11. Agnes and Dora Bulwer's Photographs of Everyday ItaliansMartina Caruso, 2022, independent scientific component part or a chapter in a monograph Abstract: In the photographs of British sisters Agnes and Dora Bulwer taken at the end of the 19th and the beginning of the 20th century, I argue for an early humanist vision of the peasants, children and workers that they photographed on their travels around Italy.
Keywords: History of photography, protohumanism, modernity, Italy, Roman Campagna, Abruzzo, archaeology, peasants, workers, Victorian, gender, women
Published in RUNG: 13.01.2023; Views: 949; Downloads: 0
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12. Mobility Media: an Archaeology of Identity Photography through Science, Art and Visual CultureEszter Polonyi, invited lecture at foreign university Abstract: In an era of total surveillance, being in possession of a biometric ID document can still result in denial of one’s basic civil protections and human rights. The discovery of systematic errors in state-implemented facial recognition programs—such as in recognizing faces of color (Joy Buolamwini)—suggests the failure of current practices of global intelligence and mobility. This paper offers an archaeological investigation of the contemporary photo ID document. Returning to its invention in the 1920s, it examines the issues of conjectural knowledge (Carl Ginzburg), embodiment or tact (Béla Balázs) and the optical unconscious (Walter Benjamin) behind early “physiognomic” media.
Keywords: History of Science, History of Visual Culture, History of Art, History of Photography, Migration
Published in RUNG: 13.01.2023; Views: 881; Downloads: 0
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13. Women in Ruins: Agnes and Dora Bulwer's landscape photographs in Post-Risorgimento ItalyMartina Caruso, 2022, original scientific article Abstract: The British photographers Agnes Bulwer (1856– 1940) and her sister Dora Ellinor Bulwer (1864– 1948) left a legacy of circa 1300 photographs and 890 negatives, date from 1890 to 1913, to the British School at Rome. The photographs are principally of landscapes taken in Rome and the surrounding countryside (the Roman Campagna) but also further afield in Italy and abroad. Many include archaeological and natural sites as well as monuments, art works, and homes and gardens in urban or rural scenes. Their landscape photographs offer a perspective that challenged the existing masculine gaze as developed in landscape photography under the colonial project of the British Empire. Unfettered by the archaeologist’s need for ascetic facts, the Bulwers pioneered an unusual vision of landscape, inspired by the progressive international environment of post-Unification Italy. Agnes and Dora Bulwer often photographed women, whether Italian peasants or travelling companions, presenting a social and gendered gaze that helps to reconsider this period in the light of a dawning international humanitarianism. In spite of their photographic legacy, Agnes and Dora Bulwer remain relatively unknown in the growing field of rediscovered early female photographers connected to archaeology or travel photography. This article reveals their work within a cross-cultural, historical and phenomenological analysis, contributing a new chapter to women’s photographic history, to travel and landscape photography and to the history of British photographers working in Italy.
Keywords: history of photography, landscape photography, archive, gender, archaeology, cultural tourism, travel photography, Italy, Rome, Roman Campagna, Post-Unification, Post-Risorgimento, Britain, British Empire, United Kingdom, colonialism, Victorian, Edwardian, humanitarian socialism, nineteenth century, twentieth century
Published in RUNG: 11.01.2023; Views: 1341; Downloads: 0
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15. Mobility Media: an Archaeology of Identity Photography through Science, Art and Visual CultureEszter Polonyi, unpublished conference contribution Abstract: n an era of total surveillance, being in possession of a biometric ID document can still result in denial of one’s basic civil protections and human rights. The discovery of systematic errors in state-implemented facial recognition programs—such as in recognizing faces of color (Joy Buolamwini)—suggests the failure of current practices of global intelligence and mobility. This paper offers an archaeological investigation of the contemporary photo ID document. Returning to its invention in the 1920s, it examines the issues of conjectural knowledge (Carl Ginzburg), embodiment or tact (Béla Balázs) and the optical unconscious (Walter Benjamin) behind early “physiognomic” media.
Keywords: history of photography, surveillance studies, digital humanities, art history
Published in RUNG: 31.05.2022; Views: 1328; Downloads: 0
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16. Hackers and Coders versus Viewers: The Stakes of Photography in an Era of Image Massification : Tomáš Dvořák and Jussi Parikka, eds., Photography Off the Scale: Technologies and Theories of the Mass Image (Edinburgh: Edinburgh University Press, 2021).Eszter Polonyi, 2021, review article Abstract: The book Photography Off the Scale: Technologies and Theories of the Mass Image is, first of all, about quantities. Those with memories of pre-smartphone years may suspect that the images of this world have increased in number. Perhaps fewer, however, are aware of just how much. Among the first things we learn in this book is that, in 2018, over 30 million images were uploaded to Twitter, 52 million to Instagram, and 350 million to Facebook — daily (25). For someone who makes a handful of uploads a week, this was news. Who could possibly be looking at them? It turns out, no one. Even if everyone on Earth spent eight hours scrolling through images, they would not all get seen (25). The quantities are just too large. This book claims that the now unconscionable scale at which images circulate and are produced is because they are actually no longer tailored to the human. Interrogating an optics of “ec- centric metrics” (Dvořák), the book tackles one of the liveliest issues in image studies, media studies, and art history today — machine vision, or the vision of the human eye as it is extended by technical apparatuses. It is this seeing “by other means” that the book alleges has thrown the number of images “off the scale.”
Keywords: history of photography, digital humanities, art history
Published in RUNG: 30.05.2022; Views: 1558; Downloads: 0
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17. Uncovering the life of a transgender person in Pakistan : diploma thesisReeba Sufyan, 2021, undergraduate thesis Abstract: Documentary photography is the narrative based on facts and records of events in a report format. Although racial injustice and biased differences were common initially, the underlying objectivity of this thesis involves the main aim to display the utmost reality. It is a way to report stark realities that come into perspective with images of persons, places, or events. On the other hand, it is a form of representation from the photographer’s point of view. Although, there is no denying that a picture represents a thousand words and displays several perspectives. As a source of revealing the importance of documentary photography in the Indian subcontinent, this thesis will help to expose the sore point of a country that belittles a community of transgender persons. This photography documentary is showing the cruelty that is confronted by transgender persons in Pakistan. Based upon the timeline of nine months, the comparative study of two transgender persons reflects the complexity of their survival. My photography documentary has captured and frozen the instances from the daily existence of transgender persons, focusing on their lifestyle, living conditions, community environment, and personal life. Transgender identity, by birth or by choice, is a chilling fact marginalizing a person to a community where existence is difficult.
Keywords: Photography, Story, Documentary, Transgender, Pakistan, Narrative, Picture, Life, Documentary photography
Published in RUNG: 09.09.2021; Views: 2442; Downloads: 143
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20. PHOTOGRAPHY AND THE NARRATIVE : How stories are told through the photographic mediumTiziano Biagi, 2020, undergraduate thesis Abstract: Some of the earliest pieces of evidence in art history show how people told stories
with pictures and, throughout the centuries, this habit developed with the introduction
of new techniques, themes, and tools. Given the value of authenticity that
has often been ascribed to photography since its invention, this medium had to
overcome criticism before its value as fine art was recognised. This diploma thesis
analyses in which ways photography is capable to carry narratives. It also analyses
the roles that the viewer, the photographer, and the image itself play in this process.
To do so, this work examines notable theories on the topic, the intentions
behind the photographers’ creative process, and the visual components of images.
By focusing both on ideas introduced by scholars and on photographic works –
including my diploma project Dune Mosse – the thesis underlines the importance
that social and cultural contexts have in the narration of a story.
Keywords: Narrative, Storytelling, Interpretation, Context, Intention, Viewer, Image, Photographer, Photographic genres, Personal documentary photography
Published in RUNG: 13.10.2020; Views: 3434; Downloads: 132
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