Understanding Historic Buildings: a Guide to Good Recording Practice
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Each Wild Idea: Writing, Photography, History
e “Unruly, energetic, unmastered. Also erudite, engaged and rigorous. Batchen’s essays have arrived at exactly the e a c h w i l d i d e a right moment, when we need their skepticism and imagination to clarify the blurry visual thinking of our con- a writing photography history temporary cultures.” geoffrey batchen c —Ross Gibson, Creative Director, Australian Centre for the Moving Image h In Each Wild Idea, Geoffrey Batchen explores widely ranging “In this remarkable book, Geoffrey Batchen picks up some of the threads of modernity entangled and ruptured aspects of photography, from the timing of photography’s by the impact of digitization and weaves a compelling new tapestry. Blending conceptual originality, critical invention to the various implications of cyberculture. Along w insight and historical rigor, these essays demand the attention of all those concerned with photography in par- the way, he reflects on contemporary art photography, the role ticular and visual culture in general.” i of the vernacular in photography’s history, and the —Nicholas Mirzoeff, Art History and Comparative Studies, SUNY Stony Brook l Australianness of Australian photography. “Geoffrey Batchen is one of the few photography critics equally adept at historical investigation and philosophi- d The essays all focus on a consideration of specific pho- cal analysis. His wide-ranging essays are always insightful and rewarding.” tographs—from a humble combination of baby photos and —Mary Warner Marien, Department of Fine Arts, Syracuse University i bronzed booties to a masterwork by Alfred Stieglitz. Although d Batchen views each photograph within the context of broader “This book includes the most important essays by Geoffrey Batchen and therefore is a must-have for every schol- social and political forces, he also engages its own distinctive ar in the fields of photographic history and theory. -
Destruction and Transformation Vernacular Photography and the Built Environment
Destruction and Transformation Vernacular Photography and the Built Environment February 8 – May 25, 2019 Unidentified photographer, [Building Implosion, Stowers Furniture Company, San Antonio, TX], 1981. Courtesy The Walther Collection. Opening Reception: Thursday, February 7, from 6 – 8pm The Walther Collection Project Space 526 West 26th Street, Suite 718 New York, NY 10001 +1 212 352 0683 | [email protected] The Walther Collection is pleased to present Destruction and Transformation: Vernacular Photography and the Built Environment, an exhibition that examines the decisive role of vernacular photography in capturing the convulsive cycles of change that define modernist topographies. Since the nineteenth century, engineers, city planners, architects, industrialists, and tourists have used photography to record and promote metropolitanism: a global affirmation of modern urban expansion, often at the expense of natural ecology, historic structures, or existing populations. The sixteen photographic series in this exhibition, spanning from 1876 to 2000, depict the inescapable obsolescence of urban and industrial projects, often traversing, partitioning, and exploiting the natural environment. These pictures together provide a counternarrative to the presupposed stability of aesthetic and structural planning within modernist city spaces and architecture. Photographic documentation has often been crucial to establishing the progress of consumption and destruction of land and to justifying the outcomes of such efforts for a larger public—or to lamenting its effects retrospectively. This exhibition proposes two paradigmatic sites as case studies: the Appalachian coalfields, where the extraction of fossil fuels has required the reshaping of the natural landscape and the local social organization; and New York City, where an unceasing cycle of destruction and construction drives modern urban development. -
Penelope Umbrico's Suns Sunsets from Flickr
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Image Commodification and Image Recycling: Penelope Umbrico's Suns Sunsets from Flickr Minjung “Minny” Lee CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/506 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The City College of New York Image Commodification and Image Recycling: Penelope Umbrico’s Suns from Sunsets from Flickr Submitted to the Faculty of the Division of the Arts in Candidacy for the Degree of Master of Arts Department of Humanities and Liberal Arts by Minjung “Minny” Lee New York, New York May 2014 Copyright © 2014 by Minjung “Minny” Lee All rights reserved CONTENTS Acknowledgements v List of Illustrations vi Introduction 1 Chapter 1. Umbrico’s Transformation of Vernacular Visions Found on Flickr 14 Suns from Sunsets from Flickr and the Flickr Website 14 Working Methods for Suns from Sunsets from Flickr 21 Changing Titles 24 Exhibition Installation 25 Dissemination of Work 28 The Temporality and Mortality of Umbrico’s Work 29 Universality vs. Individuality and The Expanded Role of Photographers 31 The New Way of Image-making: Being an Editor or a Curator of Found Photos 33 Chapter 2. The Ephemerality of Digital Photography 36 The Meaning and the Role of JPEG 37 Digital Photographs as Data 40 The Aura of Digital Photography 44 Photography as a Tool for Experiencing 49 Image Production vs. -
Imperial War Museum Annual Report and Accounts 2019-20
Imperial War Museum Annual Report and Accounts 2019-20 Presented to Parliament pursuant to section 9(8) Museums and Galleries Act 1992 Ordered by the House of Commons to be printed on 7 October 2020 HC 782 © Crown copyright 2020 This publication is licensed under the terms of the Open Government Licence v3.0 except where otherwise stated. To view this licence, visit nationalarchives.gov.uk/doc/open-government-licence/version/3. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. This publication is available at: www.gov.uk/official-documents. Any enquiries regarding this publication should be sent to us at [email protected] ISBN 978-1-5286-1861-8 CCS0320330174 10/20 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Office 2 Contents Page Annual Report 1. Introduction 4 2. Strategic Objectives 5 3. Achievements and Performance 6 4. Plans for Future Periods 23 5. Financial Review 28 6. Staff Report 31 7. Environmental Sustainability Report 35 8. Reference and Administrative Details of the Charity, 42 the Trustees and Advisers 9. Remuneration Report 47 10. Statement of Trustees’ and Director-General’s Responsibilities 53 11. Governance Statement 54 The Certificate and Report of the Comptroller and Auditor 69 General to the Houses of Parliament Consolidated Statement of Financial Activities 73 The Statement of Financial Activities 74 Consolidated and Museum Balance Sheets 75 Consolidated Cash Flow Statement 76 Notes to the financial statements 77 3 1. -
Towards Decolonial Futures: New Media, Digital Infrastructures, and Imagined Geographies of Palestine
Towards Decolonial Futures: New Media, Digital Infrastructures, and Imagined Geographies of Palestine by Meryem Kamil A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2019 Doctoral Committee: Associate Professor Evelyn Alsultany, Co-Chair Professor Lisa Nakamura, Co-Chair Assistant Professor Anna Watkins Fisher Professor Nadine Naber, University of Illinois, Chicago Meryem Kamil [email protected] ORCID iD: 0000-0003-2355-2839 © Meryem Kamil 2019 Acknowledgements This dissertation could not have been completed without the support and guidance of many, particularly my family and Kajol. The staff at the American Culture Department at the University of Michigan have also worked tirelessly to make sure I was funded, healthy, and happy, particularly Mary Freiman, Judith Gray, Marlene Moore, and Tammy Zill. My committee members Evelyn Alsultany, Anna Watkins Fisher, Nadine Naber, and Lisa Nakamura have provided the gentle but firm push to complete this project and succeed in academia while demonstrating a commitment to justice outside of the ivory tower. Various additional faculty have also provided kind words and care, including Charlotte Karem Albrecht, Irina Aristarkhova, Steph Berrey, William Calvo-Quiros, Amy Sara Carroll, Maria Cotera, Matthew Countryman, Manan Desai, Colin Gunckel, Silvia Lindtner, Richard Meisler, Victor Mendoza, Dahlia Petrus, and Matthew Stiffler. My cohort of Dominic Garzonio, Joseph Gaudet, Peggy Lee, Michael -
Stonehenge OCR Spec B: History Around Us
OCR HISTORY AROUND US Site Proposal Form Example from English Heritage The Criteria The study of the selected site must focus on the relationship between the site, other historical sources and the aspects listed in a) to n) below. It is therefore essential that centres choose a site that allows learners to use its physical features, together with other historical sources as appropriate, to understand all of the following: a) The reasons for the location of the site within its surroundings b) When and why people first created the site c) The ways in which the site has changed over time d) How the site has been used throughout its history e) The diversity of activities and people associated with the site f) The reasons for changes to the site and to the way it was used g) Significant times in the site’s past: peak activity, major developments, turning points h) The significance of specific features in the physical remains at the site i) The importance of the whole site either locally or nationally, as appropriate j) The typicality of the site based on a comparison with other similar sites k) What the site reveals about everyday life, attitudes and values in particular periods of history l) How the physical remains may prompt questions about the past and how historians frame these as valid historical enquiries m) How the physical remains can inform artistic reconstructions and other interpretations of the site n) The challenges and benefits of studying the historic environment 1 Copyright © OCR 2018 Site name: STONEHENGE Created by: ENGLISH HERITAGE LEARNING TEAM Please provide an explanation of how your site meets each of the following points and include the most appropriate visual images of your site. -
Greenwich Park
GREENWICH PARK CONSERVATION PLAN 2019-2029 GPR_DO_17.0 ‘Greenwich is unique - a place of pilgrimage, as increasing numbers of visitors obviously demonstrate, a place for inspiration, imagination and sheer pleasure. Majestic buildings, park, views, unseen meridian and a wealth of history form a unified whole of international importance. The maintenance and management of this great place requires sensitivity and constant care.’ ROYAL PARKS REVIEW OF GREEWNICH PARK 1995 CHAIRMAN’S FOREWORD Greenwich Park is England’s oldest enclosed public park, a Grade1 listed landscape that forms two thirds of the Maritime Greenwich World Heritage Site. The parks essential character is created by its dramatic topography juxtaposed with its grand formal landscape design. Its sense of place draws on the magnificent views of sky and river, the modern docklands panorama, the City of London and the remarkable Baroque architectural ensemble which surrounds the park and its established associations with time and space. Still in its 1433 boundaries, with an ancient deer herd and a wealth of natural and historic features Greenwich Park attracts 4.7 million visitors a year which is estimated to rise to 6 million by 2030. We recognise that its capacity as an internationally significant heritage site and a treasured local space is under threat from overuse, tree diseases and a range of infrastructural problems. I am delighted to introduce this Greenwich Park Conservation Plan, developed as part of the Greenwich Park Revealed Project. The plan has been written in a new format which we hope will reflect the importance that we place on creating robust and thoughtful plans. -
Tower of London World Heritage Site Management Plan
Tower of London World Heritage Site Management Plan Published by Historic Royal Palaces © Historic Royal Palaces 2007 Historic Royal Palaces Hampton Court Palace Surrey KT8 9AU June 2007 Foreword By David Lammy MP Minister for Culture I am delighted to support this Management Plan for the Tower of London World Heritage Site. The Tower of London, founded by William the Conqueror in 1066-7, is one of the world’s most famous fortresses, and Britain’s most visited heritage site. It was built to protect and control the city and the White Tower survives largely intact from the Norman period. Architecture of almost all styles that have since flourished in England may be found within the walls. The Tower has been a fortress, a palace and a prison, and has housed the Royal Mint, the Public Records and the Royal Observatory. It was for centuries the arsenal for small arms, the predecessor of the present Royal Armouries, and has from early times guarded the Crown Jewels. Today the Tower is the key to British history for visitors who come every year from all over the world to relive the past and to enjoy the pageantry of the present. It is deservedly a World Heritage Site. The Government is accountable to UNESCO and the wider international community for the future conservation and presentation of the Tower. It is a responsibility we take seriously. The purpose of the Plan is to provide an agreed framework for long-term decision-making on the conservation and improvement of the Tower and sustaining its outstanding universal value. -
Early African American Photography
In a New Light 7 Review Essay In a New Light: Early African American Photography Tanya Sheehan THE CAMERA AND THE PRESS: American Visual and Print Culture in the Age of the Daguerreotype. By Marcy J. Dinius. Philadelphia: University of Pennsylvania Press. 2012. PICTURES AND PROGRESS: Early Photography and the Making of African American Identity. Edited by Maurice O. Wallace and Shawn Michelle Smith. Durham: Duke University Press. 2012. EMBODYING BLACK EXPERIENCE: Stillness, Critical Memory, and the Black Body. By Harvey Young. Ann Arbor: University of Michigan Press. 2010. DELIA’S TEARS: Race, Science, and Photography in Nineteenth-Century America. New Haven: Yale University Press. 2010. In 2000, art historian, curator, and artist Deborah Willis presented Reflections in Black, the first major history of photography in the United States to foreground early African American photography. In the three years that the exhibition toured 0026-3079/2013/5203-007$2.50/0 American Studies, 52:3 (2013): 007-024 7 8 Tanya Sheehan the country, and in the decade that its catalogue has been read avidly by students, historians, and practitioners of photography, Reflections in Black has exercised a powerful influence on how we think about photographic self-representation within the African American community. Willis taught us how to look for and at images that did not grossly caricature black bodies but instead “celebrated the achievements” of black subjects and “conveyed a sense of self and self-worth” (Willis, xvii). The placement of cameras in black hands, she argued, made such counter-representation possible; writing a different history of African American life and culture therefore depended on rediscovering the first black photogra- phers. -
Making Sense of the Selfie: Keywords: Rudolfs Blaumanis, Gottfried Keller, 19Th Century Literature, Latvian Litera Ture, Autobiographical Novel, Art and Artist
46 RAKSTI BENEDIKTS KALNACS 47 Artist. Reality, and (Auto)biography ALISE TIFENTALE in Rudolfs Blaumanis's and Gottfried Keller's Fiction Making Sense of the Selfie: Keywords: Rudolfs Blaumanis, Gottfried Keller, 19th century literature, Latvian litera ture, autobiographical novel, art and artist. Digital Image-Making Summary and Image-Sharing in Social Media The paper discusses aspects of the Latvian writer's Rudolfs Blaumanis (1863-1908) fiction in comparative perspective. An important aspect of Blaumanis's efforts was devoted to the discussion ofindividual life stories of his characters, and he also dealt with the possibility or impossibility of a person to become his or her true self in the interpretative contexts ofthe l 9th century society and culture. In European perspective, Keywords: History of photography, digital photography, social media, the image of an artist was often put at the centre of writers' attention, and the paper Ins tagram, self-portraits, software studies. provides one such case study, a discussion of the Swiss author's, Gottfried Keller autobiographical novel "Green Henry" (Der Grune Heinrich, 1st version 1855, 2nd Introduction version 1880) to which the works ofBlaumanis are then compared. The paper deals with some of the Latvian author's most important novellas, written between 1882 and 1898, A wide range of photographic practices has flo urished outside the and discusses the impossibility of artistic career in the context of the 19th century institutional framework of the art world or commercial photography since Latvian society due to different historical and social background as discussed in the early 1900s, when the availability and ease of use of the Kodak Brownie Blaumanis's texts. -
Heritage Premises: Fire Safety Guidance Background
Heritage Premises: Fire Safety Guidance Background: Important heritage buildings are listed by Historic England. Listing, scheduling, registering and protecting are all forms of Designation, for protecting buildings, monuments, parks and gardens, battlefields and wreck sites respectively. Designation is the act of identifying the most important parts of our heritage so they can receive special protection and make sure that our history can be enjoyed by present and future generations. All of these sites are brought together in the National Heritage List for England (NHLE) Buildings and structures which meet the criteria for national protection are listed. This protection system has been in place since 1947 and operates under; The Planning (Listed Buildings and Conservation Areas) Act 1990. Guidance to selection criteria is available on Historic England`s web site: http://historicengland.org.uk/listing/selection-criteria/listing-selection/ Listed Buildings: Listing helps us acknowledge and understand our shared history. It marks and celebrates a building's special architectural and historic interest, and also brings it under the consideration of the planning system so that some thought will be taken about its future. The older a building is, the more likely it is to be listed. All buildings built before 1700 which survive in anything like their original condition are listed, as are most of those built between 1700 and 1840. Particularly careful selection is required for buildings from the period after 1945. A building has normally to be over 30 years old to be eligible for listing. Categories of listed buildings: Grade I buildings are of exceptional interest, only 2.5% of listed buildings are Grade I. -
The Night Before the Somme
Programme Announced for IWM London Free Late – The Night Before the Somme 30 June, 8pm – Midnight Free On the eve of the centenary of the Battle of the Somme, join us for a FREE LATE at IWM London with film screenings, live music, immersive theatre and poetry exploring the themes of love, fear, hope and courage. For one night only, IWM London’s iconic Atrium will become a stage, where throughout the evening visitors will be surrounded by live music, poignant words from the letters and diaries in IWM’s collections and a series of short plays offering a snapshot into the thoughts and feelings of men and women who were there on the 30 June 1916. Highlights include: . Watch the critically acclaimed play Raising Lazarus by slam poet, Kat Francois which charts the true story Francois’ relative, Private Lazarus Francois a young Caribbean soldier who fought for a country that had enslaved his African forebears a century before. (8.45 – 9.45pm) . See Magic Lantern Tales, the visceral show by poet and broadcaster Ian McMillan, and photographer Ian Beesley. Using a magic lantern projector, they tell the story of the war from the first hand perspective of the men who survived, such as Harold Hayward who went over the top three times in the Battle of the Somme (10.45 –11.30pm) . Extracts from the immersive production Dr Blighty will be performed, which tells the story of the million Indians who travelled to fight in the war and in particular, the group of wounded young men who took refuge in a temporary hospital at Brighton’s Royal Pavilion.