[S-fotografie] I: Photography and Information Technolgy (Lausanne,
16-17 Nov 17)
Silvia.Paoli a comune.milano.it
Mer 25 Gen 2017 23:31:01 CET
Ricevo e inoltro
Conservatore Civico Archivio Fotografico
Civiche Raccolte Grafiche e Fotografiche
Musei del Castello Sforzesco
Da: H-NET List on Art History/Die E-Mail-Liste fuer Kunstgeschichte im H-Net <H-ARTHIST a H-NET.MSU.EDU> per conto di H-ArtHist (Elisabeth Furtwaengler) <furtwaengler a ARTHIST.NET>
Inviato: mercoledì 25 gennaio 2017 09.16
A: H-ARTHIST a H-NET.MSU.EDU
Oggetto: CFP: Photography and Information Technolgy (Lausanne, 16-17 Nov 17)
From: Estelle Blaschke <estelle.blaschke a unil.ch>
Date: Jan 25, 2017
Subject: CFP: Photography and Information Technolgy (Lausanne, 16-17
University of Lausanne (UNIL), November 16 - 17, 2017
Deadline: Mar 31, 2017
Photographs tend to exist in masses. They are a driving force of mass
consumerism, and ever since the invention of the medium, the industry
has produced numerous devices for accelerating the production, storage
and diffusion of photographs, including the film roll, the memory card,
small format and digital cameras, chronophotography, wire images, and
rotary printing. In parallel, techniques and standards for handling,
organizing, and making sense of these ever-increasing collections have
been developed or adapted to photography, including iconography,
registries, card catalogues, library classification systems, data
banks, and algorithms as well as arrangements for juxtaposing
photographs such as contact sheets and atlases. Sometimes, photographs
act as objects that constitute a collection; sometimes, photography
instead functions as a mechanism of conveying material of various
sources and provides access to it, as is the case with microfilm, for
example. Today, the indexicality of digital photography (André
Gunthert) provides additional tools for penetrating the image and
associating data with that image; thus, digital photography offers new
ways of managing and accessing great quantities of images and of
potentially creating knowledge.
For this conference, we seek papers that reflect on the history of
photography as a history of collecting, processing, and producing vast
data sets. What can be learned from thinking about photography not only
as an artistic or amateur practice and not only as (a set of)
individual images, but as an information technology? How may that
concept add to the present scholarship on the scientific and
educational dimensions of photography?
The questions we seek to consider, among others, are:
• How did processing masses of photographs contribute to the
creation of knowledge in the humanities and natural sciences?
• What technologies and methodologies have allowed for the amassing
and circulation of photographs?
• What does mass do to an organizational system?
• What similarities or differences exist between analog and digital
materiality, and between the practice of the file card and the data
• How did photography interact with sound or moving images, and what
can be learned from these or other media and their media theories?
• What are the limits of processing photographs? What can be
automated, and what cannot? What status is given to the human factor
• How does the digital respond to the image–text gap, which, on the
one hand, is conducive to the power of an image and, on the other hand,
contributes to its opacity?
• How does one navigate the difficulty of developing organizational
structures that are stable enough to accommodate masses of images and,
at the same time, meet the need for a critical mass of images, or big
data, to achieve comparability and representativity?
Papers from all relevant disciplines, historical time periods, and
methodological or practical perspectives are welcome.
Please respond to: Estelle.Blaschke a unil.ch before March 31, 2017.
This conference is a collaboration between the Department of Film
History and Aesthetics (UNIL), the Center of History of Culture:
Literature, Arts and Society (UNIL), the College of Humanities (EPFL),
and the Doctoral Program in Digital Humanities (UNIL-EPFL).
It is organized by Estelle Blaschke, Olivier Lugon and Davide Nerini as
part of the SNSF-research project “Encapsulating World Culture: the
Rise and the Imaginary of Microfilm (1920s to 1950s).”
Reference / Quellennachweis:
CFP: Photography and Information Technolgy (Lausanne, 16-17 Nov 17).
In: H-ArtHist, Jan 25, 2017. <http://arthist.net/archive/14604>.
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