Surely fades away: Polaroid photography and the contradictions of cultural value

Photography has always had a precarious relation to cultural value: as Walter Benjamin put it, those who argued for photography as an art were bringing it to a tribunal it was in the process of overthrowing. This article examines the case of Polaroid, a company and technology that, after Kodak and prior to digital, contributed most to the mass- amateurization of photography, and therefore, one might expect, to its cultural devaluation. It considers the specific properties of the technology, the often skeptical reception Polaroid cameras and film received from the professional photographic press, and Polaroid’s own strategies of self-presentation, and finds that in each case a contradictory picture emerges. Like fast food, the Polaroid image is defined by its speed of appearance – the proximity of its production and consumption – and is accordingly devalued; and yet at the same time it produces a single, unique print. The professional photographic press, self- appointed arbiters of photographic value, were often rapturous about the technical breakthroughs achieved by Polaroid, but dismissive of the potential non-amateur applications and anxious about the implications for the ‘expert’ photographer of a camera that replaced the expert’s functions. For obvious marketing reasons, Polaroid itself was always keen to emphasize what the experts scorned in its products (simplicity of operation), and yet, equally, consistently positioned itself at the ‘‘luxury’’ end of the camera market and carried out an ambitious cultural program that emphasized the ‘‘aesthetic’’ potential of Polaroid photography. The article concludes that this highly ambivalent status of Polaroid technology in relation to cultural value means that it shares basic features with kitsch, a fact that has been exploited by, among others, William Wegman, and has been amplified by the current decline and imminent disappearance of Polaroid photograph

Polaroid after digital: technology, cultural form, and the social practices of snapshot photography

The essay is part of a larger project on the cultural history of Polaroid photography and draws on research done at the Polaroid Corporate archive at Harvard and at the Polaroid company itself in Waltham and Concord Massachusetts. It sets out to make an addition to the understanding of the new social practices generated by digital photography, but does so by examining an old technology rendered obsolete by the new. It outlines the recent history and decline of Polaroid and identifies the specific properties of the Polaroid image: its speed of appearance, its elimination of the darkroom, and the singularity of the final print. It then addresses the significance of the affinities and differences between the old and new ‘instant’ photographies, particularly in terms of the snapshot practices that they encourage

Polaroid, aperture, and Ansel Adams: rethinking the industry-aesthetic divide

This article takes the history of Polaroid photography as an opportunity to question a presupposition that underpins much thinking on photography: the split between industrial (ie useful) applications of photography and its fine art (ie aesthetic) manifestations. Critics as ideologically opposed as Peter Bunnell and Abigail Solomon-Godeau steadfastly maintain the existence of this separation of utility and aesthetics in photography, even if they take contrasting views on its meaning and desirability. However, Polaroid, at one time the second largest company in the photo industry, not only enjoyed close relations with those key representatives of fine art photography, Ansel Adams and the magazine Aperture, but it also intermittently asserted the ‘essentially aesthetic’ nature of its commercial and industrial activities in its own internal publications. The divide between industry and aesthetics is untenable, then, but this does not mean that the two poles were reconciled at Polaroid. While Aperture may have underplayed its commercial connections and Polaroid may have retrospectively exaggerated its own contributions to the development of fine art photography, most interesting are the contradictions and tensions that arise when the industrial and the aesthetic come together. The article draws on original research undertaken at the Polaroid Corporation archives held at the Baker Library, Harvard, as well as with the Ansel Adams correspondence with Polaroid, held at the Polaroid Collections in Concord, Massachusett

Health in the sustainable development goals: ready for a paradigm shift?

The Millennium Development Goals (MDGs) galvanized attention, resources and accountability on a small number of health concerns of low- and middle-income countries with unprecedented results. The international community is presently developing a set of Sustainable Development Goals as the successor framework to the MDGs. This review examines the evidence base for the current health-related proposals in relation to disease burden and the technical and political feasibility of interventions to achieve the targets. In contrast to the MDGs, the proposed health agenda aspires to be universally applicable to all countries and is appropriately broad in encompassing both communicable and non-communicable diseases as well as emerging burdens from, among other things, road traffic accidents and pollution.We argue that success in realizing the agenda requires a paradigm shift in the way we address global health to surmount five challenges: 1) ensuring leadership for intersectoral coherence and coordination on the structural (including social, economic, political and legal) drivers of health; 2) shifting the focus from treatment to prevention through locally-led, politically-smart approaches to a far broader agenda; 3) identifying effective means to tackle the commercial determinants of ill-health; 4) further integrating rights-based approaches; and 5) enhancing civic engagement and ensuring accountability. We are concerned that neither the international community nor the global health community truly appreciates the extent of the shift required to implement this health agenda which is a critical determinant of sustainable development

A matrix-based approach to properness and inversion problems for rational surfaces

We present a matrix-based algorithm for deciding if the parametrization of a curve or a surface is invertible or not, and for computing the inverse of the parametrization if it exists.Comment: 12 pages, latex, revised version accepted for publication in the Journal AAEC