Photography

Sontag, Susan; Milar, Melissa; Brohaugh, William; Carroll, John S.; Frobisch, Dieter; Lamprecht, Hartmut; Longwell, Dennis; Slavin, Neal; Newnan, Arnold; Fischer, Hal; Wade, Kent E.; Manual, The Nikon

doi:10.1080/10948007809488930

Cited by 238 publications

(95 citation statements)

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“…The separation between young and old as well as indicating a division in religious adherence that forever marks the evolution of youth dominates this picture. Sontag encourages audiences to take in everything about a picture as it is a permanent structure of both beauty and history: "But not withstanding the declared aims of indiscreet, unposed, often harsh photography to reveal truth, not beauty, photography still beautifies" [3]. There is something hauntingly beautiful about the setup and juxtaposition of people in this picture.…”

Section: Photography and Empathymentioning

confidence: 99%

“…This picture captures Sontag's ideas about beauty and history and once again shows how they are interwoven. According to Sontag, "beauty has been revealed by photographs as existing everywhere… For photographers there is… no difference-no greater aesthetic advantage-between the effort to embellish the world and the counter-effort to rip off its mask" [3]. In other words, whether the photographer seeks to create beauty in a picture or reveal the story beneath a picture, the photographs are beautiful.…”

Section: Photography and Empathymentioning

confidence: 99%

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The Inter-Generation of the Bosnian War in Pictures

Giovannucci¹

2013

IJSSH

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Abstract-The Bosnian War allows for a fascinating glimpse into trans and intergenerational studies. The rape victims (and other war victims) themselves are first generation while the children born during the war, either as a product of rape or not, are caught in a poorly defined category as they are not simply a second generation born after the war. They were born during it and bear metaphorical wounds from it. Regardless of their biological lineage, the children of Bosnia are coming into a broken world. This 'generation' of warborn babies can to a great degree fit into Susan Suleiman's description of the 1.5 generation. However, it does so only loosely. Photographer Ziyah Gafić calls the children "Generation Zero." By presenting the lives of these young men and women through photographs, Gafić gives his viewers a chance to see for themselves and empathize with the stories he is trying to tell. Several noted photography theorists, including Marianne Hirsch, Susan Sontag, and W. J. T. Mitchell shed light on how photography can be so influential.

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Section: Photography and Empathymentioning

confidence: 99%

Section: Photography and Empathymentioning

confidence: 99%

The Inter-Generation of the Bosnian War in Pictures

Giovannucci¹

2013

IJSSH

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“…This -cultural editing‖, or picking and choosing of cultural elements to reflect one's desired image, is reminiscent not only of the ways in which elements are cropped, highlighted or interpreted in photography or visual anthropology (Barrett 2000;Collier and Collier 1986;Ruby 1981;Sontag 1977) but also -and,…”

Section: Aestheticsmentioning

confidence: 99%

Identity, Nostalgia and Leisure: Technology Use in Second Homes

Bourdonnec

2000

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This thesis, based on two years of ethnographic fieldwork in the US, Russia, France and Australia, focuses on technology use in second homes and its implications for technology design. I highlight the unexpectedly strong sense of nostalgia, for place as well as for richer relationships, felt in second homes around the world, and the ways in which second home residents use technology to shape space and behavior to reinforce this link to an imagined past. I show that the transition between main and second homes, with its rituals of preparation and transition between physical locations, allows residents to assume different identities in the two locations. These identities are based on location rather than role, and their second home identities allow them to showcase a part of themselves which does not flourish in the city. Lastly, I articulate the ways in which technology's logic is shaped by work environments, and how this logic does not always mesh well with the -messiness‖ of home lives. I further show that the choices of technology placement and acceptance in the home are a function of both how a technology is perceived (as aligned with work or leisure, for example) and of the behaviors residents value in the home, and an anthropologically informed understanding of these behaviors can, and should, influence product design choices.ii Dedication For Ron, who put up with -the manifesto.‖ Et pour mes parents, qui y ont toujours cru.iii Acknowledgements

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“…This association between machine and product distances maps like Google Earth from a sense of subjectivity and instead emphasize the objective nature of photographic representations of earth. The result, as Sontag (1977) argues, is that the 'photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask ' (1977: 154). While early maps, created through drawing, painting, etching, or other methods, often attempted to distance the creator from the representation, they still functioned less an index than as an icon (in Peirce's terms).…”

Section: Critiques Of Geographic Information Systemsmentioning

confidence: 99%

Mapping the Digital Empire: Google Earth and the Process of Postmodern Cartography

Farman¹

2011

The Map Reader

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The process of cartography and the ideological problems that accompany this process (such as who draws the borders, how is space represented, and who names locations on the map) have taken on new significance in the digital age with the proliferation of digital maps and geographical information systems (GIS) such as Google Earth. By connecting this popular GIS to the colonial history of cartography, this article analyzes the cultural implications of this software program and the potential dangers that are often attributed to GIS. I also seek to counter these critiques by showing how Google Earth uniquely engages its users, not as disembodied voyeurs, but as participants in global dialog, represented spatially on the digital map. Ultimately, this study seeks to find a way in which recontextualization and subversion from the 'master representations' of maps can be achieved within the authorial structure of the digital map rather than re-authoring the existing software.

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Photography

Cited by 238 publications

References 0 publications

The Inter-Generation of the Bosnian War in Pictures

The Inter-Generation of the Bosnian War in Pictures

Identity, Nostalgia and Leisure: Technology Use in Second Homes

Mapping the Digital Empire: Google Earth and the Process of Postmodern Cartography

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