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Utvrđivanje Izvornika Analognih I Digitalnih Fotografija

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Utvrđivanje Izvornika Analognih I Digitalnih Fotografija Filozofski fakultet Hrvoje Gržina UTVRĐIVANJE IZVORNIKA ANALOGNIH I DIGITALNIH FOTOGRAFIJA DOKTORSKI RAD Zagreb, 2017. Faculty of Humanities and Social Sciences Hrvoje Gržina IDENTIFYING ORIGINALS OF ANALOG AND DIGITAL PHOTOGRAPHS DOCTORAL THESIS Zagreb, 2017 Filozofski fakultet Hrvoje Gržina UTVRĐIVANJE IZVORNIKA ANALOGNIH I DIGITALNIH FOTOGRAFIJA DOKTORSKI RAD Mentor: dr. sc. Hrvoje Stančić, izv. prof. Zagreb, 2017. Faculty of Humanities and Social Sciences Hrvoje Gržina IDENTIFYING ORIGINALS OF ANALOG AND DIGITAL PHOTOGRAPHS DOCTORAL THESIS Supervisor: Ph. D. Hrvoje Stančić, Associate Professor Zagreb, 2017 O MENTORU Dr. sc. Hrvoje Stančić, izv. prof. rođen je 2. listopada 1970. u Zagrebu gdje je završio osnovnu i srednju školu. Diplomirao je 1996. godine studijske grupe Informatologija (smjer Opća informatologija) i Engleski jezik i književnost na Filozofskome fakultetu u Zagrebu. Godine 1996. prihvaćen je kao znanstveni novak na projektu koji se vodi na Odsjeku za informacijske znanosti Filozofskoga fakulteta u Zagrebu (broj znanstvenika 244003). Magistrirao je 2001. godine s temom Upravljanje znanjem i globalna informacijska infrastruktura. Doktorirao je 2006. s temom Teorijski model postojanog očuvanja autentičnosti elektroničkih informacijskih objekata. Od listopada 2011. u zvanju je izvanrednoga profesora, a od 2014. godine u zvanju znanstvenoga savjetnika. Predstojnik je Katedre za arhivistiku i dokumentalistiku od 2008. godine. Nastavu izvodi na preddiplomskom, diplomskom i doktorskom studiju informacijskih i komunikacijskih znanosti. Predaje predmete – preddiplomski: Osnove informacijske tehnologije, Osnove digitalne obrade teksta i slike; diplomski: Digitalizacija i migracija dokumenata, Digitalizacija 3D objekata i prostora, Digitalni arhivi, Planiranje i oblikovanje sustava za upravljanje gradivom; doktorski: Očuvanje autentičnosti elektroničkog gradiva, Planiranje procesa digitalnog očuvanja. Kao gostujući predavač predavao je pet godina na diplomskome studiju na Filozofskome fakultetu Sveučilišta u Sarajevu te dvije godine na diplomskome i doktorskome studiju na Fakultetu za administraciju i menadžment informacijskih sistema Univerziteta Sv. Kliment Ohridski u Bitoli. Autor je knjige Digitalizacija, koautor knjige Heritage Live. Upravljanje baštinom uz pomoć informacijskih alata i rječnika Arhivistički rječnik. Englesko-hrvatski i hrvatsko engleski, urednik pet knjiga, a objavio je, samostalno ili u koautorstvu, više od 80 znanstvenih i stručnih radova. Kao istraživač sudjelovao je u radu četiriju nacionalnih znanstveno-istraživačkih projekata i jednome međunarodnom TEMPUS projektu. Vodio je, na razini fakulteta, međunarodni projekt HERITAGE Live koji se odvijao u okviru IPA operativnoga programa prekogranične suradnje Slovenija – Hrvatska 2007. – 2013. Na razini Hrvatske koordinirao je aktivnosti europske koordinacijske inicijative Digital Preservation Europe – DPE. Istraživač je i voditelj europskoga istraživačkog tima na međunarodnome projektu InterPARES Trust – Trust and Digital Records in an Increasingly Networked Society (2013. – 2018.). Koordinator je radionica na Odsjeku te je od 2007. aktivno uključen u organizaciju odsječke bienalne međunarodne konferencije INFuture – The Future of Information Sciences. U Ministarstvu kulture RH član je radnih skupina za izradu nacionalne strategije za digitalizaciju kulturne baštine, za izradu novoga Zakona o arhivskome gradivu i arhivima, za zaštitu pisane baštine i za izradu projektnoga prijedloga digitalizacija kulturne baštine. Član je i potpredsjednik Hrvatskoga arhivističkog društva (HAD), član Hrvatskoga informacijskog i dokumentacijskog društva (HIDD), Hrvatskoga nacionalnog komiteta ICOM-a, te je fakultetski predstavnik u Međunarodnome centru za arhivska istraživanja ICARUS. U Hrvatskome zavodu za norme predsjednik je Hrvatskoga zrcalnoga tehničkog odbora za izradu međunarodne norme ISO/TC 307 Ulančani blokovi i tehnologija distribuirane glavne knjige (engl. Blockchain and Electronic Distributed Ledger Technologies). SAŽETAK Osnovna je zadaća disertacije – širenjem polazišta arhivske teorije spoznajama iz diplomatike, konzervacije, teorije fotografije, vizualne antropologije i antropologije materijalne kulture, estetike te semiotike – istražiti i objasniti problem izvornika analognih i digitalnih fotografija te ponuditi jasno definirane kriterije za njihovo utvrđivanje i razlikovanje od objekata drukčijega statusa. Osim kao prinos proučavanju fotografskih snimaka u arhivima, disertacija je zamišljena i kao prilog širemu diskursu tehničke i društvene povijesti fotografije. Nakon uvodnih napomena i pregleda osnovnih pojmova te relevantne strane i domaće literature, najveći je dio istraživanja posvećen analizi i komparaciji različitih pojavnih oblika analognih i digitalnih fotografija, kao i mogućnostima i tehnikama njihova izravnoga umnožavanja i kopiranja. Polazeći od tvrdnji da fotografija kao medij u cjelini nije isključivo namijenjena umnožavanju – postoje, naime, i jedinstveni fotografski oblici – te da polaritet fotografske slike nema nikakva utjecaja na status objekta, predložena je klasifikacija fotografija prema generacijskome odmaku od objekta referencije te je zatim izrađena i tipologija fotografskih snimaka. Kritički su analizirana ranija gledišta na temeljno istraživačko pitanje te je predloženo prihvaćanje koncepta višestrukih izvornika, koji je zatim detaljno elaboriran, s posebnim naglaskom na formu i funkcijski kontekst nastanka snimaka kao osnovne elemente o kojima ovisi značenje fotografskih dokumenata. S temeljem u konceptu višestrukih izvornika, predloženi su kriteriji razlikovanja izvornih fotografija od onih drukčijih statusa (primarno nacrta i kopija), kao i razrađena klasifikacija analognih i digitalnih fotografija prema izvornosti. Time je omogućeno pozicioniranje svakoga od izvornih fotografskih oblika unutar korpusa, i onih jedinstvenih i sačuvanih u više primjeraka. Usvajanje predloženih kriterija trebalo bi podići razinu vizualne pismenosti kod arhivista te, implementirano u praksu, pomoći nadvladavanju vizualne ekvivalencije koja se nerijetko uspostavlja među fotografskim snimkama različitih statusa, tehnika, oblika i generacija. Ključne riječi: fotografija, analogna fotografija, digitalna fotografija, izvornik, nacrt, kopija, umnožavanje, polaritet, forma, kontekst SUMMARY The principal task of this dissertation – by broadening the starting point of archival theory with insights from diplomatics, conservation, photography theory, visual anthropology as well as anthropology of material culture, aesthethics and semiotics – is to explore and explain the problem of originals of analog and digital photographs and to offer clearly defined criteria for their determining and the distinguishing from objects of different status. In addition to the contribution to the studying of photographs in archives, the dissertation is also envisaged as an addition to a broader discourse of technical and social history of photography. Following introductory notes and an overview of principal terms as well as relevant foreign and domestic literature, the predominant part of the research is dedicated to the analysis and comparation of various forms of appearance of analog and digital photographs, as well as to possibilities and techniques of their direct duplicating and copying. Using the claims that photography as a medium in general is not meant solely for duplicating – as unique photographic objects also exist – and that the polarity of a photographic image has no influence on object's status as the starting point, a classification of photographs according to the generational distance from the object of reference has been suggested, following which a typology of photographs has been created. Earlier standpoints concerning the principal research question have been critically analyzed and the acceptance of a concept of multiple originals has been suggested, which has then been elaborated in detail, with particular emphasis on the form and the functional context of the creation of photographs as basic elements on which the meaning of photographic documents depends. With their foundations in the concept of multiple originals, criteria for differentiation between original photographs and those of different status (primarily drafts and copies) have been suggested, as well as an elaborate classification of analog and digital photographs according to originality. This enabled the positioning of each of original photographic objects within the corpus, those which are unique as well as those preserved in a greater number. The adoption of suggested criteria should raise the level of visual literacy of archivists and, implemented in practice, should help overcome the visual equivalence which is often established between photographs of different statuses, techniques, forms and generations. Key words: photography, analog photography, digital photography, original, draft, copy, duplicating, polarity, form, context SADRŽAJ 1. UVOD 1.1. Kratko o povijesti i sadašnjosti fotografije 1 1.2. Pristup problemu i legitimnost istraživanja 3 1.3. Kako do cilja? 6 2. ISHODIŠNI POJMOVI I TEORIJSKE OSNOVE 2.1. Prethodne napomene 8 2.2. Osnovni pojmovi – arhivistika 9 2.2.1. Izvornik (original) 10 2.2.2. Kopija i duplikat – sinonimi ili pojmovi različitoga značenja? 12 2.2.3. Ostali pojmovi 13 2.3. Osnovni pojmovi – fotografija 15 2.3.1. Negativ 16 2.3.2. Pozitiv 21 2.3.3. Ostali pojmovi 22 2.4. Pregled najvažnijih radova i smjerova teorijskoga razvoja 24 2.4.1. Arhivistika
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