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| each wild idea writing photography history: Each Wild Idea Geoffrey Batchen, 2002-02-22 Essays on photography and the medium's history and evolving identity. In Each Wild Idea, Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs—from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at—rather than beyond—the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity. |
| each wild idea writing photography history: New Media, Old Media Wendy Hui Kyong Chun, Thomas Keenan, 2006 In this history of new media technologies, leading media and cultural theorists examine new media against the background of traditional media such as film, photography, and print in order to evaluate the multiple claims made about the benefits and freedom of digital media. |
| each wild idea writing photography history: Photography and Australia Helen Ennis, 2007 'Photography and Australia' focuses on those aspects of photographic practice that can be considered distinctively Australian. It argues that the colonial experience has been crucial in shaping photographers' concerns. |
| each wild idea writing photography history: Flash! Kate Flint, 2017-11-28 Flash! presents a fascinating cultural history of flash photography, from its mid-nineteenth century beginnings to the present day. All photography requires light, but the light of flash photography is quite distinctive: artificial, sudden, shocking, intrusive, and extraordinarily bright. Associated with revelation and wonder, it has been linked to the sublimity of lightning. Yet it has also been reviled: it's inseparable from anxieties about intrusion and violence, it creates a visual disturbance, and its effects are often harsh and create exaggerated contrasts. Flash! explores flash's power to reveal shocking social conditions, its impact on the representation of race, its illumination of what would otherwise remain hidden in darkness, and its capacity to put on display the most mundane corners of everyday life. It looks at flash's distinct aesthetics, examines how paparazzi chase celebrities, how flash is intimately linked to crime, how flash has been used to light up - and interrupt - countless family gatherings, how flash can 'stop time' allowing one to photograph rapidly moving objects or freeze in a strobe, and it considers the biggest flash of all, the atomic bomb. Examining the work of professionals and amateurs, news hounds and art photographers, photographers of crime and of wildlife, the volume builds a picture of flash's place in popular culture, and its role in literature and film. Generously illustrated throughout, Flash! brings out the central role of this medium to the history of photography and challenges some commonly held ideas about the nature of photography itself. |
| each wild idea writing photography history: Photography and Other Media in the Nineteenth Century Nicoletta Leonardi, Simone Natale, 2018-02-05 In this volume, leading scholars of photography and media examine photography’s vital role in the evolution of media and communication in the nineteenth century. In the first half of the nineteenth century, the introduction of telegraphy, the development of a cheaper and more reliable postal service, the rise of the mass-circulation press, and the emergence of the railway dramatically changed the way people communicated and experienced time and space. Concurrently, photography developed as a medium that changed how images were produced and circulated. Yet, for the most part, photography of the era is studied outside the field of media history. The contributors to this volume challenge those established disciplinary boundaries as they programmatically explore the intersections of photography and “new media” during a period of fast-paced change. Their essays look at the emergence and early history of photography in the context of broader changes in the history of communications; the role of the nascent photographic press in photography’s infancy; and the development of photographic techniques as part of a broader media culture that included the mass-consumed novel, sound recording, and cinema. Featuring essays by noteworthy historians in photography and media history, this discipline-shifting examination of the communication revolution of the nineteenth century is an essential addition to the field of media studies. In addition to the editors, contributors to this volume are Geoffrey Batchen, Geoffrey Belknap, Lynn Berger, Jan von Brevern, Anthony Enns, André Gaudreault, Lisa Gitelman, David Henkin, Erkki Huhtamo, Philippe Marion, Peppino Ortoleva, Steffen Siegel, Richard Taws, and Kim Timby. |
| each wild idea writing photography history: A Companion to Photography Stephen Bull, 2020-02-03 The study of photography has never been more important. A look at today's digital world reveals that a greater number of photographs are being taken each day than at any other moment in history. Countless photographs are disseminated instantly online and more and more photographic images are earning prominent positions and garnering record prices in the rarefied realm of top art galleries. Reflecting this dramatic increase in all things photographic, A Companion to Photography presents a comprehensive collection of original essays that explore a variety of key areas of current debate around the state of photography in the twenty-first century. Essays are grouped and organized in themed sections including photographic interpretation, markets, popular photography, documents, and fine art and provide comprehensive coverage of the subject. Representing a diversity of approaches, essays are written by both established and emerging photographers and scholars, as well as various experts in their respective areas. A Companion to Photography offers scholars and professional photographers alike an essential and up-to-date resource that brings the study of contemporary photography into clear focus. |
| each wild idea writing photography history: Photographs Objects Histories Elizabeth Edwards, Janice Hart, 2004-06 This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The book's contributions are drawn from disciplines including the history of photography, visual anthropology and art history, with case studies from a range of countries such as the Netherlands, North America, Australia, Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images. |
| each wild idea writing photography history: The Routledge Companion to Photography, Representation and Social Justice Moritz Neumüller, 2022-12-30 Including work by leading scholars, artists, scientists and practitioners in the field of visual culture, The Routledge Companion to Photography, Representation and Social Justice is a seminal reference source for the new roles and contexts of photography in the twenty-first century. Bringing together a diverse set of contributions from across the globe, the volume explores current debates surrounding post-colonial thinking, empowerment, identity, contemporary modes of self-representation, diversity in the arts, the automated creation and use of imagery in science and industry, vernacular imagery and social media platforms and visual mechanisms for control and manipulation in the age of surveillance capitalism and deep fakes, as well as the role of imagery in times of crisis, such as pandemics, wars and climate change. The analysis of these complex themes will be anchored in existing theoretical frameworks but also include new ways of thinking about social justice and representation and how to cope with our daily image tsunami. Individual chapters bring together a diverse set of contributions, featuring essays, interviews, conversations and case studies by artists, scientists, curators, scholars, medical doctors, astrophysicists and social activists, who all share a strong interest in how lens-based media have shaped our world in recent years. Expanding on contemporary debates within the field, the Companion is essential reading for photographers, scholars and students alike. |
| each wild idea writing photography history: Gender, Imperialism and Global Exchanges Stephan F. Miescher, Michele Mitchell, Naoko Shibusawa, 2015-03-09 Gender, Imperialism and Global Exchanges presents a collection of original readings that address gendered dimensions of empire from a wide range of geographical and temporal settings. Draws on original research on gender and empire in relation to labour, commodities, fashion, politics, mobility, and visuality Includes coverage of gender issues from countries in Africa, the Americas, Europe, and Asia between the eighteenth to twentieth centuries Highlights a range of transnational and transregional connections across the globe Features innovative gender analyses of the circulation of people, ideas, and cultural practices |
| each wild idea writing photography history: Archive, Slow Ideology and Egodocuments as Microhistorical Autobiography Sigurður Gylfi Magnússon, 2021-08-29 This book aims to demonstrate how scholars in recent times have been utilizing egodocuments from various angles and providing an opening for the multivocality of the sources to be fully appreciated. The first part of the book is concerned with the significance of egodocuments, both for the individual him/herself who creates such documents, and also for the other, who receives them. The author approaches the subject on the basis of his own personal experience, and goes on to discuss the importance of such documents for the academic world, emphasizing more general questions and issues within the fields of historiography, philosophy of history, microhistory, and memory studies. The second part of the book is based upon a photographic collection – an archive – that belonged to the author’s grandfather, who over decades accumulated photographs of vagabonds and outsiders. This part seeks to explore what kind of knowledge can be applied when a single source – an archive, document, letter, illustration, etc. – is examined, and whether the knowledge derived may not be quite as good in its own context as in the broader perspective. |
| each wild idea writing photography history: Meaningful Places Rachel McLean Sailor, 2014-03-01 The early history of photography in America coincided with the Euro-American settlement of the West. This thoughtful book argues that the rich history of western photography cannot be understood by focusing solely on the handful of well-known photographers whose work has come to define the era. Art historian Rachel Sailor points out that most photographers in the West were engaged in producing images for their local communities. These pictures didn’t just entertain the settlers but gave them a way to understand their new home. Photographs could help the settlers adjust to their new circumstances by recording the development of a place—revealing domestication, alteration, and improvement. The book explores the cultural complexity of regional landscape photography, western places, and local sociopolitical concerns. Photographic imagery, like western paintings from the same era, enabled Euro-Americans to see the new landscape through their own cultural lenses, shaping the idea of the frontier for the people who lived there. |
| each wild idea writing photography history: "Visions of the Industrial Age, 1830?914 " Amy Woodson-Boulton, 2017-07-05 Providing a comprehensive interdisciplinary assessment, and with a particular focus on expressions of tension and anxiety about modernity, this collection examines visual culture in nineteenth-century Europe as it attempted to redefine itself in the face of social change and new technologies. Contributing scholars from the fields of history, art, literature and the history of science investigate the role of visual representation and the dominance of the image by looking at changing ideas expressed in representations of science, technology, politics, and culture in advertising, art, periodicals, and novels. They investigate how, during the period, new emphasis was placed on the visual with emerging forms of mass communication?photography, lithography, newspapers, advertising, and cinema?while older forms as varied as poetry, the novel, painting, interior decoration, and architecture became transformed. The volume includes investigations into new innovations and scientific development such as the steam engine, transportation and engineering, the microscope, spirit photography, and the orrery, as well as how this new technology is reproduced in illustrated periodicals. The essays also look at more traditional forms of creative expression to show that the same concerns and anxieties about science, technology and the changing perceptions of the natural world can be seen in the art of Armand Guillaumin, Auguste Rodin, Gustave Caillebotte, and Camille Pissarro, in colonial nineteenth-century novels, in design manuals, in museums, and in the decorations of domestic interior spaces. Visions of the Industrial Age, 1830-1914 offers a thorough exploration of both the nature of modernity, and the nature of the visual. |
| each wild idea writing photography history: The Handbook of Photography Studies Gil Pasternak, 2020-08-13 The Handbook of Photography Studies is a state-of-the-art overview of the field of photography studies, examining its thematic interests, dynamic research methodologies and multiple scholarly directions. It is a source of well-informed, analytical and reflective discussions of all the main subjects that photography scholars have been concerned with as well as a rigorous study of the field’s persistent expansion at a time when digital technology regularly boosts our exposure to new and historical photographs alike. Split into five core parts, the Handbook analyzes the field’s histories, theories and research strategies; discusses photography in academic disciplinary and interdisciplinary contexts; draws out the main concerns of photographic scholarship; interrogates photography’s cultural and geopolitical influences; and examines photography’s multiple uses and continued changing faces. Each part begins with an introductory text, giving historical contextualization and scholarly orientation. Featuring the work of international experts, and offering diverse examples, insights and discussions of the field’s rich historiography, the Handbook provides critical guidance to the most recent research in photography studies. This pioneering and comprehensive volume presents a systematic synopsis of the subject that will be an invaluable resource for photography researchers and students from all disciplinary backgrounds in the arts, humanities and social sciences. |
| each wild idea writing photography history: History and Cultural Memory in Neo-Victorian Fiction Kate Mitchell, 2010-07-16 A PDF version of this book is available for free in open access via the OAPEN Library platform, www.oapen.org. Arguing that neo-Victorian fiction enacts and celebrates cultural memory, this book uses memory discourse to position these novels as dynamic participants in the contemporary historical imaginary. |
| each wild idea writing photography history: Image & Imagination Martha Langford, 2005 A richly illustrated exploration of the imagination in photography featuring the work of over sixty international artists. |
| each wild idea writing photography history: Rethinking Photography Peter Smith, Carolyn Lefley, 2015-09-16 Rethinking Photography is an accessible and illuminating critical introduction to the practice and interpretation of photography today. Peter Smith and Carolyn Lefley closely link critical approaches to photographic practices and present a detailed study of differing historical and contemporary perspectives on social and artistic functions of the medium, including photography as art, documentary forms, advertising and personal narratives. Richly illustrated full colour images throughout connect key concepts to real world examples. It also includes: Accessible book chapters on key topics including early photography, photography and industrial society, the rise of photography theory, critical engagement with anti-realist trends in the theory and practice of photography, photography and language, photography education, and photography and the creative economy Specific case studies on photographic practices include snapshot and portable box cameras, digital and mobile phone cultures, and computer-generated imagery Critical summaries of current photography theoretical studies in the field, displaying how critical theory has been mapped on to working practices of photographers and students In-depth profiles of selected key photographers and theorists and studies of their professional practices Assessment of photography as a key area of contemporary aesthetic debate Focused and critical study of the world of working photographers beyond the horizons of the academy. Rethinking Photography provides readers with an engaging mix of photographic case studies and an accessible exploration of essential theory. It is the perfect guide for students of Photography, Fine Art, Art History, and Graphic Design as well as practitioners from any background wishing to understand the place of photography in global societies today. |
| each wild idea writing photography history: Photography Theory James Elkins, 2013-10-18 Photography Theory presents forty of the world's most active art historians and theorists, including Victor Burgin, Joel Snyder, Rosalind Krauss, Alan Trachtenberg, Geoffrey Batchen, Carol Squiers, Margaret Iversen and Abigail Solomon-Godeau in animated debate on the nature of photography. Photography has been around for nearly two centuries, but we are no closer to understanding what it is. For some people, a photograph is an optically accurate impression of the world, for others, it is mainly a way of remembering people and places. Some view it as a sign of bourgeois life, a kind of addiction of the middle class, whilst others see it as a troublesome interloper that has confused people's ideas of reality and fine art to the point that they have difficulty even defining what a photograph is. For some, the whole question of finding photography's nature is itself misguided from the beginning. This provocative second volume in the Routledge The Art Seminar series presents not one but many answers to the question what makes a photograph a photograph? |
| each wild idea writing photography history: The Echo of Things Christopher Wright, 2015-02-16 The Echo of Things is a compelling ethnographic study of what photography means to the people of Roviana Lagoon in the western Solomon Islands. Christopher Wright examines the contemporary uses of photography and expectations of the medium in Roviana, as well as people's reactions to photographs made by colonial powers in the late nineteenth and early twentieth centuries. For Roviana people, photographs are unique objects; they are not reproducible, as they are in Euro-American understandings of the medium. Their status as singular objects contributes to their ability to channel ancestral power, and that ability is a key to understanding the links between photography, memory, and history in Roviana. Filled with the voices of Roviana people, The Echo of Things is both a nuanced study of the lives of photographs in a particular cultural setting and a provocative inquiry into our own understandings of photography. |
| each wild idea writing photography history: Material Culture in America Helen Sheumaker, Shirley Wajda, 2007-11-07 The first encyclopedia to look at the study of material culture (objects, images, spaces technology, production, and consumption), and what it reveals about historical and contemporary life in the United States. Reaching back 400 years, Material Life in America: An Encyclopedia is the first reference showing what the study of material culture reveals about American society—revelations not accessible through traditional sources and methods. In nearly 200 entries, the encyclopedia traces the history of artifacts, concepts and ideas, industries, peoples and cultures, cultural productions, historical forces, periods and styles, religious and secular rituals and traditions, and much more. Everyone from researchers and curators to students and general readers will find example after example of how the objects and environments created or altered by humans reveal as much about American life as diaries, documents, and texts. |
| each wild idea writing photography history: First Exposures Steffen Siegel, 2017-08-01 An exact date for the invention of photography is evasive. Scientists and amateurs alike were working on a variety of photographic processes for much of the early nineteenth century. Thus most historians refer to the year 1839 as the “first” year of photography, not because the sensational new medium was invented then, but because that is the year it was introduced to the world. After more than 175 years, and for the first time in English, First Exposures: Writings from the Beginning of Photography brings together more than 130 primary sources from that very year—1839—subdivided into ten chapters and accompanied by fifty-three images of significant visual and historical importance. This is an astonishing work of discovery, selection, and—thanks to Steffen Siegel’s introductory texts, notes, and afterword—elucidation. The range of material is impressive: not only all the chemical and technological details of the various processes but also contracts, speeches, correspondence of every kind, arguments, parodies, satires, eulogies, denunciations, journals, and even some poems. Revealing through firsthand accounts the competition, the rivalries, and the parallels among the various practitioners and theorists, this book provides an unprecedented way to understand how the early discourse around photographic techniques and processes transcended national boundaries and interconnected across Europe and the United States. |
| each wild idea writing photography history: Photography, Architecture, and the Modern Italian Landscape Lindsay Harris, 2024-11-19 Photography, Architecture, and the Modern Italian Landscape explores the impact of photography at a pivotal moment in Italian architecture and culture, focusing on the period between 1910 and the mid-1970s. The book analyzes architectural photographs taken by Italian cultural figures who helped transform the Italian landscape into what we know today. This study charts the oscillation of Italians’ ideas about what progress signified. For example, the book demonstrates that for writers and artists familiar with ancient ideas about civilization in 1910, the Roman countryside exemplified the contradictions inherent in primitivism. On the one hand, their photographs praised the region’s primordial beauty, yet their images condemned the crudeness of local living conditions. More broadly, it traces the history of primitivism and photography in Italy to show how cultural leaders’ alarm at the nation’s pre-modern living conditions, their aspiration to modernize them, and their grasp of photography to catalyze the process helped forge the modern Italian landscape—its monuments, housing, infrastructure, and natural environments. At the same time, it explores a vibrant period in photographic history when the advent of photographic reproduction as a commercial process developed into a medium with its own visual style capable of shaping ideas about modernity. This new image-making and reproduction technology empowered Italy’s cultural leaders not simply to represent the Italian landscape through photography but to determine how it developed. Of interest to researchers and students from a range of disciplines, modern architecture, photography, and Italian studies, this book demonstrates the power of art to transform society and to reformulate our ideas of progress. |
| each wild idea writing photography history: Selene's Two Faces , 2018-08-13 If any scientific object has over the course of human history aroused the fascination of both scientists and artists worldwide, it is beyond doubt the moon. The moon is also by far the most interesting celestial body when it comes to reflecting on the dualistic nature of photography as applied to the study of the universe. Against this background, Selene’s Two Faces sets out to look at the scientific purpose, aesthetic expression, and influence of early lunar drawings, maps and photographs, including spacecraft imaging. In its approach, Selene’s Two Faces is intermedial, intercultural and interdisciplinary. It brings together not only various media (photography, maps, engravings, lithographs, globes, texts), and cultures (from Europe, America and Asia), but also theoretical perspectives. See inside the book. |
| each wild idea writing photography history: Encyclopedia of Twentieth-Century Photography, 3-Volume Set Lynne Warren, 2005-11-15 The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included. |
| each wild idea writing photography history: Photography: A Critical Introduction Liz Wells, 2015-01-30 Photography: A Critical Introduction was the first introductory textbook to examine key debates in photographic theory and place them in their social and political contexts, and is now established as one of the leading textbooks in its field. Written especially for students in higher education and for introductory college courses, this fully revised edition provides a coherent introduction to the nature of photographic seeing. Individual chapters cover: Key debates in photographic theory and history Documentary photography and photojournalism Personal and popular photography Photography and the human body Photography and commodity culture Photography as art This revised and updated fifth edition includes: New case studies on topics such as: materialism and embodiment, the commodification of human experience, and an extended discussion of landscape as genre. 98 photographs and images, featuring work from: Bill Brandt, Susan Derges, Rineke Dijkstra, Fran Herbello, Hannah Höch, Karen Knorr, Dorothea Lange, Chrystel Lebas, Susan Meiselas, Lee Miller, Martin Parr, Ingrid Pollard, Jacob Riis, Alexander Rodchenko, Andres Serrano, Cindy Sherman and Jeff Wall. Fully updated resource information, including guides to public archives and useful websites. A full glossary of terms and a comprehensive bibliography. Contributors: Michelle Henning, Patricia Holland, Derrick Price, Anandi Ramamurthy and Liz Wells. |
| each wild idea writing photography history: Indians Playing Indian Monika Siebert, 2015-02-27 In Indians Playing Indian, Monika Siebert explores the appropriation, or misappropriation, of Native American cultural heritage for political and commercial ends, and the innovative ways in which indigenous artists in a range of media have responded to these developments. Contemporary indigenous people in North America confront a unique predicament. As legal and diplomatic practice in the early twenty first century returns to the recognition of their status as citizens of historic sovereign nations, popular culture continues to depict them as cultural minorities on the par with other ethnic Americans. This popular misperception of indigeneity as culture rather than as a historically developed political status sustains the myth of America as a refuge to the world's immigrants and a home to successful multicultural democracies. But it fundamentally misrepresents indigenous people who have experienced a history of colonization rather than a tradition of immigration on the continent. Contemporary indigenous cultural production is caught up in this phenomenon of multicultural misrecognition as well. The current flowering of indigenous literature, cinema, and visual arts is typically taken as evidence that Canada and the United States have successfully broken with their colonial pasts to become thriving nations of many cultures, where Native Americans, along other minorities, enjoy full freedom to represent their cultural difference-- |
| each wild idea writing photography history: SpaceTime of the Imperial Holt Meyer, Susanne Rau, Katharina Waldner, 2016-11-07 This volume works through spatio-temporal concepts to be found in imperial practices and their representations in a wide range of media. The individual cases investigated in the volume cover a broad spectrum of historical periods from ancient times up to the present. Well-known international scholars treat special cases of the topic, using cutting-edge theory and approaches stemming from historical, cartographic, religious, literary, media studies, as well as ethnography. |
| each wild idea writing photography history: Images on the Move Olga Moskatova, 2021-10-01 In contemporary society, digital images have become increasingly mobile. They are networked, shared on social media, and circulated across small and portable screens. Accordingly, the discourses of spreadability and circulation have come to supersede the focus on production, indexicality, and manipulability, which had dominated early conceptions of digital photography and film. However, the mobility of images is neither technologically nor conceptually limited to the realm of the digital. The edited volume re-examines the historical, aesthetical, and theoretical relevance of image mobility. The contributors provide a materialist account of images on the move – ranging from wired photography to postcards to streaming media. |
| each wild idea writing photography history: Portrait and Place Giulia Paoletti, 2024-03-05 Strategically located on the Atlantic Ocean at the westernmost point of the continent, Senegal is well-known as an epicenter of Africa's modernities, modernisms, and liberation movements. It was also one of the countries where the daguerreotype first arrived in sub-Saharan Africa before circulating inland and across the region. At that time, Senegal did not exist as a nation state; local kingdoms were still in power and the French presence was limited to trading posts along the coast. The pioneers of photography in the 1840s were not exclusively Europeans, but also African, African-American, and Asian entrepreneurs. In the decades that followed, amateurs and professionals working in rural areas continued to explore and expand photography's possibilities. Senegal's photographic histories thrived as part of a global visual economy during and despite the colonial experience. Its works emerged as an integral part of the history of this medium, which unlike any other was a global enterprise from the very beginning. Portrait and place offers the first history of photography in this important country, from its first iterations, photographers, and patrons of the 1840s to photographers such as Oumar Ka (b. 1930) and Mama Casset (1908-1992), who were were active in the 1960s during the transition from the colonial to the postcolonial era. Giulia Paoletti presents close studies of photographs, firmly anchoring these objects, their authors, and their consumers in a global context that extends across West Africa, the Black Atlantic, and the greater Islamic community-in other words, beyond the borders of colonial empire. Based on over ten years of field and archival research in Senegal, this book features almost exclusively new, previously unpublished visual material and explores both professional and amateur artists working in a wide variety of genres, from landscape to portraiture, and in media such as daguerreotypes and glass paintings. As the first book to focus exclusively on Senegal's photographic histories, Portrait and place expands the notions of what the medium has been and can be, from a Eurocentric model to one that is decidedly-insistingly-larger and more inclusive-- |
| each wild idea writing photography history: Mass Media Revolution J. Charles Sterin, Tameka Winston, 2017-11-22 Now in its Third Edition, Mass Media Revolution remains a dynamic guide to the world of mass media, enhancing its readers’ development as critical consumers. It features a wealth of expanded content—with particular attention to diversity in the media industry, reality TV, ethics and social media, and the evolution of online journalism. Chapter content is aligned to the ACEJMC national academic standards. |
| each wild idea writing photography history: Doctored Tanya Sheehan, 2011 Examines the relationship between photography and medicine in American culture. Focuses on the American Civil War and postbellum Philadelphia to explore how medical models and metaphors helped establish the professional legitimacy of commercial photography while promoting belief in the rehabilitative powers of studio portraiture--Provided by publisher. |
| each wild idea writing photography history: Nonhuman Photography Joanna Zylinska, 2024-07-02 A new philosophy of photography that goes beyond humanist concepts to consider imaging practices from which the human is absent, as both subject and agent. Today, in the age of CCTV, drones, medical body scans, and satellite images, photography is increasingly decoupled from human agency and human vision. In Nonhuman Photography, Joanna Zylinska offers a new philosophy of photography, going beyond the human-centric view to consider imaging practices from which the human is absent. Zylinska argues further that even those images produced by humans, whether artists or amateurs, entail a nonhuman, mechanical element—that is, they involve the execution of technical and cultural algorithms that shape our image-making devices as well as our viewing practices. At the same time, she notes, photography is increasingly mobilized to document the precariousness of the human habitat and tasked with helping us imagine a better tomorrow. With its conjoined human-nonhuman agency and vision, Zylinska claims, photography functions as both a form of control and a life-shaping force. Zylinska explores the potential of photography for developing new modes of seeing and imagining, and presents images from her own photographic project, Active Perceptual Systems. She also examines the challenges posed by digitization to established notions of art, culture, and the media. In connecting biological extinction and technical obsolescence, and discussing the parallels between photography and fossilization, she proposes to understand photography as a light-induced process of fossilization across media and across time scales. |
| each wild idea writing photography history: The Materiality of Exhibition Photography in the Modernist Era Laurie Taylor, 2020-12-30 This book challenges the status quo of the materiality of exhibited photographs, by considering examples from the early to mid-twentieth century, when photography’s place in the museum was not only continually questioned but also continually redefined. By taking this historical approach, Laurie Taylor demonstrates the ways in which materiality (as opposed to image) was used to privilege the exhibited photograph as either an artwork or as non-art information. Consequently, the exhibited photograph is revealed, like its vernacular cousins, to be a social object whose material form, far from being supplemental, is instead integral and essential to the generation of meaning. The book will be of interest to scholars working in art history, history of photography, theory of photography, curatorial studies and museum studies. |
| each wild idea writing photography history: Stories from the Camera Michele M. Penhall, 2016-03-15 The remarkable photography collection of the University of New Mexico Art Museum owes its unique character and quality to the directors, curators, scholars, and artists who have taught, worked, and studied at the museum and in the university’s Department of Art and Art History. In this indispensable book, these distinguished scholars and artists reflect on the pictures from the collection that hold significance to them. Through their own professional and artistic practice, they represent different generations of aesthetic voices and intellectual directions. As one of the earliest collegiate institutions to begin collecting photography, the University of New Mexico Art Museum holds a stunning array of images that span photography’s 175-year history. In addition to iconic works by famous photographers, this book also features less familiar but equally masterful pictures. Together, these essays represent a unique history of photography and this renowned museum. |
| each wild idea writing photography history: Visual Methodologies Gillian Rose, 2007 Comprehensively revised and updated the Second Edition of the bestselling Visual Methodologies provides a critical introduction to the study and interpretation of visual culture. The Second Edition contains: - a completely new chapter on how to use the book - each chapter follows the same structure, making comparisons between methods easier - three extra chapters, each discussing a method not covered in the First Edition |
| each wild idea writing photography history: Snapshot Stories Erika Hanna, 2020-02-06 During the twentieth century, men and women across Ireland picked up cameras, photographing days out at the beach, composing views of Ireland's cities and countryside, and recording political events as they witnessed them. Indeed, while foreign photographers often still focused on the image of Ireland as bucolic rural landscape, Irish photographers-snapshotter and professional alike-were creating and curating photographs which revealed more complex and diverse images of Ireland. Snapshot Stories explores these stories. Erika Hanna examines a diverse array of photographic sources, including family photograph albums, studio portraits, the work of photography clubs and community photography initiatives, alongside the output of those who took their cameras into the streets to record violence and poverty. The volume shows how Irish men and women used photography in order to explore their sense of self and society and examines how we can use these images to fill in the details of Ireland's social history. By exploring this rich array of sources, Snapshot Stories asks what it means to see-to look, to gaze, to glance-in modern Ireland, and explores how conflicts regarding vision and visuality have repeatedly been at the centre of Irish life. |
| each wild idea writing photography history: Image Matters Tina Campt, 2012-03-06 Campt explores the affective resonances of two archives of Black European photographs for those pictured, their families, and the community. Image Matters looks at photograph collections of four Black German families taken between 1900 and the end of World War II and a set of portraits of Afro-Caribbean migrants to Britain taken at a photographic studio in Birmingham between 1948 and 1960. |
| each wild idea writing photography history: Using Visual Evidence Howells, Richard, Matson, Robert, 2009-05-01 This is a book about visual literacy. It both advocates and equips the scholarly use of visual images as visual evidence. The visual is not mere illustration, it is the text. Enabling a rediscovery of the visual skills of the past facilitates the investigation of history and the understanding of the present. Chapters by international authorities have been specially commissioned on the use of visual evidence from painting to political prints, photographs, documentary, feature films, television, news and advertising. |
| each wild idea writing photography history: Appearances Matter Tim Allender, Inés Dussel, Ian Grosvenor, Karin Priem, 2021-09-07 The visual turn recovers new pasts. With education as its theme, this book seeks to present a body of reflections that questions a certain historicism and renovates historiographical debate about how to conceptualize and use images and artifacts in educational history, in the process presenting new themes and methods for researchers. Images are interrogated as part of regimes of the visible, of a history of visual technologies and visual practices. Considering the socio-material quality of the image, the analysis moves away from the use of images as mere illustrations of written arguments, and takes seriously the question of the life and death of artifacts – that is, their particular historicity. Questioning the visual and material evidence in this way means considering how, when, and in which régime of the visible it has come to be considered as a source, and what this means for the questions contemporary researchers might ask. |
| each wild idea writing photography history: Photography and Collaboration Daniel Palmer, 2020-09-14 Photography and Collaboration offers a fresh perspective on existing debates in art photography and on the act of photography in general. Unlike conventional accounts that celebrate individual photographers and their personal visions, this book investigates the idea that authorship in photography is often more complex and multiple than we imagine – involving not only various forms of partnership between photographers, but also an astonishing array of relationships with photographed subjects and viewers. Thematic chapters explore the increasing prevalence of collaborative approaches to photography among a broad range of international artists – from conceptual practices in the 1960s to the most recent digital manifestations. Positioning contemporary work in a broader historical and theoretical context, the book reveals that collaboration is an overlooked but essential dimension of the medium’s development and potential. |
| each wild idea writing photography history: Digital Photography and Everyday Life Edgar Gómez Cruz, Asko Lehmuskallio, 2016-05-20 Digital Photography and Everyday Life: Empirical studies on material visual practices explores the role that digital photography plays within everyday life. With contributors from ten different countries and backgrounds in a range of academic disciplines - including anthropology, media studies and visual culture - this collection takes a uniquely broad perspective on photography by situating the image-making process in wider discussions on the materiality and visuality of photographic practices and explores these through empirical case studies. By focusing on material visual practices, the book presents a comprehensive overview of some of the main challenges digital photography is bringing to everyday life. It explores how the digitization of photography has a wide-reaching impact on the use of the medium, as well as on the kinds of images that can be produced and the ways in which camera technology is developed. The exploration goes beyond mere images to think about cameras, mediations and technologies as key elements in the development of visual digital cultures. Digital Photography and Everyday Life will be of great interest to students and scholars of Photography, Contemporary Art, Visual Culture and Media Studies, as well as those studying Communication, Cultural Anthropology, and Science and Technology Studies. |
each 和 every 有什么区别？ - 知乎
Each student gets a medal. 以上两句话表达的意思都是“每个学生都获得了奖牌”，看似each和every两个词是可以互换的。 接下来，我们再一起看看下面的这个例子： Jessica carried a …
还在用for循环遍历元素？试试for-each，它不香吗？ - 知乎
for-each循环适用于遍历整个容器，并无法访问索引值或容器中其他元素。如果需要访问索引值，可使用传统的for循环。 for-each循环只能用于实现了Iterable接口的容器类，例如数组 …
问问大佬们一个问题，each of和each one of有没有什么具体的区别 …
Each of them has signed the petition.每一个人都在请愿书上签了名。 2、each one of 后也常跟复数名词或代词宾格作主语，谓语动词用单数形式。如： Each one of the houses is pretty …
each of them后面究竟是用单数还是复数? - 知乎
Oct 20, 2022 · Each of them后面的位于动词要用单数。例如： Each of them has a ticket. 他们每人有一张票。 补充：当we each作主语时，真正的主语是we，其后的each是修饰we的同位 …
跪求all/every/each的具体用法（没问区别hhhh）? - 知乎
each：used to refer to every one of two or more people or things,when you are thinking about them seperately. 用来指两个或多个人或物中的每一个，当你分别考虑他们的时候 every：used …
SCI投稿，编辑要求给一个running title，该怎么写？原标题需要改 …
May 30, 2022 · 编辑的意思是看到你的标题（包括空格）已经超过70个字符，感觉有一点长，影响文章标题的易读性，建议你取一个running title，也就是短标题，能够让读者快速的了解文章的 …
请问在elsevier投稿中，author statement 该怎么写？ - 知乎
由于期刊guide for author 打不开， 请问下各位大佬知道相关填写要求或者有无相关填写模板吗？
each other与one another区别？ - 知乎
相互代词有时也可以有所有格形式，分别为each other’s和one another’s。如： Those two are always copying each other’s [one another’s] homework. 那两个人总是互相抄袭作业。 It was …
如何确定each在句中的位置？ - 知乎
说下自己的理解，部分副词（以及题主说的each）有个规则叫“行前be后”，就是要放在实意动词前面，助动词后面。 你上面举得例子中，The students each have中的have表示拥有，是实意动 …
SCI论文被reject了，但是建议我resubmit，这是什么意思？ - 知乎
③也有极少的审稿人会从很宏观的角度给了一些评价和建议。这类意见是两个极端，一种是没啥意见，那你就客客气气的弄一大段回复一下就好；另一种是从根儿上觉得你的研究做的不行，这 …
each 和 every 有什么区别？ - 知乎
Each student gets a medal. 以上两句话表达的意思都是“每个学生都获得了奖牌”，看似each和every两个词是可以互换的。 接下来，我们再一起看看下面的这个例子： Jessica carried a …
还在用for循环遍历元素？试试for-each，它不香吗？ - 知乎
for-each循环适用于遍历整个容器，并无法访问索引值或容器中其他元素。如果需要访问索引值，可使用传统的for循环。 for-each循环只能用于实现了Iterable接口的容器类，例如数组 …
问问大佬们一个问题，each of和each one of有没有什么具体的区 …
Each of them has signed the petition.每一个人都在请愿书上签了名。 2、each one of 后也常跟复数名词或代词宾格作主语，谓语动词用单数形式。如： Each one of the houses is pretty …
each of them后面究竟是用单数还是复数? - 知乎
Oct 20, 2022 · Each of them后面的位于动词要用单数。例如： Each of them has a ticket. 他们每人有一张票。 补充：当we each作主语时，真正的主语是we，其后的each是修饰we的同位 …
跪求all/every/each的具体用法（没问区别hhhh）? - 知乎
each：used to refer to every one of two or more people or things,when you are thinking about them seperately. 用来指两个或多个人或物中的每一个，当你分别考虑他们的时候 every：used …
SCI投稿，编辑要求给一个running title，该怎么写？原标题需要改 …
May 30, 2022 · 编辑的意思是看到你的标题（包括空格）已经超过70个字符，感觉有一点长，影响文章标题的易读性，建议你取一个running title，也就是短标题，能够让读者快速的了解文章的 …
请问在elsevier投稿中，author statement 该怎么写？ - 知乎
由于期刊guide for author 打不开， 请问下各位大佬知道相关填写要求或者有无相关填写模板吗？
each other与one another区别？ - 知乎
相互代词有时也可以有所有格形式，分别为each other’s和one another’s。如： Those two are always copying each other’s [one another’s] homework. 那两个人总是互相抄袭作业。 It was so …
如何确定each在句中的位置？ - 知乎
说下自己的理解，部分副词（以及题主说的each）有个规则叫“行前be后”，就是要放在实意动词前面，助动词后面。 你上面举得例子中，The students each have中的have表示拥有，是实意动 …
SCI论文被reject了，但是建议我resubmit，这是什么意思？ - 知乎
③也有极少的审稿人会从很宏观的角度给了一些评价和建议。这类意见是两个极端，一种是没啥意见，那你就客客气气的弄一大段回复一下就好；另一种是从根儿上觉得你的研究做的不行，这 …
