"Este libro constituye un estudio desde el Diseño y la Enunciación sobre la fotorreportería del periódico El tiempo 2002-2006, su propósito es indagar acerca del conflicto armado colombiano y revelar cuáles fueron los principales antecedentes que le dieron origen. De esta manera, la imagen fot
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ográfica toma lugar como la principal fuente de indagación y el recurso que establece las características y procederes del reportaje de guerra. El fenómeno del conflicto, a efectos de esta investigación, está delimitado entre los años 2002-2006, a fin de precisar las circunstancias identitarias del conflicto armado en Colombia que no se dan en otra temporalidad, probablemente porque las dimensiones de esta realidad fijaron modos de una narrativa de guerra significativa." (Descripción de la casa editorial)
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"For two decades, the Canadian International Development Agency (CIDA) prepared pedagogical materials for Canadian schools. This article reviews the role of visual media in the hundreds of publications prepared for Development Education. Samples collected by Marc Rockbrune, Distribution Clerk respon
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sible for their expedition in schools, libraries, and homes, and donated in 2016 to Carleton University Archives and Research Collections, are read with the help of the ‘psychopedagogical guides’ prepared by CIDA, and the testimonies of two workers of the agency linked to their preparation and dissemination: Mary Bramley, curator of the International Development Photo Library, and Rockbrune himself. Prepared with a large measure of autonomy by a sizeable team of visual artists, designers, and third world reformers, the program outreach was large, and its popularity strong. The expected and effective roles of visual media in the history of this short-lived institution of Development Education is explored to suggest elements of understanding of their impact on a generation of Canadian children and youth." (Abstract)
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"As the production, content, and display of humanitarian images faced the requirements of digital media, humanitarian organizations struggled to keep equitable visual practices. Media specialists reflect on past and current uses of images in four Canadian agencies: the Canadian Red Cross, the Multic
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ultural Council of Saskatchewan, the World University Service of Canada, and IMPACT. Historically, the risk to reproduce the global inequalities they seek to remedy has compelled photographers, filmmakers and publicists in these agencies to develop codes of visual practice. In these conversations, they have shared the insights gained in transforming their work to accompany the rise of new digital technologies and social media. From one agency to the other, the lines of concern and of innovation converge. On the technical side, the officers speak of the advantage of telling personal stories, and of using short videos and infographics. On the organizational side, they have updated ways to develop skills in media production and visual literacy among workers, volunteers, partners, and recipients, at all levels of their activity. These interviews further reveal that Communications Officers share with historians a wish to collect, preserve, and tell past histories that acknowledge the role of all actors in the humanitarian sphere, as well as an immediate need to manage the abundance of visual documents with respect and method. To face these challenges, the five interviewees rely on democratic traditions of image-making: the trusted relationships, both with the Canadian public and with local peoples abroad, which have always informed the production and the content of visual assets. For this reason, humanitarian publicists might be in a privileged position to intervene in larger and urgent debates over the moral economy of the circulation of digital images in a globalized public space." (Abstract)
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"The book covers the definitions and uses of six philosophies, analytical methods, cultural awareness, visual reporting, documentary, citizen journalists, advertising, public relations, typography, graphic design, data visualizations, cartoons, motion pictures, television, computers and the web, aug
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mented and virtual reality, social media, the editing process, and the need for empathy. At the end of each are case studies for further analysis and interviews with thoughtful practitioners in each field of study, including Steven Heller and Nigel Holmes. This second edition has also been fully revised and updated throughout to reflect on the impact of new and emerging technologies." (Publisher description)
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"For photo and video journalists, the COVID-19 pandemic has raised difficult questions regarding how they show the grief of the victims and survivors, and the courage of medical workers to illustrate their stories and show the deadly impact of the virus, without exploiting grief and without insertin
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g themselves into crisis situations where they are not welcome. This guidance document examines the ethical issues of producing visual coverage of the pandemic and offers some rules journalists can follow to help ensure they do not cross the line from professionalism to sensationalism." (Publisher description)
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"Straddling the boundary between historical inquiry and personal reflection, this extraordinary text unfolds as a series of encounters with eponymic Holocaust photographs. Although only a small number of photographs are reproduced here, Fresco provides evocative descriptions of many well-known image
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s: synagogues and Torah scrolls burning on the night of Kristallnacht; deportations to the ghettos and the camps; and, finally, mass executions in the killing fields of Eastern Europe. The unique set of photographs included in On the Death of Jews shows groups of women and children from Liepaja (Liepaja), shortly before they were killed in December 1941 in the dunes of Shkede (Skede) on the Baltic Sea. In the last photograph of the series, we see the victims' bodies tumbling into the pit." (Foreword, page vii-viii)
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"As a young Fulbright scholar in Bogotá, determined to democratize the photographic gaze and bring new visions and voices to public debate about Colombia's armed conflict, Alexander L. Fattal founded Disparando Cámaras para la Paz (Shooting Cameras for Peace). The project taught photography to you
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ng people in El Progreso, a neighborhood in the city's outskirts that was home to families displaced by violence in the countryside. It offered the youth of that troubled region a chance to record and reimagine their daily lives. Shooting Cameras for Peace is an in-depth look into one of Latin America's most dynamic participatory media projects. The haunting and exuberant photographs testify to the young people's will to play, to dream, and to survive, bearing witness to the resilience and creativity of lives marked by a war that refuses to die. With text in English and Spanish, Shooting Cameras for Peace / Disparando Cámaras para la Paz makes vital contributions to studies of collaborative media, photographic activism, and peace and conflict studies in Colombia. Fattal's insightful text is both a celebration of the program he initiated and a critical reflection on the genre of participatory photography and the structural challenges faced by similar media projects." (Publisher description)
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"Today’s discourses on Africa are manifold – as manifold as the images we have of everyday life there. Both are fed by a Western narrative that saddles the “Black Continent” with all kinds of clichés – whether the stuff of dreams or of nightmares. In images that are at times documentary,
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at times artistic, these nine photographers from Morocco, Algeria, Senegal, the Democratic Republic of the Congo, Uganda and South Africa provide a picture of the self-assurance and the vitality of the people in their respective home country. In particular, they tell stories that stem from their immediate surroundings: they tell of everyday life in Africa’s cities and industry, they trace remnants of the past, and they portray strands of popular culture. Their topics include the mining industry’s mixed legacy in South Africa, the impact of environmental pollution, life in the Democratic Republic of the Congo and the atmosphere inside Algeria’s football stadiums. The desire to rethink Africa and, above all, to retell its stories is a leitmotif for all of the participating photographers. With its powerful pictorial narratives, this exhibition generates a fascinating dialogue between different cultures." (https://voelklinger-huette.org)
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"This study explores the challenges of archiving the Egyptian revolution from 2011, and basically any archive consisting of digital media, specifically in contexts of ongoing political contestation. The text proposes a media-archaeological approach in both theory and practice: The media artist Kaya
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Behkalam speaks about his project The Augmented Archive, a digital topographic archive for Cairo’s urban space, whereas media philosopher Knut Ebeling traces the wider historical and media theoretical context to archival and memory practices of resistance. Behkalam and Ebeling have repeatedly worked together in the past on essays and projects around archival practice and media archaeology." (Abstract)
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"Ethics and Integrity in Visual Research Methods aims to unpack the multiple considerations for ethics and integrity that accompany research methods involving visual data generation and analysis. This volume focuses on the media of photography and film. Contributing authors cover a variety of topics
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, including: consent and dignity when working with vulnerable and marginalized populations; the limitations of participatory methods within a context of inequity and postcolonialism; the challenges of anonymising visual data; and the risks of sharing visual data online. The authors share their experiences of working with visual methods across a range of contexts, making recommendations for best practice. This volume is intended to be practical, and the key messages aim to be concrete and applicable for anyone embarking on visual methods research." (Publisher description)
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"1. The current use of imagery, particularly photography, in the anti-slavery movement risks harming anti-slavery efforts and survivors through misinformation and re-exploitation [...] 2. In order to utilise photography effectively and ethically, organisations looking to generate or use photography
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should seek out practices which incorporate survivor voice and perspective [...] 3. Participatory photography is an ideal methodology for creating original and impactful imagery. 4. Informed consent should be a priority in anti-slavery imagery [...] 5. Creativity and originality are vital when generating survivor imagery." (Summary of findings)
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"In international conflict correspondence safety mechanisms are unequally employed to protect local news-staffs in contrast to international staffs. Arguably, this has had the greatest impact on image production from war zones, exposing local photojournalists to increased dangers. But it also raises
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the possibility that local photographers from conflict-torn countries may represent conflicts to international audiences differently than do international photographers. This possibility is explored in this study using the case of Afghanistan. Based on photojournalists’ perceptions and comparisons of international and locally produced images, we explore potential effects of the shifting reliance on local rather than international photojournalists on how distant wars come to be pictured to international audiences. This study advances an argument for giving increased protection to local photojournalists in conflict zones." (Abstract)
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"Das mehrstufige Projekt ‚Syria on the Move‘ zielt darauf ab, aus Syrien geflüchteten Jugendlichen mittels Fotografie eine Stimme zu geben, Bewusstsein und Unterstützung für syrische Geflüchtete in den Aufnahmegesellschaften zu mobilisieren sowie gegenseitiges Vertrauen innerhalb der syrisch
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en Diasporagemeinschaft zu fördern. Das Projekt lädt junge Syrerinnen und Syrer ein, ihr Leben und ihre Erfahrungen im Exil zu dokumentieren sowie ihre Ideen und Vorstellungen für die Zukunft fotografisch abzubilden und mit anderen zu teilen." (Seite 191)
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"Este artigo propõe uma discussão sobre a autoria coletiva de fotografias do grupo brasileiro Mídia Ninja. Para isso, parte de um diálogo entre alguns movimentos de protesto organizados, especialmente, nos ambientes digitais, passando pela cultura hacker, cultura do compartilhamento e o midialiv
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rismo ciberativista para discutir sobre a autoria coletiva das fotografias da Mídia Ninja. O objetivo é refletir sobre o que significa usar uma autoria coletiva e a licença flexível de direitos autorais Creative Commons, pensando o caso específico da Mídia Ninja, um grupo brasileiro de comunicação independente – formado por midialivristas – que ficou conhecido durante as Jornadas de Junho." (Resumo)
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"Esta obra explora de manera arqueológica el saber constituido sobre el campesinado en Colombia durante el periodo 1965-1975. Toma como material empírico principal un archivo fotográfico documental para relacionarlo con hemerografía [y las emisiones de Radio Sutatenza] y con las reconstrucciones
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sociohistóricas de la década. El propósito es identificar el archivo, sus condiciones, su porvenir, medios y definiciones con la constitución de subjetividades políticas. Las subjetividades son entendidas aquí como procesos que, al referir universos simbólicos socialmente compartidos, dotan al sujeto de un lenguaje cultural que a continuación internaliza, y adquiere así una singularidad que lo caracteriza y por último lo representa como ser colectivo. Este texto, a través de lo visible y lo oculto de las representaciones fotográficas, descifra los enunciados posibles y las aproximaciones desde la sociología. Asimismo se hace evidente cómo los discursos, por demás contradictorios, fungen a manera de proyectos de homogeneización de la cultura campesina, en la esfera de la heterogeneidad: campesinos marcados por diferencias entre sí, multiplicidad de subjetividades implicadas políticamente en los procesos inscritos dentro de la reforma agraria." (Descripción de la casa editorial)
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"About 10 years ago we started sending each other images, back and forth, via email. Each photograph had to respond to the one just received. We have so far exchanged over 260 photographs, sharing snippets of family life, abstraction, travels, loss and humor. When we started, we had no particular pl
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an but rather we were curious about the idea of photography as dialogue and we wanted to see how our visual conversation would develop. A similar sense of open-ended inquiry informs this special issue which does not present a single resolved idea but explores the emergent, messy and indeterminate ways that images and image-making serve to facilitate – and obscure – dialogue. It is concerned with the potential and limits of photography as a dialogical medium and proposes an idea of dialogic photography that centres around the encounters, exchanges and negotiations that happen with, through and around images." (Abstract)
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