Preparation for Deep Learning:

ABSTRACT

Norman H. Hardy is not a well-known historical character, so an element of salvage exists in bringing his art and book illustration to a wider audience. His short career as an artist with the Sydney Mail and the 68 paintings in The Savage South Seas in 1907 open up a wider discourse concerning the links between art and photography, between visitation and recording in the field, between art and journalism, and between popular imagination and the publishing practices for illustrated travelogues. Hardy's paintings of Papua, Solomon Islands and New Hebrides reached a wide audience and provide a close-up, intimate record of Indigenous life in the islands, as well as hinting at complex encounters between Islanders and traders. The visual evidence in The Savage South Seas also contributes to debates about the motivations of early 20th-century Euro-American travellers, authors and purchasers of books on the Pacific and provides yet another citation of notions of faraway lands and people in the Pacific as perceived by distant readers and audiences.     

WHY PHOTOGRAPHY MATTERS TO THE THEORY OF HISTORY

Georges Didi-Huberman's study is concerned with epistemological and ethical questions that arise from visual representations of the Shoah, while Michael Fried's is concerned with the ontological possibilities explored by contemporary art photography. The books have two things in common: an argument against postmodern skepticism, and an insistence that photography has become a field in which questions of history, truth, and authenticity are being explored with particular acuity. Rather than reject even the possibility that photographs have something to tell us about the Shoah, Didi-Huberman shows that they can offer important insights into the difficulties and the possibilities of apprehending some aspects of the past.
Fried shows that contemporary photographic work has taken on the ambitions of high modernism by accepting the challenge of "to-be-seenness." Photography as a "historical practice" does not escape from the difficulties of evidence and of the "constructed" nature of historical understanding; photography functions neither as a pure trace of the past, nor as a mere invitation to spectacle.     

透光摄影在古书画修复与研究中的应用

透光摄影由常规可见光摄影发展而来，是针对中国古书画等能被可见光穿透的文物开发的一项无损摄影检测技术。通过实践发现透光摄影在古书画的修复与研究领域具有多项作用：观察书画命纸、背纸拼接等装裱情况；发现前人加固、补缀等修复痕迹；获取画面底稿内容；强化伤况视觉效果以便于分析文物伤况病害。透光摄影能够提供直观可靠的深层视觉信息，辅助修复人员了解文物内部状态，在古书画的修复与研究中发挥重要作用。     

Island Networks and Missionary Methods: Locating Charles E. Fox and Frederick G. Bowie in the History of Pacific Archaeology

ABSTRACT

‘Missionary’ and ‘archaeology’ may appear incongruous partners within contemporary archaeological practice, but archival, museum and oral sources reveal historical connections. This paper explores two missionaries, active in the western Pacific from 1896 to 1973. Reverends Charles Elliot Fox (Melanesian Mission, Solomon Islands) and Frederick Gatherer Bowie (Free Church of Scotland Mission, Vanuatu) both conducted studies related to the prehistory and migration of Pacific people. Both produced material assemblages, as well as textual and visual documents, and formed ideas influenced by their own networks and self identities. The paper examines their data collection methods and relationships with others, considering particularly how their relationships with Pacific Islanders and with psychologist and ethnologist W.H.R. Rivers influenced the missionary research process. By understanding these aspects of their work, Fox and Bowie can be placed within a broader genealogy of Anglophone missionary archaeology dating back to the late 18th century.     

The Chinese Pacifics: A Brief Historical Review

ABSTRACT

This survey reviews the growing role and presence of China in the Island Pacific. As the late Professor Ron Crocombe remarked, in the Pacific a major transition is under way from a range of European to Asian influences. Many Western observers have viewed this rise of Asian, and specifically Chinese, influence with alarm, but Crocombe saw it as offering Pacific Islanders new opportunities. This paper first analyses the diversity that can be masked by terms such as ‘China’ and ‘the Pacific’. Then it surveys recent literature on China in the Pacific and scholarship concerned with longer Chinese histories in the region that most recent commentators ignore and which question a number of their assertions. Finally, it suggests possible future directions for historical research on this topic.     

PRODUCING GEOGRAPHICAL KNOWLEDGE THROUGH VISUAL METHODS

The tradition of using qualitative interviews in the study of everyday life, place and identity in geography, housing studies and related disciplines is a long and sound one. Recently there has been increasing interest in using visual methods as part of qualitative methodological approaches. Through our own empirical work, this article explores one position in visual methodology, which suggests visual methods as a way of in a sense getting closer to the lived life. Drawing inspiration from qualitative methodology and performative perspectives in geography, this article argues that this position overlooks the ways in which the visual – here photography – can also be seen as performed. Based on the authors' experiences with visual methods in fieldwork in housing areas in greater Copenhagen, and using both informants' and researchers' photographic work, the article shows how a performative perspective on photography can be used in qualitative research in geography.     

Experiments with moving children and digital cameras

Discussing an ethnography engaging 7–12-year-olds in digital filming and photography during school journeys in Helsinki, Finland, this article argues for an experimental attitude to participatory visual research with children. Such an attitude is inspired by science and technology studies, and seeks to open space for more situated styles of children's expression and participation by stressing the performative aspects of visual methods and media. Tracing out the unexpected ways in which children embodied digital cameras and shared them with friends, the article claims that experimentation invites researchers and participants alike to explore new modes of relating to one another and everyday practices, thereby drawing out the creative potential of methods and adjusting them better to empirical settings.     

Instagram photography and the geography field course: snapshots from Berlin

Although geography has long associated itself with photography, the rapid advancement of technology has created a clear divide between the visual practices regularly used in wider society and the way photography is utilized by critical geographers in their teaching. We suggest the door is ajar for new modes of (geo)photographic thinking, and one visual tool at our disposal is social media applications that allow images to be instantly shared, analysed, and discussed. This article critically reflects on the use of Instagram to enhance student participation, engagement, and learning on a geography field course in Berlin. Based on interviews with students, their field journals, and our own critical reflections, this paper looks at some advantages of using Instagram in teaching geography, but also promotes caution and presents drawbacks to relying on instant visual digital methods.     

What ‘Difference’ Does a Camera Make? Crime,Youth, and Representation in Mid-Century Mexico City

This article examines the discourse on juvenile crime in mid-century Mexico City through an analysis of visual culture namely the nota roja genre of sensationalist press, and the role photography played in ‘capturing’ delinquency. Placing visual technologies like photography as more active players in nation-building, the article traces the social role of photography in shaping moral panics and public perceptions of crime. Not breaking entirely from its Porfirian past, I observe how elites and the new urban middle class conflated criminality with the clases humildes and saw the causes of delinquency in the ‘degenerative’ traits of the poor. In a time of rapid demographic change and the expansion of mass culture, tabloid representations of juvenile crime reflected anxieties around social reproduction and the fear of political instability. This photographic record of life in Mexico City reveals one way that capitalinos would come to ‘see’ social difference and youthful citizenship in the post-revolutionary period.     

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.     

From Photography to Cinematography: Recording Movement and Gait in a Neurological Context

The major challenge of photography has been freezing movement, to transform it into a fixed image or series of images. Very soon, photographers became interested in movement itself and tried to use photography as a tool to analyze movement. At the early stages, physicians interested in movement, perhaps surprisingly, made important technical contributions. Mécanisme de la physionomie humaine, by Duchenne, the first book with physiological experiments illustrated by photographs, is a landmark in this historical development. At the Salpêtrière, thanks to Charcot, photography officially entered clinical neurology. Medical journals with photographs were actively developed by Bourneville. Londe established a clinical photographic laboratory and published the first book on medical photography. The study of animal and human movement by Muybridge and Marey in the 1880s led to chronophotography and later cinematography. Clinicians such as Dercum and Richer took advantage of these new techniques to study pathological movement and gait in neurological diseases.     

The Art of Contested Histories: In Pursuit of Venus [Infected] and the Pacific Legacy

ABSTRACT

European artists of the eighteenth century framed an exotic textual and visual narrative of the Pacific, drawing largely on knowledge gained from exploratory journeys of the 1760s and 1770s. Visual representations of the Pacific became socially fashionable and commercially successful. The French wallpaper manufacturer, Dufour, captured this commercial potential in a dramatic, panoramic wallpaper that told stories of European encounters with Pacific peoples: Les Sauvages de la Mer Pacifique (1804). Yet it was selective, defining the Pacific by moments of contact with Cook and other explorers. Lisa Reihana's In Pursuit of Venus [Infected] (2015–17) dramatically interrogates the eighteenth-century narrative of the Pacific, responding to Dufour's wallpaper in a complex, panoramic work. By attending to ways in which the factual and speculative are brought together in Enlightenment artefacts and Reihana's restaging of them, we explore how art might be put to use in the service of historical interpretation.     

Wissenschaftliche Photographie als visuelle Kultur. Die Erforschung und Dokumentation von Spektren

This paper discusses facets of 19th‐century scientific photography as a visual culture. The example of spectral research and documentation is particularly well suited, because prismatically diffracted light from the sun or from luminous gases was one of the most frequently examined phenomena of that century. The results were significant not only for physics but also for analytical chemistry and astrophysics. The spectrum also served as an ideal test object for checking the effectiveness of a wide array of photochemically sensitizable surfaces to the various color regions. Scientific photography became the most important experimental technique in the infrared and ultraviolet. H. A. Rowland's spectrum charts are discussed as an example of the transition from comprehensiveness in documentation to fetishism. The discussion of the Lippmann process, one of the first methods of color photography, addresses the associated training of the eye. Issues of authenticity and the much averred ?mechanical objectivity”? are raised with regard to retouching. The overriding theme of visual science cultures leads furthermore to unanticipated interdependencies with other scientific fields, such as geography, and draws the importance of practitioners into the foreground.     

几件青铜器的科学分析和修复

为对几件出土的青铜剑、青铜器和弯形器进行保护研究,用X射线探伤、X射线衍射、金相显微镜、扫描电镜和原子吸收光谱等方法对器物的形貌、成分及制作技术进行了分析。分析结果表明青铜剑0125的剑格和茎部锈层下有合范痕迹一些铸造小缺陷;弯形器腐蚀形态为均匀性腐蚀,枝晶间腐蚀和活性腐蚀;0108表面有合金层和褶皱,合范痕迹;0101、0102断面没有任何锈蚀及金属疲劳痕迹。器物经用不同方法清洗、铝箔局部还原处理、倍半碳酸钠浸泡和BTA缓蚀处理后,在相对湿度95％的环境中一周,没有发现新的锈蚀出现,达到良好的保护效果。表明科学分析方法在物保护和修复中是非常有用的,同时还可以获得关于考古学和历史学的很多信息。     

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.     

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.     

PHOTOGRAPHS, SYMBOLIC IMAGES, AND THE HOLOCAUST: ON THE (IM)POSSIBILITY OF DEPICTING HISTORICAL TRUTH

Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the "limits of representation." Nevertheless there are many photographs "showing" the Holocaust that have been produced in different contexts that bespeak the photographers' gaze and the circumstances of the photographs' production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as "evil." Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography (Benjamin, Kracauer, Sontag, Barthes) to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may—despite their abstract meaning—be able to depict historical truth.     

Engineering space and time: moving pictures and motionless trips

The paper investigates the ‘motionless trips’ enabled by 19th-century visual technologies such as the magic lantern, phantasmagoria, panorama, and diorama. Although these technologies are often held to have culminated with the appearance of animated photography (film) in the 1890s, we argue that they possessed their own autotelic significance. Paralleling the transformations wrought upon reality by cultures of transport such as the railway, the visual attractions referred to here also reconfigured reality. For whilst they were frequently employed to simulate the transportation of the spectator not only to distant locations but also through time, the most profound journey these developments accomplished was a voyage into the abstract fabric of space and time itself. The abstraction of space and time as a material independent of actuality, and its re-engineering into new configurations, was eventually perfected in the cinema: a space-and-time machine that spliced together the ‘mobility’ of the magic lantern, Phenakistiscope, and Praxinoscope; the ‘space-lapse’ of the panorama; the ‘time-lapse’ of the diorama and chrono-photography; the realism of photography; and the haptical obscenity of the stereoscope.     

城市旅游的摄影透视

现代旅游业发展中,城市旅游方兴未艾,世界及中国的一些城市已经成为旅游的主要目的地。本文从摄影的角度对城市旅游作一探讨。初步分析了摄影与城市旅游的关系;摄影的城市旅游景观类别;城市旅游摄影的功能以及城市旅游摄影的文化内涵。同时也分析了在城市旅游的研究中,以图文结合的形式展现观察与思想的研究成果,当是一条有效的途径。