Remnants of the past, history and the present.

The article interprets that it is hardly surprising then that philosophers of history point to the slender relationship between the raw facts of the past and understanding the past. The latter is an act of interpreting fragments from the past and not infrequently these support several points of view. This question has particular significance at a time when historians are increasingly thinking about historical materials and evidence in radically new ways that are fundamentally changing the nature of history as an academic discipline. In the light of these changes, the first part of the article sketches three different sets of epistemological assumptions that operate in contemporary history; the second applies these assumptions to a more detailed analysis of four pieces of historical material. Reflecting on the analysis in part two, the conclusion discusses the complex relations between the present and the past

Expeditions through image jungles The commercial use of image libraries in an online environment

Purpose: Searching for appropriate images as part of a work task is a non-trivial problem. Journalists and copywriters need to find images that are not only visually appropriate to accompany the documents they are creating, but are acceptably priced and licensed. Methodology: A work based study methodology and grounded theory are used to collect qualitative data from a variety of creative professionals including journalists. Findings: We report the findings of a study to investigate image search, retrieval and use by creative professionals who routinely use images as part of their work in an online environment. We describe the commercial constraints that have an impact on the image users’ behaviour that are not reported in other more academic and lab based studies of image use (Westman, 2009). Practical implications: We show that the commercial image retrieval systems are based on document retrieval systems, and that this is not the most appropriate approach in the Journalism domain. Originality/value: We describe the properties of an ‘information expedition’; the image seeking behaviour exhibited by journalists in an online environment, and contend that it is significantly different to existing image seeking models which represent other user types

Photo Wallet : interface design for simple mobile photo albums

Tese de mestrado. Multimédia (Perfil Tecnologias). Universidade do Porto. Faculdade de Engenharia. 201

A psychoanalytic exploration into the memory and aesthetics of everyday life: Photographs, recollections, and encounters with loss

The project at hand explores some of the psychological functions of photography as both an everyday and an artistic cultural practice from a psychoanalytic perspective. It is proposed that, contrary to commonsensical opinion, photographs are not accurate depositories of memory, but rather function as a functional equivalent of screen memories, thus channeling the subject\u27s memory in ways that are objectively distorted and distorting, but psychologically meaningful and important; moreover, they are a special kind of screen memory in that they are often created pre-emptively and are physically instantiated. Additionally, it is suggested that, by dint of their materiality, photographs achieve a degree of autonomy from the purposes of their creators and viewers, with the result that they can also trigger unwanted and potentially traumatic recollections, along the lines of the Freudian notion of `deferred action\u27. Specifically, different ways in which photographs can enter into the experiencing and processing of loss are explored. It is proposed that photographs can either facilitate normal mourning or impede it. They can be used to either disavow loss, to repetitively fixate on it in a sadomasochistic manner, or to facilitate the transition to an acceptance of loss and moving on. Parallels are drawn between these various uses of photographs and three types of physical/emotionally charged objects: fetishes, transitional objects, and what I term `masochistic objects\u27. The paradox of the accrual of aesthetic value on certain photographs and not others is explored next. The attainment of aesthetic value is separated from the conscious intentions of the photographer, and is instead linked to certain underlying psychological parameters, primarily, the acceptance of the depressive position and of the separateness of the libidinal object, as well as the capacity to achieve a controlled surrender to primary-process functioning. These conceptualizations are illustrated by reference to specific photographs (taken by the author, who is also a recognized photographer), as well as through an analysis of several poems of the Greek poet Kiki Dimoula, in whose oeuvre photography is a prominent and recurrent theme

The House on Four Waters

http://deepblue.lib.umich.edu/bitstream/2027.42/111678/1/prljevic_1431546592.pd

Texas Libraries

Quarterly journal about library issues in Texas including collection development, programming and activities, managements, and other topics of interest

Modeling Visual Rhetoric and Semantics in Multimedia

Recent advances in machine learning have enabled computer vision algorithms to model complicated visual phenomena with accuracies unthinkable a mere decade ago. Their high-performance on a plethora of vision-related tasks has enabled computer vision researchers to begin to move beyond traditional visual recognition problems to tasks requiring higher-level image understanding. However, most computer vision research still focuses on describing what images, text, or other media literally portrays. In contrast, in this dissertation we focus on learning how and why such content is portrayed. Rather than viewing media for its content, we recast the problem as understanding visual communication and visual rhetoric. For example, the same content may be portrayed in different ways in order to present the story the author wishes to convey. We thus seek to model not only the content of the media, but its authorial intent and latent messaging. Understanding how and why visual content is portrayed a certain way requires understanding higher level abstract semantic concepts which are themselves latent within visual media. By latent, we mean the concept is not readily visually accessible within a single image (e.g. right vs left political bias), in contrast to explicit visual semantic concepts such as objects. Specifically, we study the problems of modeling photographic style (how professional photographers portray their subjects), understanding visual persuasion in image advertisements, modeling political bias in multimedia (image and text) news articles, and learning cross-modal semantic representations. While most past research in vision and natural language processing studies the case where visual content and paired text are highly aligned (as in the case of image captions), we target the case where each modality conveys complementary information to tell a larger story. We particularly focus on the problem of learning cross-modal representations from multimedia exhibiting weak alignment between the image and text modalities. A variety of techniques are presented which improve modeling of multimedia rhetoric in real-world data and enable more robust artificially intelligent systems

Sapphic Modernists - Re-visiting Elizabeth McCausland and Berenice Abbott’s Changing New York

Within our research of female/sapphic collaborations of Modernity, a perpetual process of ‘erasure’ or the ‘writing out of art history’ of female collaborators is exposed. One such example is evident through analysis of the 1939 publication of Berenice Abbott’s photographs in Changing New York which has been acknowledged as a key contribution to urban photographic history. Little or nothing is known of the fact that all of the original captions for Changing New York were deemed not fit for publication and that the innovative spatial text-image design devised by Berenice Abbott and Elizabeth McCausland was rejected. Instead the publishers insisted on a very conservative approach to design and the blandness of the published captions read activate Berenice Abbott’s photographs much like a guide book to the city. We found the complete set of original captions to the book, written by Elizabeth McCausland, a communist and socially engaged journalist and long-time partner of Berenice Abbott. These highly critical texts act to place the photographs directly into the larger political and social context of the 1930s Depression in USA. The original attempt and idea for the book by Abbott and McCausland was intended to acknowledge both formats, text and photography, as equal in terms of activating meaning production and/or tools for critical reflection. The book was intended as a critical reflection on the harrowing social conditions and inequalities of the 1930s in New York City