Beilstein in English

Abstract

If we consider the context in which certain works of art were produced, as well as the world view of the artists themselves, we should be able to make some connections between the history of science and the history of art. We can do this partly because we have access to reproductions of pictures in all media made before photography and can make comparisons between them. Yet these same techniques for the multiplication of images flood our own daily horizons with pictures taken from their original context and often trivialised. Photography has so conditioned our way of looking at pictures that a considerable corrective effort is needed to bridge the psychological distance between our own mentality and that of the past.     

A cohort of trees,photographs, scientists,an artist and a curator: the collaborative study of environmental change

ABSTRACT

I explore how a historic image archive can be re-worked through collaborative artistic-scientific practice, and how photography can be ‘re-performed’ as a strategy to observe an environmental change. The focus is on a project by the photographer Chrystel Lebas, who between 2011 and 2017 worked in collaboration with botanists from the Natural History Museum, London. The collaborators used historic and contemporary photographs for seasonal observations in the field. Their specific interest was in the potential for using historic visual ecological records to investigate environmental change as observed now.

The paper explores the hybridization of technical, aesthetic and embodied knowledge, the application of montage and the tacit creation of a visual framework for observation. It draws attention to the potential inflexibility in interpretation inherent in the accepted systematic practice of placing ecological records within a herbarium in a natural history collection. Secondly, it illustrates the neglected potential of photographic collections within scientific research.     

Social images through visual images: the use of drawings and photographs in the Western representation of the aborigines of Tierra del Fuego (southern South America)

Abstract

This paper analyses the creation of social images (culturally biased representations) about Fuegian aborigines through the production of visual images (drawings and photographs) by European voyagers, missionaries and ethnographers. The images are evaluated as records that offer rich and complex information about both the recorder and the recorded subjects through a consideration of the context in which they were published and the prevailing socio-historical situation. The creation and manipulation of visual records by Western agents has dual elements, in which the representation of the social ‘other’ (the Fuegians) bears a clear relation to the representation of the social ‘self’ (the Europeans). However, the Fuegians themselves were not necessarily passive subjects, but could act as active agents, negotiating who was photographed and in what situations. Over time, the prevailing representation of Fuegians changes from an initial idealization of their status as aboriginals, to a population of potential religious converts, and finally to their portrayal as ‘unpolluted’ aborigines in ethnographic photography. The paper concludes by considering how Fuegian societies and the impact of Western people have been re-considered through a re-contextualization of these same images within a recent museum display in Argentina.     

Geopolitics and visuality: Sighting the Darfur conflict

In the many considerations of visual culture in geography, there are few works concerned with the visual culture of contemporary geopolitics. In seeking to rectify this lacuna, this paper outlines elements of a research project to consider the way visuality is a pivotal assemblage in the production of contemporary geopolitics. Signalling the need for a conceptual exploration of the importance of vision and visuality to all forms of knowledge (rather than just those associated with or manifested in specific visual artefacts like pictures), the paper argues that understanding the significance of visuality for geopolitics involves recasting visual culture as visual economy. This enables the constitutive relations of geopolitics and visuality to shift from the social construction of the visual field to the visual performance of the social field. This argument is illustrated through an examination of some of the documentary photography and photojournalism covering the most recent outbreak of war in Darfur, Sudan, beginning in the summer of 2003. Exploring the tension in these pictures between the established disaster iconography of ‘Africa’ and the desire to image genocidal violence and war crimes, considering in particular the way photography captures identity, the argument concludes with reflections on the way the visual performance of the social field that is Darfur structures our encounters with others.     

Die Fotografie – ein neues Bildmedium im Wissenschaftspanorama des 19. Jahrhunderts. Einführung in das Symposium

Photography – a novel medium of scientific representation in the XIXth century array of arts and sciences. To delve into various nineteenth century academic disciplines under the heading ‘photography in the arts and sciences’ as did last year's annual conference of the History of Science Society – the interest in such a topic only partly stems from the ‘iconic turn’ that has generally enlarged the scope of the social sciences in recent years. A more poignant feature in any such present day study will probably be a basic scepticism facing the fact that in public use photographs have been manipulated in many respects. Yet, while shying away from any simple success story, a historically minded approach to changing ‘visual paradigms’ (Historische Bildwissenschaft) has begun to emerge. In this context, it has proved of considerable heuristic value to reconsider the role of early photography in an array of science, arts and technology: Since the reliance on the traditional ways of sketching reality persisted, in many an instance where photography was introduced, the thoughts the pioneer photographers had about their new, seemingly automated business, call for close attention. Thus scholarship sets up a parallel ‘discussion room’; the lively debate on the benefit of academic drawings as opposed to photographic portraits is a case in point. Some fairly specialised reports on photographically based analyses, such as electron microscopy, point to a borderline where the very idea of representation as a correspondence of reality and imagination gets blurred. Even though any ‘visual culture’ will have to shoulder the ‘burden of representation’, it is equally likely that it will offer a deeper sensibility for the intricacies entailed in the variegated ways of illustrating or mapping chosen subjects of scientific interest. Scholarship may thus somewhat control the disillusionment that by now has become the epitome of writing on photographic history. Provided with a renewed methodological awareness for the perception process and its photographic transition, historians may strike a better balance between the ever present tendencies of a realistic and an aesthetic way of picturing the world we live in.     

Producing African-descent: afro-peruvian music,intangible heritage,authenticity and bureaucracy in a Latin American music compilation

ABSTRACT

Policy and actions for the safeguarding of Intangible Cultural Heritage (ICH) are laced with politics of representation and meaning-making of expressive culture within and outside communities. This article explores how ICH experts, practitioners, activists, and other actors negotiate and re-construct ideas of racial identity and authenticity in one such initiative. Sponsored by CRESPIAL in 2012, the album Cantos y Música Afrodescendientes de América Latina is a compilation of music of Afro-descendant communities in Latin America. Conceived as a project for safeguarding the musical ICH of these communities, it involved participation from thirteen Latin American governments. This paper, centered on the Peruvian participation in this project, studies the bureaucratic intricacies of this project, exploring how ideas on racial identity and authenticity overlap with political agendas and administrative requirements in order to produce a unified representation of ‘Afro-Latin American’ music. My analysis highlights 1) the local knowledge systems that inform the ideas of racial identity and authenticity advanced by the project’s actors; 2) their adopted strategies within Peru’s bureaucratic network of heritage management; and 3) the positionality, capacity and agency of each actor for achieving their particular goals in this collaborative project.     

Troubling Naturalism: Shirana Shahbazi's The Curve

This article performs a reading of Shirana Shahbazi's photo-based mural The Curve (2007), an artwork that interrogates the production of knowledge based on various ideas of truth in representation. The Curve meditates on knowledge production in relation to three sites: contemporary documentary photography, the history of northern European still-life painting, and the murals of religious leaders and martyrs that adorn Tehran. The effect of these multiple citations is the creation of an artwork that cannot be comfortably contextualized either in Western art history or in contemporary Iranian visual culture. The Curve thereby anticipates and attempts to block its own assimilation into art historical and critical discourses that reduce the work of Iranian artists to static reflections of a particular geographical and political reality. The artwork thus demands a consideration of the ways in which context, as a term in contemporary global art history, is ideologically constructed within a certain network of power relationships.     

Visualisierungen in der deutschen Geographie des 19. Jahrhunderts. Die Beispiele Robert Schlagintweit und Hans Meyer

Visualization in 19^th‐century German geography: Robert Schlagintweit and Hans Meyer as examples. – Visual representations of nature formed an essential part of 19^th‐century earth sciences. In particular, colonial photography – as a visual source, and as an instrument of the construction of national identities – serves essential research interests of current history and social sciences. The present paper is a case study on the role and function of photography in German geography of the 19^th and early 20^th centuries. It focuses on the work of the Munich geographer Robert Schlagintweit (1833–1885) and the Leipzig colonial geographer Hans Meyer (1858–1929); the early history of photography in India and the function of images in the geographical exploration of overseas territories are discussed. Although there is nearly half a century between the work of R. Schlagintweit and H. Meyer, their photography shows remarkable parallels. The ideas of both on the practice of visualization are rooted in pedagogic and didactic concepts as well as in popular science. For both geographers photography was essentially a technical help, which often needed graphic revisions. And they both preferred photography to depict people and buildings (compared, for instance, to landscapes). Concerning the more comprehensive question of how far their photography transmitted a specific German ‘image of abroad’, it is indicated that such a specific image should have its essential roots in a peculiar visual culture of German earth sciences in the first half of the 19^th century. Thus the paper offers a starting point for further studies discussing the change from a ‘Biedermeier image’ of foreign cultures to a more ‘colonial’ one in 19^th‐century German geography.     

Framing the past: situating the archaeological in photographs

Archaeology continually reproduces its own images. Speaking archaeology’s visual language is one way we prove membership in the discipline. Many aspects of this visual language have become so naturalized within archaeological representation as to be almost unquestionable: the cleaning of the site, the use of scale, and particular framings and perspectives. How, then, is the production of particular photographic images of archaeology related to the practice of archaeology? Does archaeology look a certain way (in photographs) or are archaeologists reproducing an archaeology according to the way it is thought it should look? Using examples of early photographs from Latin American archaeological expeditions, this article investigates not only photography as an applied technology for scientific recording, but also its power to situate archaeological knowledge. Drawing on recent reflective and critical developments in both the history of archaeology and visual anthropology, it uses five focal points – trace, objectivity and authenticity, sight/site, still lifes, and still lives – to argue that early-twentieth-century archaeological photographs of Latin America participated in the generation of an ‘authentic’ past rather than simply paid testament to it.     

Preliminary remarks on George Seferis' visual poetics

Abstract

This article makes some preliminary remarks on Seferis' photography, focusing mainly on its poetics as an act of seeing. The main intention is to highlight the direct relationship between Seferis' visual sensibility and his poetry. The article primarily discusses some technical features of Seferis' photography. It then examines his photography as a visual diary and draws attention to those cases where it is obvious that photographs hide behind specific poems. Finally, the article discusses the differences between photography and poetry regarding their relation to time. In this context, the poem 'M? τov τρóπo τov Γ.Σ.', which makes explicit reference to photography, is examined.     

Using Archaeology to Teach Australia’s ‘Difficult’ Indigenous Past

Abstract

The inclusion of the topic ‘Ancient Australia’ in the new Australian Curriculum is causing teachers to rethink the way they teach history in schools. Year 7 students are now required to understand that Australian ‘history’ began with the arrival of the First Australians around 50,000 years ago, not with the arrival of the British First Fleet in 1788. Consequently, a number of epistemological, historiographical, and ethical challenges have emerged. In this paper I discuss the implications of this reconceptualization of Australian history in the curriculum and explore ways in which archaeology can address the ‘difficult’ history of the First Australians.     

Hospital Drama: Visual Theatres of the Medical Rendezvous from Asylum to Hospital with Reference to Specific Works by Anna Furse

Abstract

This paper is informed by Furse’s practice as a theatre maker in two fields of output that are connected by two factors: first, the presence of the woman patient — hysteric/subfertile respectively — within the clinical gaze; second, the significance of the womb to each pathology. In the treatment of each (explored in Furse’s theatre), lens based technologies play their part, whilst the cultural and medical can be seen to have overlapped to produce specific meaning with regard to Her body and its spectacularity. The article presents an overview of some of the key issues in precisely how the woman’s body becomes spectacular within this prosthetic medical gaze and how the medical — and theatrically designed spaces to represent these — become meaningful and potent proxemics that in turn inform medical/ theatrical spectatorship. Overarching nineteenth-century protocols at the Salpêtrière Hospital in Paris (where Furse’s Augustine (Big Hysteria) is set) to contemporary imaging technologies used in the treatment of subfertility with Assisted Reproduction Technologies (the topic of her Art of A.R.T. projects), it examines the way in which photography develops through cinema to X-Ray, ultrasound and then 3D/4D ultrasound to ‘capture’ the woman’s body in ways by which she becomes muted and exposed. These occular technologies that extend the gaze, first to an exterior subject and then, eventually, traversing the flesh without knife, lend specific performativity to the ‘patient’ women, within the context of hysterias and reproductive impairments respectively. Finally, issues of suspension of disbelief are addressed. The spectator’s faith in the screen-based image of Her spectacular body is interrupted in Furse’s work, which is also keenly interested in the effect of such imagery on the woman’s sense of Self. The historical and cultural leaps in this article argue that there is indeed a trajectory through the history of medical imaging since the first application of photography to anatomy to the more advanced scoping technologies of medical imaging today, and that in each era, the production of these images remain fraught with cultural implications.     

‘We’re not very good at soccer’: gender,space and competence in a Victorian primary school

ABSTRACT

This paper draws on findings from a pilot project conducted at an inner city primary school in Melbourne, Australia. Inviting grade six girls and boys (aged eleven and twelve) to focus on spaces of their schoolground, we learned about the ways in which gender, age, ethnicity, language ability and sporting competence influenced active play and belonging. Informed by the understanding that schoolgrounds, gender and active play are socially constructed, and children are active agents in these constructions, the paper examines how girls and boys consider and negotiate spatial politics. The methods of participant-led photography, focus groups and thematic analysis, reveal how children understand gendered spatialities. A strong story emerged of girls’ experience of exclusion from active play spaces in particular, providing a perspective on the spatial and social performance of gender. The findings highlight the value of integrating a spatial analysis of schoolgrounds – and the gendered dynamics therein – for health, education and equity programmes.     

Narrating landscape: The potential of oral history for landscape archaeology

Abstract

The potential of an oral history approach to the study of landscape archaeology is considered. The paper presents the findings from an Arts and Humanities Research Board (AHRB) funded project ‘Landscape archaeology and the community in Devon: an oral history approach’, which aims to transgress some of the epistemological boundaries of archaeology by drawing on the discursive genre of oral history in order to augment, challenge and destabilize existing landscape narratives. We suggest that oral histories can offer both consensual as well as alternative narratives of landscape and have the ability to engage the public, not just in terms of the popular consumption of archaeological knowledge, but also in the actual construction of archaeological knowledge.     

Moira Furnace

Abstract

Wales was, and to a lesser extent still is, an important industrial archaeological landscape. What has been preserved and what is left to be preserved may not give a total representation of the complexity and social implications of that period of history. This article seeks to assess what has been done and future requirements related to the main industries in Wales.     

A Methodological Approach Towards Conservation

Abstract

Since conservation became a recognized discipline, professionals involved in conservation projects have tried to find the best criteria for their interventions. Often these criteria remain quite vague, based on the idea that every historic building has its own special conditions, which make its problems different from other buildings. This conviction, which is appropriate at one level, has serious consequences due to the lack of a consistent methodology. More than a lack of criteria, we might talk about a lack of 'habit' in identifying values in the Mediterranean region: the concept of values is much more widespread in Anglo-Saxon countries.

If we take a look at the history of conservation, there are a number of cases which are often used as models: for example, the Colosseum or the Arch of Titus in Rome, both interventions which are greatly admired and included in many conservation manuals. More recently there are projects which are widely accepted by the heritage conservation community as well: the paper explores the Palace of the Partal (Granada), the Villa Romana del Casale (Piazza Armerina), the theatre at Orange, and the Insula Orientalis I in Herculaneum. In this article, I suggest that there are constant elements within these conservation projects, reflecting typological, structural, constructional, functional, aesthetic, formal, historical, and symbolic values. These features represent a way of planning a conservation project and a critical methodology to judge the outcomes of the project in an objective manner. The methodology is qualitative rather than quantitative. All historic buildings have a set of values developed from their origins and throughout their history. These values can be analysed to extract the most important elements to be preserved. Analysing the values of our built heritage will allow us to create better decision-making processes.     

Difficult heritage and digital media: ‘selfie culture’ and emotional practices at the Memorial to the Murdered Jews of Europe

ABSTRACT

This article sheds light on the entanglements of difficult heritage and digital media through an ethnographic analysis of digital photography and social media practices at the Memorial to the Murdered Jews of Europe in Berlin. After a discussion of the project ‘Yolocaust’, through which an artist publicly shamed the ‘selfie culture’ at the memorial, the article argues that the sweeping condemnation of digital self-representations in the context of Holocaust remembrance remains simplistic. Instead, many visitors explore and enact potential emotional relationships to the pasts that sites of difficult heritage represent through digital self-representations. This observation raises critical questions about the role of digital media in current transformations of touristic memory cultures.     

Time After Time

Summary

This essay is an analysis of a series of writings by the Australian intellectual historian Ian Hunter on the subject of ‘theory’. It examines the methodological issues raised by attempting to write a history of theory. The essay particularly seeks to analyse the various aporias at stake in Hunter's project: between the empirical and the transcendental, between history and the event, and between theory and ‘empirical’ history.     

Humanising the Technology Landscape through a Collaborative Pedagogy

A major shift in educational paradigms from a competitive model to a more collaborative model is now under way in higher education. Using collaborative theories espoused by Freire, Bruffee and other scholars working outside the discipline of geography, this paper presents an argument for integrating their collaborative approach into distance education courses at the postgraduate level. The Step Up to Geography Through Distance Learning project is used to provide one innovative model that integrates not only the collaborative method of instruction, but also the use of a multi-layered system of instructional technologies including use of desktop videoconferencing and the Internet.