People, place and fish: Exploring the Cultural Ecosystem Services of Inshore Fishing through Photography

The Millennium Ecosystem Assessment (MEA, 2005) set out a framework for understanding the benefits that humans derive from the environment in order to inform decision making. It categorized these benefits as: provisioning services, such as food, water, timber; regulating services, such as climate control, waste, water quality; supporting services, such as soil formation, photosynthesis, nutrient cycling; and cultural services, such as recreational, spiritual and aesthetic benefits. Since then there has been a plethora of research and wider interest in devising ways of assessing and measuring those services (Haines-Young and Potschin, 2009; Sagoff, 2011; Shan and Swinton, 2011), often involving economic valuation techniques devised by economists and ecologists. While these can be useful for assessing the provisioning, supporting and regulating services, measuring or assessing the cultural services that humans receive from ecosystems has proved to be more problematic. However, there is increasing recognition of the role of multiple disciplines in understanding the complex and multi-faceted ways that ecosystems shape culture and cultural value

Spontaneity and Materiality: What Photography Is in the Photography of James Welling

Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography

Anatomies of Melancholy

The works presented in Anatomies of Melancholy explore the residual affects of pain and trauma through photography. By combining personal stories with documentary photography this body of work conveys a tension between the (in)visibility of pain and the need to speak*. Through the process of spending time with individuals and discussing their personal trauma while making photographs, I hope to acknowledge and even conserve the pain of others. Though the images do not include a narrative of the subjects\u27 pain, they are able to communicate and begin a visual discourse. The raw and emotive images become a platform for the viewer to empathize with the pain of others or understand their own pain. I am interested in a photograph\u27s power to console, articulate and offer a map of our experiences. Anatomies of Melancholy questions the stigmatization of pain by serving as a reminder that it is a human condition, felt by all. *Reinhardt, Mark, Holly Edwards and Erina Dugganne. Beautiful Suffering: Photography and the Traffic in Pain, 11

Invading the Waikato: A postcolonial re-view

The article discusses images of the Waikato Region of New Zealand from the 1860s, examining them within the context of British colonization and invasion. It comments on photographs by surveyor Daniel Manders Beere and British Army Royal Artillery Regiment Assistant Surgeon William Temple. The author also comments on a map of New Zealand's North Island made by surveyor Charles Heaphy and a map of Newcastle, New Zealand, depicting its earlier names of Ngāruawāhia and Queenstown. Other topics include spatial history, postcolonialism, and the 1863 to 1864 British invasion of Waikato

Editoriales Etno-iconográficos en Vogue (1948-2016): un enfoque a las diplomacias culturales

Este artículo ofrece la visión general de una investigación que ha sentado sus bases en una sistematización de los mensajes que surgen de la interfaz entre diferentes culturas a través de la comunicación visual de la moda. Profundiza en un estudio semántico de las composiciones relacionadas con la "etno-iconografía" desarrolladas por tres ediciones occidentales de Vogue desde 1948 a 2016. Para esta investigación, hemos examinado 100 editoriales fotográficos. El artículo propone un marco teórico que sirva para evaluar la forma en que la moda ha reflejado y construido las nociones coloniales del Otro, impulsadas por políticas visuales de género y raza, y moldeadas por ideologías imperialistas de la industria. El artículo también introduce una exploración del legado de los regímenes visuales eurocéntricos y la negociación con las subjetividades postcoloniales por parte de las últimas ediciones no occidentales. Finalmente resalta que este tipo de imagen puede proporcionar visibilidad a realidades sociales de dichos territorios, permitiendo a las revistas de moda actuar como detonadores de la reflexión crítica y agentes capaces de establecer interrelaciones culturales.This article offers an overview of a seminal research that laid its foundations in a systematization of the messages emerging from the interface between cultures through fashion image making. It delves into a semantic study of the compositions related to “ethno-iconography” that have been developed by three Western editions of Vogue since 1948 to 2016. We had examined 100 photographic editorials. The paper proposes a theoretical framework that serves to evaluate the way that fashion has reflected and built colonial notions of the Other, driven by race and gender visual politics, and shaped by the industry’s imperialist ideologies. The article also introduces a prospective exploration of the legacy of the Eurocentric visual regimes and the negotiation with post-colonial subjectivities by non-Western editions. It ultimately highlights that photo shoots also provide visibility to social realities that permit magazines to act as triggers of critical reflection and agents capable of establishing inter-cultural relations

Duality, the Methodology of Shooting a Documentary as a One-Man Crew

This thesis will discuss Duality, a long-form documentary about artistic nude models who also create art involving the nude female form. This thesis will discuss the inspiration for the film, as well as the deciding factors that made me choose this as the topic for my thesis documentary. This thesis will also cover the process and methodology of shooting a documentary as a one-man crew, beginning with the process of preproduction, then the principal photography of the documentary, followed by the editing and postproduction process, and finally premiering the final film

Design Your Career - Design Your Life

This research investigates the current plague of unemployment and underemployment that nearly half of qualified individuals in the field of Visual Communications are met with after graduation. Students who major in this field dedicate a tremendous amount of time, money, and energy toward developing a broad skillset that resolves critical matters of communication through visual solutions. Research has demonstrated that despite conditions that are subject to ongoing change of economy, industry, and marketplace there are contributing factors that must be addressed to overcome un/underemployment regardless of circumstances. These include an underdeveloped network of professional contacts, deficiency in recognizing or responding to changing conditions, and a limited ability to customize one’s career around their unique specialization. The purpose of this study is to provide students who major in Visual Communications the information and tools needed to incorporate their ability to adapt and problem solve from their skillset into their search for work. To explore this issue, information was gathered through secondary research that involved data from federal databases, case studies, literature review, and secondary research in general. Return on investment for one’s education is measured in consideration of three primary themes: job satisfaction, income, and quality of life, which may provide hopeful opportunity for professionals in Visual Communications to overcome un/underemployment through career customization

The Visual Documentation of Antietam: Peaceful Settings, Morbid Curiosity, and a Profitable Business

On September 17, 1862, Confederate General Robert E. Lee led the Army of Northern Virginia into Sharpsburg, Maryland to confront Federal General George McClellan and the Army of the Potomac. The battle that followed became the single bloodiest day in American history. There were approximately 25,000 American casualties and battlefields were left in desolation, strewn with corpses needing burial. The Battle of Antietam, or Sharpsburg, is a well-documented and important battle of the Civil War. Endless research has been done regarding its impact on the war, military strategies, and politics. However, there is a unique aspect of Antietam which merits closer attention: its visual documentation. [excerpt