From the street photographer to the amateur: Anonymous practices in the first expansion of photography in Spain (1914-1939)

El presente artículo se propone una aproximación a las prácticas fotográficas anónimas, profesionales y amateurs, del período de entreguerras en España para desplegar un mapa analítico de nuevos productores, pragmáticas, y concepciones de lo fotográfico, así como problemas concomitantes de lo que puede ser considerada la primera extensión y normalización de la fotografía personal o doméstica en el país. Argumentaremos que el desarrollo de una práctica fotográfica trasciende las facilidades técnicas del propio desarrollo científico-técnico al tratarse de una cultura eminentemente urbana. Partícipe de una red de referentes, discursos, imaginarios y prácticas vinculadas con la clase, el género, la edad, las geografías emocionales de la ciudad y el ocio. En consecuencia, hablaremos de prácticas fotográficas que van más allá del campo de la memoria para abrazar otras áreas como el juego, la demostración de afecto, la evasión o la comunicaciónThis paper focuses on anonymous photographic practices, both professional and amateur, in Spain during the inter-war period. This seeks a map of new agents, practices and different photographic meanings and experiences in a historical moment that we can consider as the first massive extension and normalisation of personal and domestic photography. We shall argue that the spread of photographic practice does not only follow technological improvements, being part of urban culture. Photographic practices take part of a network of references, discourses, imaginaries and habits linked with class, gender, age, emotional geographies of the city and leisure. In consequence, we discuss photographic practices that transcend memory in order to embrace other areas such as games, affects, leisure and communicatio

La ciutat davant la càmera : imaginaris urbans al s. XIX

Aquest catàleg s'ha publicat amb motiu de l’exposició La ciutat davant la càmera : imaginaris urbans al s. XIX (Arxiu Fotogràfic de Barcelona, del 17 de juny al 23 d'octubre de 2022

La ciudad ante la cámara : imaginarios urbanos en el s. XIX

Aquest catàleg s'ha publicat amb motiu de l’exposició La ciutat davant la càmera : imaginaris urbans al s. XIX (Arxiu Fotogràfic de Barcelona, del 17 de juny al 23 d'octubre de 2022

Considering and interpreting leisure: pastimes, entertainments, hobbies and addictions in the Barcelona of 1900

Coordinació: Teresa-M. SalaIn the throes of modernization, the Barcelona of 1900 was buzzing with energy and an unprecedented culture of leisure emerged. The city’s residents made full use of their free time, forging relationships with one another through a highly varied range of initiatives and activities, taking advantage of existing opportunities and creating new ones. In addition to the traditional celebration of civic festivals, popular meals and various types of processions, innovative new forms of cultural consumption sprang up to satisfy all tastes and budgets. Numerous cinemas opened, the first amusement parks threw open their gates and new theatres raised their curtains. Thanks to these developments, the vicinity around the avenue Paral·lel became the epicentre of Barcelona nightlife. This book offers a panoply of images of the diversions, entertainments and hobbies of that fascinating era of contrasts, the turn-of-the-century Barcelona of Modernisme

Time to Switch to Second-line Antiretroviral Therapy in Children With Human Immunodeficiency Virus in Europe and Thailand.

Background: Data on durability of first-line antiretroviral therapy (ART) in children with human immunodeficiency virus (HIV) are limited. We assessed time to switch to second-line therapy in 16 European countries and Thailand. Methods: Children aged <18 years initiating combination ART (≥2 nucleoside reverse transcriptase inhibitors [NRTIs] plus nonnucleoside reverse transcriptase inhibitor [NNRTI] or boosted protease inhibitor [PI]) were included. Switch to second-line was defined as (i) change across drug class (PI to NNRTI or vice versa) or within PI class plus change of ≥1 NRTI; (ii) change from single to dual PI; or (iii) addition of a new drug class. Cumulative incidence of switch was calculated with death and loss to follow-up as competing risks. Results: Of 3668 children included, median age at ART initiation was 6.1 (interquartile range (IQR), 1.7-10.5) years. Initial regimens were 32% PI based, 34% nevirapine (NVP) based, and 33% efavirenz based. Median duration of follow-up was 5.4 (IQR, 2.9-8.3) years. Cumulative incidence of switch at 5 years was 21% (95% confidence interval, 20%-23%), with significant regional variations. Median time to switch was 30 (IQR, 16-58) months; two-thirds of switches were related to treatment failure. In multivariable analysis, older age, severe immunosuppression and higher viral load (VL) at ART start, and NVP-based initial regimens were associated with increased risk of switch. Conclusions: One in 5 children switched to a second-line regimen by 5 years of ART, with two-thirds failure related. Advanced HIV, older age, and NVP-based regimens were associated with increased risk of switch

Una historia de la fotografía desde las prácticas amateurs. : Posibilidades epistemológicas y metodológicas.

This paper analyses the epistemological and methodological possibilities of the study of amateur photography produced between the end of the nineteenth century and the 1960s, a period in which the historical use of photography declined (Bajac, 2010, p. 54). Amateur photography is understood to be produced outside the productive logics of the professional and artistic fields, without implying its impossibility of ever being monetised or circulating in the institutional spaces of art and artistic photography. This study is based on the hypothesis that amateurism was one of the pillars on which the invention of photography developed, being, therefore, one of the pre-eminent factors in the history of the medium. It was nuclear in the development of photography, as it participated in a historical process of universalisation of the art knowledge of modernity that made it accessible to different social groups. This study contributes to plural and complex historiographical readings in terms of users, genres, circuits, and utilities. It does so by looking at photographic practice from an intersectional perspective, which broadens and strains the model of the 'art history of photography’ (Phillips 1982, p. 35). &nbsp;Este artículo analiza las posibilidades epistemológicas y metodológicas del estudio de la fotografía amateur producida entre el último cuarto del siglo XIX y la década de 1960, período en que decaen los usos históricos de la fotografía (Bajac, 2010, p. 54). Entendemos por fotografía amateur aquella que se realiza fuera de las lógicas productivas del sector profesional y artístico, sin que ello conlleve la imposibilidad de que en algún momento sea monetizada o circule por los espacios institucionales del arte y de la fotografía artística. El estudio parte de la hipótesis que el amateurismo fue uno de los pilares sobre los cuales se desarrolló el invento de la fotografía, siendo, por consiguiente, uno de los factores preeminentes en la historia del medio. Resultó nuclear en el desarrollo de la fotografía al participar de un proceso histórico de universalización de los saberes en arte propios de la modernidad que la hicieron accesible a diferentes grupos sociales. Su estudio contribuye a lecturas historiográficas más plurales y complejas en cuanto a usuarios, géneros, circuitos y utilidades. Lo hace al contemplar la práctica fotográfica con una perspectiva interseccional, que amplía y tensiona el modelo de la “historia del arte de la fotografía” (Phillips, 1982, p. 35).&nbsp

Nuria Peist. El éxito en el arte moderno

Peist, Nuria. El éxito en el arte moderno. Abada, Madrid, 2012

Experiencias inmersivas y nación: la fotografía estereoscópica amateur en Cataluña 1900-1936

Between 1900 and 1930, amateur photography spread notoriously in Catalonia. This extension had particular roots among the wealthy classes who found a form of commitment to the nation in photography and hiking. In this articulation, between photography and nation, the stereoscopic format, which was very popular at the time, played a capital role. Stereoscopic allowed the taking of double photographs that, thanks to a viewfinder, offered a profound experience of immersion, transparency and physical transit. The article interrogates the processes of construction of national visual culture not only in terms of the productive instance of amateur photography but also in its observational and experiential instance, which places the body at the centre of the processes of construction of national identities and underlines the relevant role that photographic amateurism played in cultural Catalanism.Entre 1900 y 1930, la fotografía amateur se extendió de forma notoria en Cataluña. Esta extensión tuvo particular arraigo entre las clases acomodadas que encontraron en la fotografía y el excursionismo una forma de compromiso con la nación. En la articulación entre fotografía y nación jugó un papel capital el formato estereoscópico, muy popular entonces. Este permitía la toma de fotografías dobles que gracias al uso de un visor ofrecían una profunda experiencia de inmersión, transparencia y tránsito físico. El artículo interroga los procesos de construcción de la cultura visual nacional no solo en términos de la instancia productiva de la fotografía amateur sino, también, en su instancia observacional y experiencial, que pone el cuerpo en el centro de los procesos de construcción de las identidades nacionales y subraya el papel relevante que tuvo el amateurismo fotográfico en el catalanismo cultural