Totalna porażka. O dwóch projektach fotograficznych [Epic Fail: About Two Photographic Projects]

Epic Fail: About Two Photographic ProjectsThe paper discusses images of failure in Polish photography created in 1970–2000, drawing on three particular projects: Archeology of Photography by Jerzy Lewczyński and the exhibitions The New Documentalists (2006) and Postdocument: Missing Documents: Documents of the Polish Transformation After 1989 (2012). As such, it concentrates on documentary, or post-documentary, photography which suffers no illusions as to the mimetic power of the medium, but persists in hoping that photos can have social impact.As the analyzed projects aim to create a critical picture of reality, they focus on spaces and people subject to exclusion and on the experience of failure (e.g., Unfinished Houses by Konrad Pustoła and Wojciech Wilczyk’s There’s No Such Thing as an Innocent Eye), as well as on the erosion of interpersonal relations (e.g., Aneta Grzeszykowska’s Album). Disappointments stemming from both the socialist reality and Polish capitalism mix with the desire to find and preserve what is intimate and authentic. The discussed artists devote the majority of their attention to the problem of photography as a medium and its ability to generate social change. However, they remain fully aware of the fact that the very nature of the photographic image, with its media entanglements, makes it difficult to create an unadulterated reflection of reality; it also makes it difficult to accept anything that does not fit the visual poetics of success, anything old, damaged, démodé, or kitschy. Accordingly, the artists raise important questions about the rules for creating images in the photographic universe and about the possibility of transcending them to create a new type of document, one that would elude the rules of “dominant images” (a term first coined by Rafał Drozdowski), and to enable such a use of photography as was postulated by John Berger: rooted in personal experience and memory. Totalna porażka. O dwóch projektach fotograficznychArtykuł ukazuje obrazy porażki w fotografii polskiej powstałej w okresie 1970–2000. Odwołuje się do trzech projektów: Archeologii fotografii Jerzego Lewczyńskiego oraz wystaw Nowi dokumentaliści (2006) i Postdokument. Świat nie przedstawiony. Dokumenty polskiej transformacji po 1989 roku (2012). Skupia się więc na fotografii nurtu dokumentalnego czy postdokumentalnego – nieżywiącej złudzeń co do mimetycznej mocy medium, ale nieporzucającej nadziei na społeczne oddziaływanie zdjęć.Przywoływane projekty stawiają sobie za cel stworzenie krytycznego obrazu rzeczywistości, a więc koncentrują się na przestrzeniach i ludziach podlegających wykluczeniu, przegranych (np. Niedokończone domy Konrada Pustoły, Niewinne oko nie istnieje Wojciecha Wilczyka), a także na erozji stosunków międzyludzkich (np. Album Anety Grzeszykowskiej). Rozczarowania związane zarówno z rzeczywistością socjalistyczną, jak i polskim kapitalizmem, mieszają się z pragnieniem odnalezienia i ocalenia tego, co żywe, bliskie, autentyczne.Artyści najwięcej uwagi poświęcają problemowi fotografii jako medium i jej zdolności generowania społecznej zmiany. Zdają sobie sprawę, że specyfika obrazu fotograficznego z jego medialnymi uwikłaniami utrudnia przekazanie niezafałszowanego obrazu rzeczywistości oraz akceptację tego, co nie mieści się w obrębie wizualnej poetyki sukcesu, tego, co stare, zniszczone, niemodne, kiczowate. Zadają w ten sposób pytanie o reguły tworzenia obrazów w fotograficznym uniwersum i o możliwość ich przekroczenia – stworzenia nowego dokumentu. Miałby on wymykać się regułom „obrazów dominujących” (określenie Rafała Drozdowskiego), umożliwić takie użycie fotografii, jakie postulował John Berger: zakorzenione w osobistym doświadczeniu i pamięci.

Barricadas: sobre uma imagem fotográfica de Augusto Malta

Por meio do exercício de leitura de uma imagem fotográfica da cidade do Rio de Janeiro, tomada por Augusto Malta em 1908, no contexto da Reforma Passos, buscou-se trabalhar a inscrição da fotografia na cultura histórica — não como ilustração de uma narrativa textual, mas como uma “chave de acesso” para recolocar questões ao fotógrafo a partir da tensão observada entre o que sua fotografia retrata e o que efetivamente “dá a ver”. A inequívoca materialidade da fotografia em oposição ao idealismo histórico construído pelo discurso oficial. Palavras-chave: cidade; fotografia; memória. Abstract By the exercise of reading a photographic image of the city of Rio de Janeiro, taken by Augusto Malta in 1908, in the context of the “Passos Urban Renovation”, we sought to work on the inscription of photography in historical culture — not as an illustration of a textual narrative, but as an “access key” to reposition questions to the photographer based on the tension between what his image portrays and what it effectively “allows to be seen”. The unequivocal materiality of photography as an opposition to the historical idealism constructed by official discourse. Keywords: city; photography; memory.

Camera, Canvas, and Qibla: Late Ottoman Mobilities and the Fatih Mosque Painting

This article discusses the multiple mobilities of images, photographs, photographers, viewers, and places by focusing on Miʿmarzade Muhammed ʿAli’s (d. 1938) oil-on-canvas painting, now located in the Fatih Mosque in Istanbul. It explores the limits, lives, possibilities, and uses of photographic views and the exchanges between photography, painting, and print media by investigating the geopolitics and geopiety of the Hamidian era (i.e., Sultan ʿAbdülhamid II, r. 1876–1909), the production and circulation of early photographs of Mecca and Medina, and the spatial tradition of qibla decorum. It examines the photographic oeuvres of Christiaan Snouck Hurgronje (d. 1936), al-Sayyid ʿAbd al-Ghaffar, and the committee of the Erkān-ı Ḥarbiyye (General Military Staff), including Muhammad Sadiq Bey (d. 1902), as well as the reproductions and changing contexts of these photographs. Furthermore, this article highlights the role of print media in the dissemination and mobilization of the photographic image and the malleable politics of representation, especially as it pertains to the two sacred cities of Mecca and Medina.

The Problem of Representing Trauma and the Role of Art in Witnessing Unspeakable Experience

The article discusses approaches to the problem of traumatic experience and its representation, describes the discussions in trauma studies related to unpresentable and evidence, and the problems of the photographic image. The article reviews the theory of affect in connection with the analysis of the art of trauma. The author examines the meaning of dialogue and comes to the conclusion that art can become a place where it is possible to hear the voice of a wound, to share the pain of Another. The author analyzes the transitive role of art in the experience of the past on the example of conceptual artists — Doris Salcedo and Alfredo Jaar. Alfredo Jaar’s installations, which include documentary photographs, are analyzed from the point of view of the concept of punctum and correlate with the idea of affect.

System for determining the parameters of a sea vessel by analyzing a photo image

In this paper, a method is considered for determining the parameters of a sea vessel, such as its spatial orientation and the distance from the observation point to this vessel from a photographic image to facilitate the task of identifying vessels at night. A measuring system for practical implementation is proposed, consisting of an optical segment, a segment for determining the angle of the vessel by the image, a segment for determining the distance to the object, and a segment for accumulating and filtering data. An algorithm for extracting the parameters of ship lights from a photographic image, their analysis, and the calculation of the quantities required for classification are described. The effectiveness of various classifier architectures for determining the angle of the vessel was experimentally tested, among which the SVM architecture was the most effective. A method for compiling a “depth map” for a static image based on the data of real distances to objects in the daylight image and the coordinates of the corresponding pixels in the same image is described. The method of backpropagation of the error is used for the obtained distances in the corresponding segment of the system based on the existence of the position-distance mapping. The model of the “depth map” constructed based on these data made it possible to obtain a sufficient distance to the object from the photograph.

Study on the Factors of Photographic Images Sharing among Online Community

Communication technology has played an important role in disseminating information to the public. This information includes the dissemination of photographic images seen in various forms. The Internet is also seen as a tool to convince the public of an event. Therefore, the main objective of this study is to see what are the main factors that influence students to tend to do the sharing of photographic images in the online community. The method used for this research was a focus group discussion (FGD) consisting of 21 informants aged 20 - 25 years old. All informants are students of the University College of Yayasan Pahang (UCYP). To see the basis of the spread of a photographic image, Narrative Theory has been used to support this study. The findings of the study found that several factors are seen as the main factors of image sharing online. Among them is the use of themes in the image and the emotions found in the image. In addition, ‘subject matter’ and ethics is an important factor that is evaluated before a photographic image is shared. However, some informants do not take any action instead are more interested in sharing photographic images. This is due to the lack of exposure to photography and the use of the media itself.

What's in a Photograph? The Perspectives of Composition Experts on Factors Impacting Visual Scene Display Complexity for Augmentative and Alternative Communication and Strategies for Improving Visual Communication

Purpose Visual scene displays (VSDs) can support augmentative and alternative communication (AAC) success for children and adults with complex communication needs. Static VSDs incorporate contextual photographs that include meaningful events, places, and people. Although the processing of VSDs has been studied, their power as a medium to effectively convey meaning may benefit from the perspective of individuals who regularly engage in visual storytelling. The aim of this study was to evaluate the perspectives of individuals with expertise in photographic and/or artistic composition regarding factors contributing to VSD complexity and how to limit the time and effort required to apply principles of photographic composition. Method Semistructured interviews were completed with 13 participants with expertise in photographic and/or artistic composition. Results Four main themes were noted, including (a) factors increasing photographic image complexity and decreasing cohesion, (b) how complexity impacts the viewer, (c) composition strategies to decrease photographic image complexity and increase cohesion, and (d) strategies to support the quick application of composition strategies in a just-in-time setting. Findings both support and extend existing research regarding best practice for VSD design. Conclusions Findings provide an initial framework for understanding photographic image complexity and how it differs from drawn AAC symbols. Furthermore, findings outline a toolbox of composition principles that may help limit VSD complexity, along with providing recommendations for AAC development to support the quick application of compositional principles to limit burdens associated with capturing photographic images. Supplemental Material https://doi.org/10.23641/asha.15032700

Photographic Image Intelligent Fuzzy Assistant Teaching System Based on Augmented Reality and Web

Due to the limitation of time and space, the traditional photographic image intelligent fuzzy teaching system can not provide targeted auxiliary teaching for students with different learning abilities. The design of intelligent fuzzy assistant teaching system of photographic image based on augmented reality and web is carried out, including the hardware design of server and peripheral equipment selection, and the design of intelligent fuzzy assistant teaching system of photographic image based on Web and augmented reality, such as intelligent fuzzy assistant teaching display, student learning behavior evaluation software design, etc. Experiments show that, compared with the traditional system, the photographic image intelligent fuzzy assistant teaching system based on augmented reality and web has more correct allocation of teaching resources, stronger pertinence and practical value.