be hired by CBS to make a “youth culture” video documentary series titled Subject to Change (1969). The Freex spent several months in production, collecting prescient, electrifying footage of protests, arrests, Abbie Hoffman saying “fuck,” Black Panthers discussing police violence, and psychedelic performance art. CBS had wanted something more au courant to take the place of the S mothers Brothers Comedy Hour , which had recently been cancelled amid much controversy over antiwar content. Perhaps unsurprisingly, the even more controversial (and certainly far more weird) Subject to Change show was cancelled before it was even aired. However, the Freex were allowed to keep equipment and their initial payments from the show, which outfitted them nicely for their subsequent …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116490627","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":"Visible Things Unseen","authors":"Reece Auguiste","doi":"10.1525/aft.2020.471007","DOIUrl":"https://doi.org/10.1525/aft.2020.471007","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"2007 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125577445","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":"Review: The Digital Plenitude: The Decline of Elite Culture and the Rise of New Media, by Jay David Bolter","authors":"S. Amon","doi":"10.1525/aft.2020.471015","DOIUrl":"https://doi.org/10.1525/aft.2020.471015","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115601707","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}
Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America , by Matthew Fox-Amato. Oxford University Press, 2019. 360 pp./$39.95 (hb). American photography's role in shaping nineteenth-century attitudes around slavery has been explored in a range of academic disciplines, including art history, American studies, African American studies, women's and gender studies, and literary studies. The photograph has been studied as a valuable discursive object from which we can glean information about how enslaved black people were viewed by the state, violated at the hands of slave-owning families, and mobilized for consensus purposes by Northern abolitionists prior to the Civil War. Ex-slaves such as Frederick Douglass, Sojourner Truth, and Harriet Tubman realized the political stakes of image-making in the production, circulation, and formation of more liberating portraits of black identity. Provided that nineteenth-century photography illuminates so clearly the politics at play in both the defense of and protest against the United States slave economy, its absence in American historical scholarship is particularly curious. Matthew Fox-Amato works to address this gap in Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America , which not only historicizes the rise of the daguerreotype in the US during American slavery, but takes on the task of telling a more expansive account of nineteenth-century photographic culture in the US. This account argues that the South played a more active role in the production of slave photography than previously articulated in nineteenth-century scholarship on US photographic culture. Through extensive archival research, Fox-Amato pieces together, for instance, how central daguerreotypes were for slaveholders, who would commission family portrait-style images of their slaves. These commissioned photographs reveal the paradoxical perception of slaves by their masters, who viewed them as property yet “framed” …
{"title":"Review: Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America, by Matthew Fox-Amato","authors":"L. Mensah","doi":"10.1525/aft.2019.464007","DOIUrl":"https://doi.org/10.1525/aft.2019.464007","url":null,"abstract":"Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America , by Matthew Fox-Amato. Oxford University Press, 2019. 360 pp./$39.95 (hb).\u0000\u0000\u0000\u0000American photography's role in shaping nineteenth-century attitudes around slavery has been explored in a range of academic disciplines, including art history, American studies, African American studies, women's and gender studies, and literary studies. The photograph has been studied as a valuable discursive object from which we can glean information about how enslaved black people were viewed by the state, violated at the hands of slave-owning families, and mobilized for consensus purposes by Northern abolitionists prior to the Civil War. Ex-slaves such as Frederick Douglass, Sojourner Truth, and Harriet Tubman realized the political stakes of image-making in the production, circulation, and formation of more liberating portraits of black identity. Provided that nineteenth-century photography illuminates so clearly the politics at play in both the defense of and protest against the United States slave economy, its absence in American historical scholarship is particularly curious.\u0000\u0000Matthew Fox-Amato works to address this gap in Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America , which not only historicizes the rise of the daguerreotype in the US during American slavery, but takes on the task of telling a more expansive account of nineteenth-century photographic culture in the US. This account argues that the South played a more active role in the production of slave photography than previously articulated in nineteenth-century scholarship on US photographic culture. Through extensive archival research, Fox-Amato pieces together, for instance, how central daguerreotypes were for slaveholders, who would commission family portrait-style images of their slaves. These commissioned photographs reveal the paradoxical perception of slaves by their masters, who viewed them as property yet “framed” …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124846333","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}
IMAGE 1. Installation view of Moving Backwards (2019) by Pauline Boudry and Renate Lorenz in the Swiss Pavilion at the Venice Biennale 2019; courtesy the artists; photograph by Annik Wetter. Can dancing be a survival strategy? Such is the question posed by artist Mirkan Deniz in her examination of a Kurdish “guerrilla dance” as a site of resistance. Deniz's query was included in the series of letters to the visitor distributed along with Pauline Boudry and Renate Lorenz's film installation Moving Backwards (2019) in the Swiss Pavilion at this year's Venice Biennale (May 11–November 24, 2019). The urgency of our present moment permeated much of the sprawling biennial, grouped loosely under the apocryphal proverb and curse “May You Live In Interesting Times.” Artists tackled climate catastrophe, rising right-wing nationalism and authoritarianism, refugee crises, and other pressing social and political issues in a range of media and with a variety of attitudes. Moving image installation invites surrender to a different temporality amid the fast-paced tempo of both these “interesting times” and the packed itinerary of biennale tourists, and it figured prominently in the group show curated by Ralph Rugoff at the Giardini and Arsenale locations as well as in numerous pavilions and collateral events scattered throughout the city. Of the twenty-nine national pavilions of the Giardini—the Biennale's original location and where national pavilions first emerged in the beginning of the twentieth century—eleven prominently featured moving image artworks, and these ranged widely in both quality and tone. Laure Prouvost's beautiful, frenetic, and surreal journey film Deep See Blue Surrounding You (2019) and Larissa Sansour's tense two-channel take on the psychological sci-fi thriller in Heirloom …
图片1。2019年威尼斯双年展瑞士馆宝琳·鲍德里和雷纳特·洛伦兹的装置作品《向后移动》(2019);感谢艺术家;摄影:Annik Wetter跳舞能成为一种生存策略吗?这是艺术家米尔坎·德尼兹(Mirkan Deniz)在审视库尔德人的“游击舞蹈”作为反抗场所时提出的问题。在今年的威尼斯双年展(2019年5月11日至11月24日)的瑞士馆，与Pauline Boudry和Renate Lorenz的电影装置《Moving Backwards》(2019)一起分发给参观者的一系列信件中包含了Deniz的疑问。我们当下的紧迫性贯穿了这场规模庞大的双年展的大部分内容，它松散地集中在一句杜撰的谚语和一句“愿你生活在有趣的时代”(May You Live In Interesting Times)之下。艺术家们在一系列媒体中以各种态度处理气候灾难、右翼民族主义和威权主义抬头、难民危机以及其他紧迫的社会和政治问题。在这些“有趣的时代”的快节奏节奏和双年展游客的繁忙行程中，动态图像装置邀请人们屈服于不同的时间性，它在拉尔夫·鲁戈夫(Ralph Rugoff)在Giardini和Arsenale地点策划的群展以及遍布城市的众多展馆和附带活动中占据突出地位。在giardini双年展的29个国家馆中——双年展的原址和20世纪初国家馆首次出现的地方——11个国家馆突出地展示了运动图像艺术作品，这些作品在质量和色调上都很广泛。劳尔·普鲁沃美丽、狂热、超现实的旅行电影《深见蓝色环绕你》(2019)和拉里萨·桑索尔紧张的双频道心理科幻惊悚片《传家宝》……
{"title":"Moving Image Installation, Dance, and Resistance at the 2019 Venice Biennale","authors":"Annie Dell'aria","doi":"10.1525/aft.2019.464001","DOIUrl":"https://doi.org/10.1525/aft.2019.464001","url":null,"abstract":"IMAGE 1. \u0000Installation view of Moving Backwards (2019) by Pauline Boudry and Renate Lorenz in the Swiss Pavilion at the Venice Biennale 2019; courtesy the artists; photograph by Annik Wetter.\u0000\u0000\u0000\u0000Can dancing be a survival strategy? Such is the question posed by artist Mirkan Deniz in her examination of a Kurdish “guerrilla dance” as a site of resistance. Deniz's query was included in the series of letters to the visitor distributed along with Pauline Boudry and Renate Lorenz's film installation Moving Backwards (2019) in the Swiss Pavilion at this year's Venice Biennale (May 11–November 24, 2019). The urgency of our present moment permeated much of the sprawling biennial, grouped loosely under the apocryphal proverb and curse “May You Live In Interesting Times.” Artists tackled climate catastrophe, rising right-wing nationalism and authoritarianism, refugee crises, and other pressing social and political issues in a range of media and with a variety of attitudes.\u0000\u0000Moving image installation invites surrender to a different temporality amid the fast-paced tempo of both these “interesting times” and the packed itinerary of biennale tourists, and it figured prominently in the group show curated by Ralph Rugoff at the Giardini and Arsenale locations as well as in numerous pavilions and collateral events scattered throughout the city. Of the twenty-nine national pavilions of the Giardini—the Biennale's original location and where national pavilions first emerged in the beginning of the twentieth century—eleven prominently featured moving image artworks, and these ranged widely in both quality and tone. Laure Prouvost's beautiful, frenetic, and surreal journey film Deep See Blue Surrounding You (2019) and Larissa Sansour's tense two-channel take on the psychological sci-fi thriller in Heirloom …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114063745","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}
James Baldwin's novel If Beale Street Could Talk (1974) takes the reader through a saga of injustice that finds a young black man in prison near Harlem in the 1970s. This is a love story—the lustful, playful kind—between Fony and Tish, intertwined with Tish's family's trust, which strives to keep the couple strong throughout his incarceration and her pregnancy. This is a devastating portrayal of a family that is armed with irony, grace, and intelligence but that still cannot protect the couple from the hate stacked against them. The young woman's narrative voice conveys the terror and the tenderness. The groans of painful histories, the sighs of joyful family communion, and the acute witnessings of a woman in Baldwin's novel are akin to the voices that resonate throughout Carrie Mae Weems's incisive photographic and multimedia work from the mid-1980s to the end of this current decade. My attraction to the intertwining trajectories of Weems's exquisite work compels me to consider the poetic strategies within her expansive documentary practice. Looking back to consummate projects that address social injustice and cultural violence primarily directed toward African American people allows an investigation into Weems's ingenious reformulations of the traditional means of documentary photography. Her rethinking gives renewed life to the core vitality of the genre: to teach, to warn, and to mourn. Weems's early approaches to documentary photographic strategies began in 1984, working from the early twentieth-century black Harlem photographers' tradition …
詹姆斯·鲍德温的小说《如果比尔街会说话》(1974年)带领读者经历了20世纪70年代在哈莱姆附近的监狱里发现一个年轻黑人的不公正传奇。这是一个关于Fony和Tish之间的爱情故事——淫欲的，顽皮的那种，与Tish家人的信任交织在一起，在他被监禁和Tish怀孕期间，他们努力让这对夫妇保持坚强。这是对一个拥有讽刺、优雅和智慧的家庭的毁灭性描绘，但仍然无法保护这对夫妇免受堆积在他们身上的仇恨。年轻女子的叙事声音传达了恐惧和温柔。在鲍德温的小说中，痛苦的历史的呻吟，欢乐的家庭交流的叹息，以及对一个女人的敏锐见证，与嘉莉·梅·威姆斯(Carrie Mae Weems)从20世纪80年代中期到本世纪末的敏锐摄影和多媒体作品中回荡的声音相似。我被威姆斯精美作品的交织轨迹所吸引，这迫使我考虑她广泛的纪录片实践中的诗歌策略。回顾那些解决主要针对非裔美国人的社会不公正和文化暴力的完美项目，可以让我们调查威姆斯对传统纪实摄影手段的巧妙重新构想。她的反思赋予了这一流派的核心生命力:教导、警告和哀悼。威姆斯的纪实摄影策略的早期方法始于1984年，从20世纪早期黑人哈莱姆摄影师的传统…
{"title":"The Poetics of Carrie Mae Weems's Documentary Portraits Past and Present","authors":"Andrea Liss","doi":"10.1525/aft.2019.464005","DOIUrl":"https://doi.org/10.1525/aft.2019.464005","url":null,"abstract":"James Baldwin's novel If Beale Street Could Talk (1974) takes the reader through a saga of injustice that finds a young black man in prison near Harlem in the 1970s. This is a love story—the lustful, playful kind—between Fony and Tish, intertwined with Tish's family's trust, which strives to keep the couple strong throughout his incarceration and her pregnancy. This is a devastating portrayal of a family that is armed with irony, grace, and intelligence but that still cannot protect the couple from the hate stacked against them. The young woman's narrative voice conveys the terror and the tenderness.\u0000\u0000The groans of painful histories, the sighs of joyful family communion, and the acute witnessings of a woman in Baldwin's novel are akin to the voices that resonate throughout Carrie Mae Weems's incisive photographic and multimedia work from the mid-1980s to the end of this current decade. My attraction to the intertwining trajectories of Weems's exquisite work compels me to consider the poetic strategies within her expansive documentary practice. Looking back to consummate projects that address social injustice and cultural violence primarily directed toward African American people allows an investigation into Weems's ingenious reformulations of the traditional means of documentary photography. Her rethinking gives renewed life to the core vitality of the genre: to teach, to warn, and to mourn. Weems's early approaches to documentary photographic strategies began in 1984, working from the early twentieth-century black Harlem photographers' tradition …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125080292","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}
DEMOCRACIA/ORDER : Station Museum of Contemporary Art. Houston, Texas: April 27–August 18, 2019. DEMOCRACIA/ORDER was a solo exhibition that took place earlier this year at the Station Museum of Contemporary Art in Houston, Texas. It featured two series by the Spanish art collective DEMOCRACIA, formed by artists Ivan Lopez and Pablo Espana. The two artists have collaborated since 2006 and have consistently created projects that challenge the sociopolitical status quo. Their practice's hard-left approach aims to confront their audiences with uncomfortable topics such as the failure of democracy, social inequality, mindless consumerism, and the state as an apparatus of oppression, while pointing to our indolent complacency in regard to these issues. One of the series in the exhibition included a three-part operatic film titled ORDER (2018), accompanied by an installation that presented photographs, video stills, placards, and other ephemera borrowed from the performances captured in each part of the film. ORDER was shown alongside works from the installation We Protect You From Yourselves (2013–18). The exhibition sought to condemn contemporary capitalism, socioeconomic inequalities, and the failure of democratic politics. The film was shown in a dark room separated by a curtain from the We Protect You From Yourselves installation as well as from the other components of the ORDER installation. Before entering the screening area, viewers passed by the film's relics laid out on the floor of the exhibit space, or mounted in box frames on the museum's walls alongside film stills and photographic documentation. The curatorial choice to present the series in …
DEMOCRACIA/ORDER:车站当代艺术博物馆。德克萨斯州休斯顿:2019年4月27日至8月18日。DEMOCRACIA/ORDER是今年早些时候在德克萨斯州休斯顿的车站当代艺术博物馆举办的个展。它展示了由艺术家Ivan Lopez和Pablo Espana组成的西班牙艺术团体DEMOCRACIA的两个系列。两位艺术家自2006年开始合作，并不断创作挑战社会政治现状的项目。他们的实践采用了极左翼的方式，旨在让观众面对一些令人不安的话题，比如民主的失败、社会不平等、盲目的消费主义和作为压迫机器的国家，同时指出我们在这些问题上的懒惰自满。展览中的一个系列包括一部由三部分组成的歌剧电影《ORDER》(2018)，并配有一个装置，展示了从电影每个部分捕捉的表演中借来的照片、视频剧照、海报和其他短暂的东西。《ORDER》与装置作品《We Protect You from ourselves》(2013-18)一同展出。这次展览旨在谴责当代资本主义、社会经济不平等和民主政治的失败。这部电影在一个黑暗的房间里放映，这个房间与“我们保护你免受你们自己的伤害”装置以及“秩序”装置的其他组件隔开。在进入放映区之前，观众们会经过摆放在展览空间地板上的电影遗物，或者与电影剧照和摄影文献一起挂在博物馆墙上的盒子框里。策展人选择在…
{"title":"Review: DEMOCRACIA/ORDER","authors":"Yoli Terziyska","doi":"10.1525/aft.2019.464006","DOIUrl":"https://doi.org/10.1525/aft.2019.464006","url":null,"abstract":"DEMOCRACIA/ORDER : Station Museum of Contemporary Art. Houston, Texas: April 27–August 18, 2019.\u0000\u0000DEMOCRACIA/ORDER was a solo exhibition that took place earlier this year at the Station Museum of Contemporary Art in Houston, Texas. It featured two series by the Spanish art collective DEMOCRACIA, formed by artists Ivan Lopez and Pablo Espana. The two artists have collaborated since 2006 and have consistently created projects that challenge the sociopolitical status quo. Their practice's hard-left approach aims to confront their audiences with uncomfortable topics such as the failure of democracy, social inequality, mindless consumerism, and the state as an apparatus of oppression, while pointing to our indolent complacency in regard to these issues.\u0000\u0000One of the series in the exhibition included a three-part operatic film titled ORDER (2018), accompanied by an installation that presented photographs, video stills, placards, and other ephemera borrowed from the performances captured in each part of the film. ORDER was shown alongside works from the installation We Protect You From Yourselves (2013–18). The exhibition sought to condemn contemporary capitalism, socioeconomic inequalities, and the failure of democratic politics.\u0000\u0000The film was shown in a dark room separated by a curtain from the We Protect You From Yourselves installation as well as from the other components of the ORDER installation. Before entering the screening area, viewers passed by the film's relics laid out on the floor of the exhibit space, or mounted in box frames on the museum's walls alongside film stills and photographic documentation. The curatorial choice to present the series in …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126783303","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 Social Photo: On Photography and Social Media , by Nathan Jurgenson. Verso, 2019. 144 pp./$19.95 (sb). Snapchat sociologist Nathan Jurgenson's new book, The Social Photo: On Photography and Social Media , is a sprawling consideration of social media as a new photographic ecosystem. Jurgenson crystallizes a working definition of the “social photo” that works against the widespread dismissal of contemporary media culture as socially invalid and inauthentic. It also delineates the replacement of photographic nostalgia with ephemerality and reconsiders documentary vision in light of the social media feed. Jurgenson states that he aims “to sensitize more than convince,” and The Social Photo does ultimately fall short of any unified theory of social media photography (11). It skirts both the social-scientific evidence and theoretical depth that could have made a more meaningful contribution to the literature, but it seeds a rethinking of mass photography and does so fashionably. Jurgenson ascribes three primary qualities to social photography, which he describes as “a type of photography made ubiquitous by networked, digital sharing” (8). It prioritizes communication over aesthetics; its images are properly understood in streams, rather than singly; and its ephemerality is key. Social photography encompasses cultural practices that surpass art history and artworld criticism, and Jurgenson makes a useful case that the presuppositions of aesthetic supremacy, technical importance, and visual originality are not productive measures of …
《社交照片:关于摄影和社交媒体》，作者:内森·尤根森。左页,2019年。144页/ 19.95美元(某人)Snapchat社会学家内森·尤根森(Nathan Jurgenson)的新书《社交照片:论摄影和社交媒体》(The Social Photo: On Photography and Social Media)对社交媒体作为一种新的摄影生态系统进行了广泛的思考。Jurgenson明确了“社交照片”的工作定义，以反对对当代媒体文化的普遍不屑一顾，认为它在社会上无效且不真实。它还描绘了用短暂性取代摄影怀旧，并根据社交媒体的动态重新考虑纪录片的视觉。Jurgenson表示，他的目标是“让人们更加敏感，而不是让人们信服”，而《社交照片》最终没有形成任何关于社交媒体摄影的统一理论(11)。它避开了社会科学的证据和理论的深度，这些都可以为文学做出更有意义的贡献，但它播下了对大众摄影的重新思考，并且做得很时尚。Jurgenson将社交摄影归结为三个主要特征，他将其描述为“一种通过网络、数字共享而无处不在的摄影类型”(8)。它的形象是在溪流中而不是单独地被理解的;它的短暂性是关键。社会摄影包含了超越艺术史和艺术界批评的文化实践，Jurgenson提出了一个有用的案例，即美学至上、技术重要性和视觉独创性的前提不是……
{"title":"Review: The Social Photo: On Photography and Social Media, by Nathan Jurgenson","authors":"S. Amon","doi":"10.1525/aft.2019.464008","DOIUrl":"https://doi.org/10.1525/aft.2019.464008","url":null,"abstract":"The Social Photo: On Photography and Social Media , by Nathan Jurgenson. Verso, 2019. 144 pp./$19.95 (sb).\u0000\u0000\u0000\u0000Snapchat sociologist Nathan Jurgenson's new book, The Social Photo: On Photography and Social Media , is a sprawling consideration of social media as a new photographic ecosystem. Jurgenson crystallizes a working definition of the “social photo” that works against the widespread dismissal of contemporary media culture as socially invalid and inauthentic. It also delineates the replacement of photographic nostalgia with ephemerality and reconsiders documentary vision in light of the social media feed. Jurgenson states that he aims “to sensitize more than convince,” and The Social Photo does ultimately fall short of any unified theory of social media photography (11). It skirts both the social-scientific evidence and theoretical depth that could have made a more meaningful contribution to the literature, but it seeds a rethinking of mass photography and does so fashionably.\u0000\u0000Jurgenson ascribes three primary qualities to social photography, which he describes as “a type of photography made ubiquitous by networked, digital sharing” (8). It prioritizes communication over aesthetics; its images are properly understood in streams, rather than singly; and its ephemerality is key. Social photography encompasses cultural practices that surpass art history and artworld criticism, and Jurgenson makes a useful case that the presuppositions of aesthetic supremacy, technical importance, and visual originality are not productive measures of …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124905322","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}
> I once knew a man who invented his own language. He would give directions to strangers in a fictional tongue, relentlessly waving his arms and pointing as he ranted. He wore a fur coat that hung to his ankles, but only on the hottest days of summer. I remember a time when he carried around a very large papier mâche rat that he had found. For a week or more he paraded up and down the street with this giant dead rodent over one shoulder and a baseball bat over the other, shouting, “I finally got that son of a bitch; I finally got him.” He could be heard in the bank asking for a withdrawal of fifty thousand nickels. His car was equipped with a series of mirrors placed on the front seat and the dashboard, which allowed him to drive down the street using the mirrors as a visual guide, giving the appearance of a car moving along without a driver. He called himself and everyone else Doctor Wobble Dobble. The man was my neighbor and a daily presence in my childhood. His influence had a profound impact on my becoming an artist. > > —John Knecht, program notes on The Wobble Dobble Series in Six Parts (2000) Media artist John Knecht's work, and particularly his recent projects, made for flat-screen gallery installation and digital projection, has been finding an expanding audience on Facebook, as well as in galleries and on …
{"title":"Continuing Deluge","authors":"Scott Macdonald","doi":"10.1525/aft.2019.464004","DOIUrl":"https://doi.org/10.1525/aft.2019.464004","url":null,"abstract":"> I once knew a man who invented his own language. He would give directions to strangers in a fictional tongue, relentlessly waving his arms and pointing as he ranted. He wore a fur coat that hung to his ankles, but only on the hottest days of summer. I remember a time when he carried around a very large papier mâche rat that he had found. For a week or more he paraded up and down the street with this giant dead rodent over one shoulder and a baseball bat over the other, shouting, “I finally got that son of a bitch; I finally got him.” He could be heard in the bank asking for a withdrawal of fifty thousand nickels. His car was equipped with a series of mirrors placed on the front seat and the dashboard, which allowed him to drive down the street using the mirrors as a visual guide, giving the appearance of a car moving along without a driver. He called himself and everyone else Doctor Wobble Dobble. The man was my neighbor and a daily presence in my childhood. His influence had a profound impact on my becoming an artist.\u0000> \u0000> —John Knecht, program notes on The Wobble Dobble Series in Six Parts (2000)\u0000Media artist John Knecht's work, and particularly his recent projects, made for flat-screen gallery installation and digital projection, has been finding an expanding audience on Facebook, as well as in galleries and on …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130262445","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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