Documentary Photography

"Andreas Philippopoulos-Mihalopoulos opens the book with his latest contribution to his comprehensive project of re-theorising spatial justice with a piece titled ‘Spatial Justice in a World of Violence’. Through a close reading
of the photographic series Fortunes of War, Life Day by artist Eric Lesdema,
Philippopoulos-Mihalopoulos is interested in how these images reveal peripheral
spaces at the edge of violence which impose an ethic of spatial responsibility on the
viewer in the act of turning away and looking elsewhere. While no acts of explicit
violence are shown in the images, we are left with no doubt that violence is ubiquitous
along the spatio-temporal continuum. This continuum of violence between
bodies raises questions of complicity and responsibility. Do we submit to a state
of affairs in which space is saturated with the everyday and immobilised violence
of the ‘engineered atmosphere’ – or is it also possible for bodies to withdraw from
the atmosphere, through ruptures and folds within the continuum? Such a notion
raises the ethical possibility of the ‘emergence of spatial justice’." Chris Butler and Edward Mussawir (eds)

VI Coloquio de la Red Europea de Investigaciones sobre Centroamérica (RedISCA)
“Mas allá del estrecho dudoso – intercambios y miradas sobre Centroamérica”
Universidad de Barcelona


Resumen de la conferencia titulada: Coordinadas de lo cotidiano: el caso del fotógrafo amateur Wilhelm Schirp Laabs en Yucatán
Dictada por la Dra. Alma Durán-Merk, el 12 de noviembre de 2015
En el panel discusión: Fotografiando Centroamérica- (de) construyendo imaginarios,
coordinador por la Dra. Alma Durán-Merk



Hacia finales del siglo XIX y principios del siglo XX, buen número de europeos exploraron visualmente Centroamérica. Su motivación podía ser muy diferente:  la documentación o el estudio científico de ciertos aspectos de la vida cultural de los pueblos, la creación de obras de arte, el  visualizar los avances destinados a la creación del estado-nación, o simplemente el ganarse la vida.
En marcado contraste con aquellos fotógrafos ¬–que podríamos llamar profesionales–encontramos a los creadores de imágenes vernáculas, como Wilhelm Schirp Laabs. Friedrich Wilhelm Karl Schirp Laabs (Aachen, 1886 – México D.F., 1948) se estableció en Mérida, Yucatán, en 1905. Ahí, a la par de su empleo como trabajador administrativo de la empresa multinacional Siemens & Halske, este inmigrante fotografió intensivamente sus vivencias por mas de cuatro décadas. Schirp Laabs contaban con moderno y sofisticado equipo, tenía un buen entrenamiento técnico, experimentaban con prácticas de impresión y se preocupó por preservar su trabajo para la posteridad. Lo podemos, entonces,  considerar como un aficionado experto. 
Tomando como ejemplo el trabajo de Schirp Laabs, esta presentación explora el significado de la fotografía amateur hacia principios del siglo XX y las funciones sociales que ésta satisfizo. Al funcionar independientemente de intereses comerciales y políticos, los amantes de la fotografía gozaban de una libertad que era guiada por su curiosidad personal. Interesados en la vida diaria, esos hacedores de imágenes expandieron el campo de lo fotografiable, dejándonos una obra útil. Por una parte, plasmaron cándidamente la arquitectura de la  región en que vivieron, personajes de la región, las costumbres locales, o aquellos eventos familiares y comunitarios de interés documental. Por otra parte, al no estar comprometidos con ninguna agenda ideológica local, ni depender de una clientela que pagara por su trabajo,  estos ilustradores de lo cotidiano no temieron mostrar las tensiones entre la realidad vivida por las mayorías subalternas y las aspiraciones a la modernidad de las élites centroamericanas. Algunos de ellos captaron, también, los grandes contrastes que encontraron en las sociedades que los recibieron.
La mirada y los referentes de los fotógrafos amateur, como Wilhelm Schirp Laabs, han sido hasta ahora muy poco estudiados. Éstos son, sin embargo, de mayor importancia en la creación de la memoria familiar, étnica y comunitaria. Su análisis nos ayuda también a comprender mejor los procesos de formación de estereotipos visuales, y los mecanismos a través de los cuales éstos pueden ser reforzados o debilitados.



Contacto: [email protected]

This is a collaborative work with my colleague at the Department of Communications UII, Muzayin Nazaruddin, and other colleagues outside the academia. This book was published as a lesson learnt and a theoretical reflection of a one-year research-cum-project we conducted as part of a national research grant scheme from the Research and Technology Ministry, Republic of Indonesia (Kemenristek RI) in 2010. The research-cum-project is entitled “Digital Repository Development for Local and Traditional Artworks by Using Community Media, Audio-visual Production, and Open Source Software Applications”. Order and purchase of this book can be made directly to the publisher, Penerbit Komunikasi UII, contact details: Phone: +62-274-898444 ext. 3267 Email: [email protected]

On the occasion of the 2020 exhibition "LIFE Magazine and the Power of Photography," this essay reevaluates longstanding myths about "the photo essay at life" while tracing how and by whom the magazine's varied photo features were actually produced over the course of LIFE's 36-year history.

En este trabajo abordo el tema de la representación del ciego y la ceguera en el trabajo documental de Marco Antonio Cruz, fotógrafo mexicano que trabajó el tema durante 17 años,  tras los cuales logró formar un impresionante archivo de más de 12 mil negativos. Una parte de ellos fue seleccionada para formar parte de un fotolibro intitulado Habitar la oscuridad, en el que se reconfigura estéticamente el tema de la ceguera. Cada representación sobre el ciego y la ceguera contiene una retórica y una poética particular, producto de los contextos míticos, religiosos y seculares en los que se inscribe. En esta investigación desarrollo un análisis sobre los elementos estéticos y los tropos retóricos presentes en el libro Habitar la oscuridad. Las imágenes de este ensayo visual han sido impregnadas con el aura de lo documental y forman parte de un complejo archivo; sin embargo, sostengo que las fotografías seleccionadas para el libro mencionado nos introducen al universo del ciego y la ceguera a través de una reconfiguración estética.

Bulletin Description: More than any other tradition of image-making, documentaries are invested in notions of truth, authenticity and objectivity. To what do they owe their capacity of persuasiveness? This course will introduce students to the history and theory of documentary cinema, examining the ways our willingness to be convinced has been shaped by different forms of institutional and discursive power. Readings will span work on moving and still documentary images, but will remain focused on the analog era.

The article deals with history of Paul-Émile Miot and his photographies of the city of Veracruz. First, I briefly elaborate on the beginnings of documentary photography and try to establish when Miot started to photograph. Then, I discuss his biography, and describe the photographs of Veracruz. Finally, I wrote about source base and literature on the main character.

My most read paper -- fully illustrated. Our modern sense of time was radically changed with the invention of photography. The past could now be visualized and frozen in fine detail. Moreover the photograph was an objective accurate record of the past, one that might yield important research information for centuries. We might call the time before photography pre-photographic just as we call the time before written records, pre-historic. In addition our personal sense of time was changed with family albums and our ability to now record our own past with precision.

The 5th International Conference ON THE SURFACE: Photography on Architecture - Visual Spaces of Change: Unveiling the Publicness of Urban Space through Photography and Image, which took place on the 31st of May 2019 on occasion of MAAT’s Fiction and Fabrication exhibition offered a forum for an interdisciplinary debate on photography and architecture, with a strong editorial component devoted to the publication of original works and ideas at the intersection of these two fields. Aiming to promote the awareness and reflection upon Architecture and Art, namely documentary photography in regard to its conception as an instrument to question the universes of Architecture, City and Territory, the theme chosen for this edition of On the Surface focused on the contemporary transformations of the public space: “Visual Spaces of Change: unveiling the publicness of urban space”. Proposing to debate and explore the potential of Image and Photography as resourceful tools to research and to reflect upon and render visible the emergence of new collective experiences in the social space, the focus was on Documentary and Artistic Photography for addressing crosscutting issues that are shaping contemporary changes in cosmopolitan territories. is conference wanted in this way to contribute for greater social interaction among artistic and cultural institutions and academia, extending the action of museums, universities and art venues beyond their traditionally circumscribed spaces of action, stimulating the agents and institutions involved to be more active and open to debate in their approaches to public space. The intention was to render visible aspects of urban change, as well as how architectures, places and spaces are used and lived, crossing and shifting traditional boundaries for expanding the capacity of institutions to participate in the public domain. In this sense, we aim to contribute for critically thinking architecture as an integrative field of knowledge with historical, cultural, social, economic and political dimensions, and explore photography as a dynamic process of discovery, documentation and reflection that incorporates interpretive, artistic and even fictional aspects of these multiple dimensions. On the Surface 2019 challenged authors and researchers from the fields of photography and architecture to discuss and use image and photography to better understand the city as a living organism, a rich multifaceted space characterized by a variety of experiences and programs, which are a reflection of the knowledge, beliefs, values and customs that characterize different societies. us, a central objective of the conference was to discuss in what way image and photography can be used to unveil how architecture expresses the cultural values and identity of our cities, being these critical research instruments for understanding and perceiving architecture in meaningful ways, as well as for understanding the past in order to better grasp the transformations that are increasingly influencing our social practices and place experiences, affecting the modes of citizen participation and cultural interaction. By overlapping and crisscrossing the disciplinary boundaries of Image, Art and Architecture, the borders of these disciplinary fields are challenged for critically thinking through contemporary changes occurring in between physical and virtual dimensions of everyday life. Through the realization of these debates, it was intended to contribute to the creation of a space of exploration, discussion and reflection towards new ideas and research paths about the use of photography as an instrument of visual research and communication, as well as about architecture and the public space, with a focus on emerging dynamics of urban transformation. Lastly it is important to refer the significant connection of this conference to the project Visual Spaces of Change that the Faculty of Architecture of the University of Porto (FAUP) is coordinating, which integrates a significant component of Contemporary Photography in its research, together with the participation of other national and international academic bodies and research institutions that are involved. In fact, by bringing some of the themes of the VSC research project to this 5th edition of ON THE SURFACE: Photography on Architecture, we aim to contribute for opening academia to society, fostering collaboration among a wide range of cultural and artistic institutions towards common interests and goals. Intertwining the research group CCRE-CEAU-FAUP and Cityscopio Cultural Association, scopio Editions will be again the official publisher of this conference. Thus this 4th number of Sophia, Visual Spaces of Change: Unveiling the Publicness of Urban Space through Photography and Image is dedicated to this International Conference ON THE SURFACE: Photography and Architecture - Visual Spaces of Change: Unveiling the Publicness of Urban Space, publishing the papers based on the works that were presented at the conference. These papers constitute a significant example of investigation on how contemporary photography can be explored as a meaningful instrument of research about contemporary processes of urban change, producing visual synthesis about how architectures, places and spaces are used and lived, rendering visible aspects which are difficult to perceive without the purposeful use of image and photography. This means, besides other things, to inquire and study the possibilities offered by photography in various dimensions, oscillating between reality, poetry and utopia, creatively introducing new links between realistic representations, fictional worlds and symbolic meanings, articulated in conceptual discourses and visual narratives that are communicated through the specific grammar and syntax of photographic image. The conference was organized by the Center of Communication and Spatial Representation (CCRE), integrated in R&D Center of the Architecture School of the University of Porto (FAUP), in partnership with the Museum of Art, Architecture and Technology (MAAT) and scopio Editions. ON THE SURFACE: Photography on Architecture Visual Spaces of Change: unveiling the publicness of urban space SCOPIO EDITIONS SOPHIA COLLECTION Porto, 2020 Publisher Cityscopio – Associação Cultural Rua da Cidreira 291, 4465-076 Porto (Matosinhos), Portugal [email protected] www.cityscopio.com Editorial and Advisory Board Research group CCRE integrated in R&D of the Faculty of Architecture of the University of Porto (FAUP) called Centro de Estudos de Arquitectura e Urbanismo (CEAU) Via Panorâmica S/N, 4150-755 Porto, Portugal [email protected] tel: +351 226057100 | fax: +351 226057199 Scientific and Editorial Commission (CEAU-FAUP) Fátima Pombo (UA / DECA / ID+) Iñaki Bergera (Arquitectura / Unizar) José Miguel Rodrigues (FAUP) Marco Iuliano (LSA/CAVA) Pedro Leão Neto (FAUP) Susana Ventura (FAUP) Wilfried Wang (UTSoA) Editorial Coordinator Pedro Leão Neto Editors Pedro Leão Neto Iñaki Bergera - Invited Editor Editorial Collaborators Eduardo Silva Maria Neto ISBN 978-989-54318-8-5 ISSN 2183-8976 Dep. Legal No 465440/19 All rights reserved. No part of this publication may be reproduced, copied or transmitted in any form or by any means or stored in any information storage or retrieval system without the editor’s written permission. All photographs featured in Sophia are © of the photographers. Reviewers of Sophia 4th Number Álvaro Domingues (FAUP / CEAU) Ana Francisca de Azevedo (DeGeoUM/Lab2PT) David Viana (CEAU / VSC) Fátima Pombo (UA / DECA / ID+) Francisco Ferreira (EAUM - Lab2PT) Isa Clara Neves (CES) Jorge Marum (UB I/ CCRE) José Barbedo (FAUP / CEAU) Margarida Medeiros (FCSH) Olívia da Silva (IPP – ESMAD) Pedro Leão Neto (FAUP / CEAU) Susana Ventura (FAUP / CEAU) Teresa Ferreira (FAUP/ CEAU) Authors Panel #1 Pedro Leão Neto Beate Gütschow Katarina Andjelkovic Klauss Borges Panel #2 Iñaki Bergera Bas Princen Ana Miriam Sebastiano Raimondo Apostolos Kyriazis Cristina Gastón Guirao Panel #3 Pedro Gadanho Ana Amado & Andrés Patiño Mariana Von Hartenthal Haode Sun Creative Director Né Santelmo Design Collaborator Edu Silva Impresssão / Printing Printy Apoio / Support UP, FAUP, FCT December, 2019

This is a study guide for using the Crossing the BLVD book as a text in courses on documentary art, immigration, refugee/asylum issues including law and policy, race ethnicity and the changing face of America, photography and visual art, English writing seminars, or any courses dealing with cross-cultural dialogues. Any questions please contact EarSay - the non-profit in charge of touring this project: [email protected].

The chapter as a whole illustrates some of the possibilities and problems currently haunting the area of Jewish participation in the making and the history of feminist art in the United States.The signficance that gender, class, Jewishness, Marxism, and nationalism have for Martha Rosler is evident throughout her work, though her artistic practice has only recently been written about from such an intersectional perspective.

The origins of modern photojournalism in Germany, during the yeas 1925-1933, is the central object of this dissertation. Checking popular illustrated magazines, such as Berlliner Illustrirte Zeitung, and their contemporary critics, one seeks to know if could understand them with a notion of “aesthetic of transparency”. In order to arrive at the empirical research, some notions about the modern and modernity were delineated, hoping to understand the cultural processes and regimes of visuality of the beginning of 1920s as its unfolding, as well as starting from some reflections of Charles Baudelaire to think the aesthetic experience of modernity and its relation with photography. In addition, it was tried to understand if a dialogue between realism and modernisms could be possible, within the German context. The Weimar Republic was thought of as a democratic space for political, economic and social rearticulation, in which photography would have been articulated by the artistic field such as Neues Sehen (New Vision), by Lászlo Moholy-Nagy, and Neue Sachlichkeit Objectivity), by Albert Renger-Patzsch, exerting on the photographic production in journalism some of its conditions for its modernization. Finally, it was reflected on the modernization of the photojournalism in the Weimar Republic from the illustrated magazines study, based on the use of the photographic series potentially narrating journalistic facts, mainly from some photographs of Erich Salomon and Felix H. Man. This study allowed us to verify that the ripening of photojournalism met a demand of the German reading public for facts, reinforcing a certain professional ideology of objectivity. Having been possible by the coincidence of relations, as photographers willing to produce many images of various aesthetic forms under a diversity of conditions, allied to the freedom of editorial power and its experimentation, besides the rising of photographic agencies that began to order photographic work with the written report.

Im England des frühen 19. Jahrhunderts etabliert sich nicht nur der Gebrauch des Wortes »Slum«, sondern auch ein populärer Diskurs, der den Slum als »Anderes« der westlichen Zivilisation dar-stellte; eine dystopische Sichtweise auf den Slum, als Schattenseite der Industrialisierung und Urba-nisierung und vor allem als Schattenseite einer Vision von Moderne, die gerade das hinter sich lassen möchte, was der Slum in diesen Diskursen symbolisiert: Das Gegenteil von Ordnung, Fortschritt und Hygiene. Diese dystopischen Slumdiskurse kehren heute wieder, wenngleich mit den empirischen Daten der UN-HABITAT-Studie Challenge of Slums (2003) untermauert und übertragen auf geopo-litisch gänzlich veränderte Verhältnisse. So findet beispielsweise der Soziologe Zygmunt Bauman, dass das Ergebnis von Globalisierungs-und Modernisierungsprozessen zwangsläufig urbane Müll-halden produziert, wo die Ausgegrenzten der Moderne, wie Abfall, der nicht mehr gebraucht wird, abgeladen werden. Mike Davis übernimmt in seinem Planet der Slums gleichfalls einen rhetori-schen Gestus, der die »üblichen Verdächtigen« anklagt (Globalisierung, IWF, Weltbank, Neolibera-lismus), aber zugleich auch prophetisch in die Zukunft deutet: In Davis' dystopischer Vision gleicht die unaufhaltsame »wildwüchsige« Slumisierung von Megastädten des globalen Südens einer Na-turkatastrophe, die das 21. Jahrhundert maßgeblich prägen wird. In dieser Hinsicht sind Davis' und Baumans dystopische Sichtweisen aber auch Fortschreibungen dessen, was bereits im 19. Jahrhun-dert diskursiv angelegt war. Davis beschreibt die Slums der globalisierten Welt des 21. Jahrhunderts tatsächlich auch in Rückgriff auf die viktorianischen Slums des 19. Jahrhunderts, in einem Kapitel, welches »Zurück zu Dickens« heißt, wenn er schreibt: »Im Prozess der Urbanisierung der Dritten Welt wiederholen und vermischen sich die Dynamiken ihrer Vorläufer aus dem 19. und 20. Jahrhun-dert in Europa und Nordamerika.« Mitte des 19. Jahrhunderts war es aber nicht nur Charles Dickens, sondern vor allem sein Zeitge-nosse, der Journalist Henry Mayhew, der eine erste detaillierte Bestandsaufnahme Londoner Slums in London Labour and the London Poor (1851) vornahm und somit einen Slumdiskurs begründete, der zunächst maßgebend werden sollte. Mayhew, der »soziologische Dickens«, wird von einigen Stadtsoziologen als Pionier der Stadtforschung a bezeichnet. Der kulturgeschichtliche Kontext die-ser Pionierarbeit war die christlich geprägte Reformbewegung, der auch Mayhew angehörte und dessen Buch eigentlich nur die Spitze eines Bergs an reformistisch geprägter Slum-Literatur, Slum-Berichterstattung und Slum-Reportage ist. Eine Diskursanalyse dieser zahlreichen journalistisch-reformistischen Auseinandersetzungen mit Slums im 19. Jahrhundert lieferten die Literaturwissen-schaftler Peter Stallybrass und Allon White. Der Slum, so Stallybrass und White, stand in diesen frühen Diskursen semantisch immer in Verbindung zu Schmutz und moralischem Laster; er wurde als ein Sündenpfuhl aus Prostitution, Kriminalität und Barbarei, aber gleichzeitig auch als dreckige Kloake, in der sich allerlei Krankheiten herausbildeten, beschrieben. Diese biblisch/babylonische Assoziationskette – Schmutz-Sünde-Krankheit – war also konstitu-tiv für frühe Slumdiskurse und Mayhews zwar detaillierter, aber dennoch moralisierender, in diesen a http://parapluie.de/archiv/stadt parapluie no. 28 (Herbst 2012). http://parapluie.de/archiv/slums/slumdarstellung/ issn 1439–1163, © 1997–2011 parapluie & die autorinnen und autoren. alle rechte vorbehalten.

Per andare dalla costa tirrenica a quella adriatica, nell'estremo Sud della penisola, si può prendere solo una strada statale vecchia e scassata, la Jonica. Geo l'ha percorsa documentando chilometro per chilometro. Questa la storia di un'avventura italiana, tra mare, colate di cemento, bellezze storiche dimenticate e imbrogli di mafia. testo Filippo Romano foto Eva Frapiccini e Filippo Romano Da Reggio Calabria a Taranto Una visione dall'alto della statale 106 Jonica al chilometro 399, nel tratto calabrese che attraversa il Cosentino. A lato, un ragazzo che aspetta l'autobus a Marina di Amendolara, al km 406, sempre sul tratto in provincia di Cosenza. Per 405 chilometri su 491 la statale 106 Jonica scorre in Calabria. 84 60/10 C'è un'unica strada che collega la costa tirrenica a quella adriatica. La sua linea percorre tutta la pianta dello stivale dell'Italia, dalla punta al tallone: è la statale 106 Jonica, che nasce davanti allo stretto di Messina, a Reggio Calabria, e termina agli impianti dell'ex Ilva, a Taranto. La 106, in e etti, costeggia il mar Jonio passando per Calabria, Basilicata e Puglia. Ma ognuno dei suoi 491 chilometri testimonia di un territorio sfregiato da abusivismi, modernizzazioni a rettate, appalti che spesso niscono nel nulla o in mano alla 'ndrangheta. E ha una vita tutta sua, parallela ai paesi che collega, una storia di relazioni e scambi che si scopre quando la strada diventa familiare e si passa e ripassa su quei 491 chilometri coast to coast.

Статья по результатам доклада, прочитанного на Международной конференции «Актуальные исследования в области фотографии», Государственный Эрмитаж,
Санкт-Петербург, 18-21 ноября, 2014 г.

Принято считать, что в 1960–1970-е годы произошло кардинальное переосмысление роли фотографического изображения. В этот период наиболее оперативным средством передачи информации становится телевизионный репортаж, а доверие к фотографии оказывается подорвано. Сходные процессы происходят и в советской фотографии, однако простой перенос понятий, выработанных для описания новых явлений документальной эстетики на Западе, едва ли возможен в силу совершенно иных социальных и идеологических конвенций, сопряженных с деятельностью фотографа. Ниже мы на примере творчества Валерия Щеколдина, фотографа, начавшего работать во второй половине 1960-х и получившего известность в начале 1990-х годов, рассмотрим особенности развития представлений о документальной фотографии в СССР.

Resumen: Experiencia Centelles es un itinerario por los escenarios de las fotografías de Agustí Centelles i Ossó (1909-1985) realizadas en Barcelona, el primer día de la Guerra Civil Española. Una detallada y rigurosa investigación previa por parte del autor de esta comunicación, habilita a los asistentes a esta ruta para reconstruir, a través de su propia experiencia, los hechos representados en los mismos lugares donde éstos se produjeron. Esto les permite acceder a una información que, si bien reside en las imágenes, no se desvela mientras no son observadas en su contexto espacial original. Es entonces cuando el observador puede adquirir, de primera mano, unos conocimientos históricos e incluso técnicos, sobre las condiciones en que las fotografías fueron realizadas. Esta percepción capacita al observador para ejercer una mirada crítica sobre el paisaje, la historia y las imágenes que los representan. El presente artículo propone una lectura de esta experiencia en un contexto arqueológico, es decir, desde el análisis de las fotografías in situ, en tal que restos de los acontecimientos de los que, en su momento, formaron parte. Abstract: Experiencia Centelles is a journey through the scenes of the photographs taken by Agustí Centelles i Ossó (1909-1985) on the first day of the Spanish Civil War in Barcelona. A preliminary research by the author of this paper, enables the participant to this route to rebuild through their own experience, the events depicted by photographs in the very same places where they occurred. This vantage point uncovers information which is not revealed until images are observed in its original spatial context. That's when the observer can perceive, both historical and even technical information, on how the photographs were taken. This perception empower the observer to perform a critical gaze over the landscape, history and images that represent them. This article proposes an approach to this experience in an archaeological context, that is, through the analysis of the photographs in situ, as remains of the events that, once took part. 1Fotógrafo, docente e historiador de fotografía. Fundador de Arqueología del Punt de Vista. [email protected]

Abstract. A new optical security application of an old color photographic technique (Lippmann photography, invented in 1891) is presented. Today, this type of photography can be applied as a unique security device on security documents, such as, e.g., identification cards, passports, credit cards, and other documents where a high degree of security is needed. A Lippmann photograph is very similar to the holograms cur-
rently used in this field; however, a unique recording of each document can be made to achieve a degree of security higher than that with mass-produced holograms. The recording of Lippmann photographs requires a special type of photosensitive medium in contact with a reflecting layer.
Panchromatic photopolymer materials can be used and, after being recorded and processed, laminated to security documents. A special type of recording equipment is required. Lippmann photographs are virtually
impossible to copy and, certainly, cannot be copied by conventional photography or color copying machines.

Narrative Unmoored: Photography, Orientalism, and Geopolitics in Roberto Arlt's "La cadena del ancla" This essay offers a reading of "La cadena del ancla," a short story that Roberto Arlt wrote as a journalist while on assignment in Morocco during the mid-1930s, from the perspective of postcolonial studies and visual culture. While focusing on the themes of espionage and revenge, it analyzes Orientalist storytelling as a praxis of writing alongside history, through which the Argentine writer documented the rivalry between global colonial powers in 1935. By examining the main characters' displacement along the coast of North Africa, from Tangier to Cairo, the essay aims to open up the lines of interconnectivity between photography and narrative, visual arts and Mediterranean geopolitical flows. Arlt engages a "repertoire of Orientalism" by interpolating what Graham Huggan has called the "postcolonial exotic," but he also subverts it by inviting history into the pages of his short story. When read with a postcolonial understanding of the writer's travels, Arlt's visual projection of his experiences in Spain and Morocco makes us better understand how they became an integral part of his more explicitly politicized future writing, especially his playsÁfrica (1938) and La fiesta del hierro (1940).

To celebrate 125 years of the National Geographic magazine excellence in photography and environmental storytelling, the Annenberg Space for Photography is curating what promises to be one of the largest multimedia exhibitions of its kind with hundreds of images on display: including print, digital instillations and documentary films. The sheer scale of the exhibition, which coincides with October’s National Geographic’s commemorative magazine, will no doubt warrant more than one visit.

Na Fortaleza de Maputo foi apresentada a exposição World Press Photo 2009. Como exposição tem alguns contras, tradicionais nesta iniciativa anual. Os critérios de selecção temática, e assim sendo também de premiação, têm algo a ver com um roteiro de desgraças do ano transacto, o que traduz uma ideia do que é "press" -mais do que a informação é o espectáculo (visual, estético) da desgraça que é procurado. Diga-se que "não há festa nem festança onde não vá a dona Constança", não há desgraça para a qual não haja categoria de premiação da World Press Photo, tudo debruado com uma tempestade atmosférica ou um leopardo-das-neves, para "alargar" o âmbito. Não quero forçar a nota mas a representação do ano, todos os anos, inclina-se para essa dimensão do horror humano. Desiquilibra-se. Para quem discorde desta minha opinião apelo a que olhe para os prémios dados à fotografia sobre Natureza -aí apela-se à estética, não se integra nessa dimensão uma vontade de denúncia das maleitas e horrores. E se há horrores e maleitas na natureza. Ou seja, os valores que pretendem ser mostrados na parte fotografia de natureza são diferentes (aparentemente mais apolíticos, mas só na aparência, pois na prática é mesmo um discurso político articulado) do que os que procuram ser transmitidos na parte fotografia humana.

Un resoconto dalla partecipazione all’incontro in Auditorium Santa Margherita il 29 gennaio 2014 e l'incontro in Conferenza Stampa del 31 gennaio 2014 in occasione della mostra "GENESI. Fotografie di Sebastião Salgado" presso la Casa ai Tre Oci di Venezia, dove Sebastião Salgado e la moglie Lélia Wanick Salgado hanno rilasciato alcune interviste e parlato del loro progetto “Genesi”.

Some of the most powerful historical representations of streets and the people traversing them have been those served up by photographers. From photography’s very beginning, as new camera technologies transformed lively public thoroughfares into open- air studios, photographs engendered diverse views of the city from artists, photojournalists, pedestrians, engineers, and advertisers. Public urban spaces are not merely subject matter for photography, however, since photographers themselves are actively engaged in navigating city streets fraught with poli-tics and historically changing social meanings. An exploration of the many different appropriations of public spaces for photography shows that walking in city streets has not only been a central subject for fine art photography; it also has been one of its primary historical conditions

Spanning five central decades of the mid-twentieth century
(1934–1974), Walkabout was one of Australia’s best-loved illustrated
weeklies. Photography played a crucial role in the magazine’s
attempt to represent the vast Australian continent and its neighboring
countries. While historians and critics have regarded the
magazine as an example of boosterish nationalism and middle-brow
anti-intellectualism, I argue that the periodical should be considered
as an amalgam of reactionary and progressive ideals: Walkabout was
a paradoxical combination of high-modernism and romantic anti-capitalism,
conservative nationalism and left populism. Although it
glossed over many of the problems facing the country, the editors’
emphasis on “factual photography” was indicative of a democratic
impulse. I offer an examination of the magazine’s coverage of
extractive projects as an example of Walkabout’s ideological contradictions.
In particular, I look at Laurence Le Guay and Robert
Emerson Curtis’s 1947 photo-essay about the mining town of
Mount Isa to show how the periodical attempted to reconcile two
antagonistic gazes: that of the corporate engineer and that of
the miner.

Este trabalho olha American Photographs à luz, simultaneamente, de uma visão da fotografia como instrumento de verdade e objetividade e como denúncia dessa ideia.
Explora a forma como Evans consegue, ao mesmo tempo, trabalhar dentro dessa linguagem de verdade e objetividade, e quebrá-la e denunciá-la pela sua própria prática, assumindo o caráter subjetivo das suas escolhas e da sua edição.

Il cammino del coraggioso inserimento dei disabili a scuola nel nostro Paese è stato promosso dalla legge 517 del 1977 che, a 40 anni dalla sua emanazione, rimane il caposaldo dell’attuale modello di inclusione scolastica.
È quella legge, per la prima volta, a prevedere l’introduzione di un docente di sostegno – in possesso di un apposito titolo di specializzazione –, che diventa centrale ai fini dell’integrazione scolastica degli alunni/studenti con difficoltà di apprendimento e di adattamento, superando il semplice assistenzialismo e vigilanza del disabile in classe.
Ed è con le stesse norme che vengono abolite le famigerate classi differenziali, previste dalla legge del 1962 che istituì la scuola media unica, obbligatoria e gratuita.
Dopo quarant’anni, grazie anche a numerose immagini, questo libro ripercorre la strada fatta dalla scuola italiana nel cammino dell’integrazione degli alunni con difficoltà di apprendimento e di adattamento.

Zhuang, Wubin. “Post Doi Moi Photography in Saigon: Nguyen Xuan Khanh and Bui Xuan Huy.” Asian Art, November 2010, 6-8.

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In this article, I trace the revival of individual attempts at experimenting with photography in post-Doi Moi Saigon, by introducing the practices of Nguyen Xuan Khanh and Bui Xuan Huy.