2024-03-29T15:17:48Zhttp://dugi-doc.udg.edu/dspace-oai/requestoai:dugi-doc.udg.edu:10256/149362020-02-12T08:29:09Zcom_10256_8749com_10256_329com_10256_2947col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Echazarreta Soler, Carmen
2018-01-26T12:22:51Z
2018-01-26T12:22:51Z
2017
2014-6752
http://hdl.handle.net/10256/14936
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22003
Con el sugerente título Imágenes y contra-imágenes. Usos de la fotografía en las prácticas
artísticas contemporáneas, Communication Papers publica un número especial por cuanto
su contenido no es el resultado de la llamada a contribuciones, el procedimiento habitual
de conseguir el feedback de la comunidad científica, que ha confiado en la revista para
ver publicadas sus investigaciones. Los artículos que lo integran son la culminación de un
proyecto de I+D cuyo Investigador principal es el Dr. Xavier Antich, en el que según reza el
abstract de la solicitud que presentó al Ministerio “pretende investigar un aspecto central de
las prácticas artísticas y museísticas contemporáneas, todavía desatendido en su alcance y
sus efectos como es el papel que ha jugado la imagen fotográfica en dichas prácticas durante
los últimos cincuenta años, con una atención especial a los nuevos usos de la fotografía y
a las mutaciones de la cultura visual”
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Editorial [CP, Volum 6, número 12, 2017]
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14936/1/01Editorial1.pdf
File
MD5
17dfb0c036023c1dfe56cd3dd6ab2cdd
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01Editorial1.pdf
oai:dugi-doc.udg.edu:10256/149372020-02-12T08:29:58Zcom_10256_8749com_10256_329com_10256_2947col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Antich, Xavier
2018-01-26T12:25:24Z
2018-01-26T12:25:24Z
2017
2014-6752
http://hdl.handle.net/10256/14937
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22004
Con la presentación de este número especial monográfico en Communication Papers, titulado
“Imágenes y contra-imágenes. Usos de la fotografía en las prácticas artísticas contemporáneas”,
el grupo de investigación del proyecto I+D del grupo de investigación Teorías
del Arte Contemporáneo de la Universitat de Girona (HAR2014-55271-P) da cumplimiento
al objetivo principal de tres años de trabajo: compartir con la comunidad científica algunos
de los resultados frutos de la investigación en torno al papel, la importancia y los usos de
la imagen fotográfica en las prácticas artísticas de nuestro tiempo. Para ello, se propone
una cartografía que, arrancando de ciertos planteamientos vinculados al nacimiento de la
fotografía, en el siglo xix, alcanza hasta la cultura visual bajo la postmodernidad, prestando
especial atención, para ello, al arte de las vanguardias históricas y a las prácticas de relevancia
histórica a partir de la década de 1960
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Presentación [CP, Volum 6, número 12, 2017]
info:eu-repo/semantics/article
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
URL
https://dugi-doc.udg.edu/bitstream/10256/14937/1/02Editorial2.pdf
File
MD5
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02Editorial2.pdf
oai:dugi-doc.udg.edu:10256/149382020-02-12T08:30:28Zcom_10256_8749com_10256_329com_10256_2947col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Guerra, Ana María
2018-01-26T12:30:36Z
2018-01-26T12:30:36Z
2017
2014-6752
http://hdl.handle.net/10256/14938
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22005
Esta edición es un homenaje a la fotografía como la reina del camuflaje
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Prentación: sobre el carácter camaleónico de la fotografia
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14938/1/03Editorial3.pdf
File
MD5
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03Editorial3.pdf
oai:dugi-doc.udg.edu:10256/149392021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Ferrer Ventosa, Roger
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-26T12:37:16Z
2018-01-26T12:37:16Z
2017
2014-6752
http://hdl.handle.net/10256/14939
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22006
So-called ghost photography, in which the
appearance of a being from a different world
or dimension (from the realm of the dead or
other variations) is supposedly captured in
the negative or on the plate, is one of the
most successful subgenres and has one of
the longest traditions in photography. We
can trace it back to almost the birth of the
medium and it has survived until the present
day. However, despite its enduring appeal, it
has not been the object of much academic
study, perhaps due to prejudice related to its
origins in popular beliefs related to magic.
Nonetheless, it is a paradigmatic example of
the idiosyncrasy of photography itself, often
regarded as a trace and, consequently, as a
ghost image. On the other hand, the spectral
subgenre has been instrumental in investigating
the ontology of photography and
stretching it to its limits, with dematerializations
of the objects presented. In this article
I will defend how this visual motif, related to
spectres in some of its variations, ended up moving into the artistic domain. Photography
manipulated with ectoplasmic material
has seduced many artists, especially those
belonging to avant-garde movements such
as surrealism, which was already by its very
nature interested in the supernatural, as well
as later artists who were also inspired by this
artistic movement
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Fantasmas que no hacen temblar: la fotografía de espectros como influjo creativo = Ghosts that don’t give you the shivers: photography of spectres as a creative influence
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14939/1/04Art1.pdf
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04Art1.pdf
oai:dugi-doc.udg.edu:10256/149402021-07-01T10:18:18Zcom_10256_8075com_10256_2943com_10256_1247com_10256_8749com_10256_329com_10256_2947col_10256_19759col_10256_10899col_10256_1545col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Crous Costa, Neus
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-26T12:44:27Z
2018-01-26T12:44:27Z
2017
2014-6752
http://hdl.handle.net/10256/14940
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22007
The aim of this article is to propose a vision
of the value that John Ruskin attributed to
art and images. To this end, more than his
facet as an art critic, I will consider his work
as an amateur artist and art teacher in order
to present the intrinsic values of the works
produced by the classic arts (for the purposes
of this text: painting and drawing). I will
also discuss the value and use that Ruskin
attributed to photography, a medium that
was a child of the 19th century and was widely
discussed as belonging to the arts. In
doing this, I will briefly outline some of the
pillars of his aesthetic and critical theory, indiscernibly
woven into his life goals and his
work as a drawing teacher, together with his
considerations of photography
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Natura en l'art
Nature (Aesthetics)
Ruskin, John, 1819-1900
Romanticisme
Romanticism
Las imágenes para John Ruskin: una aproximación = Images under John Ruskin’s gaze: an approach
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14940/1/05Art2.pdf
File
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05Art2.pdf
oai:dugi-doc.udg.edu:10256/149492021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Ribot-Bayé, Cristina
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-29T12:18:45Z
2018-01-29T12:18:45Z
2017
2014-6752
http://hdl.handle.net/10256/14949
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22008
The aim of this article is to provide an in-depth
analysis of Catalonia’s pictorialist photography,
which came late in chronological
terms, through the works of four important
photographers of the period (1890-1960):
Joan Vilatobà, Joaquim Pla Janini, Josep
Masana and Josep Maria Casals Ariet. Despite
a lack of historiography and bibliography
for the works of these Catalan photographers,
on these pages we will rediscover
their artistic creations by taking a new look
at and conducting a new interpretation of
them on the one hand, and analysing their
images by means of a methodology based
on gender studies on the other. Thus, the article
will strive to dissect their photographs,
which contain three different key elements
very common in Occidental Pictorialism:
male and female bodies, symbolic allegories
and urban and rural landscapes. Through
this research, we expect to prove that Catalan
pictorialist photography stems from Romanticism
and European Symbolist painting and literature. However, in some cases the
most direct influences are subjects or formal
aspects deriving from other cultural and
artistic movements, such as Classicism,
Academicism and French Impressionism.
By conducting an in-depth analysis, it will
be necessary to decode and understand the
different symbols and subtle messages that
appear in these four Pictorialism photographers’
images in Catalonia
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Pictorialisme
Pictorialism
Fotografia artística
Photography, Artistic
Una aproximación al pictorialismo en Cataluña: cuerpo, alegoría y paisaje en la fotografía de Vilatobà, Pla Janini, Masana y Casals Ariet = An approach to Catalan Pictorialism: body, allegory and landscape in Vilatobà’s, Pla Janini’s, Masana’s and Casals Ariet’s photography
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14949/1/06Art3.pdf
File
MD5
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06Art3.pdf
oai:dugi-doc.udg.edu:10256/149522021-07-01T10:18:18Zcom_10256_2943com_10256_1247com_10256_8749com_10256_329com_10256_2947col_10256_10899col_10256_1545col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Balsach, Maria-Josep
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-29T12:46:56Z
2018-01-29T12:46:56Z
2017
2014-6752
http://hdl.handle.net/10256/14952
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22010
This article is based on a reading of Hannah
Höch’s 1920s photomontages from the
point of view of violence and as a consequence
of the traumatic experience of the
First World War. The political crisis of the
Weimar Republic and Berlin Dadaism are
addressed through the ideas of Salomo
Friedlaender, Bertold Brecht and Walter
Benjamin, as well as aspects such as the
grotesque, irony, and the work of art in the
age of technological reproducibility, subjectivity
and otherness. Germaine Krull’s
photography, primitivism in dance, masks
and the importance of ethnography are also
evident in this reading of Höch Dadaism, together
with a gender interpretation in which
the figure of the woman is represented in a
completely innovative way in terms of struggle
and resistance, starting with the writings
of Rosa Luxemburg. The concept of
Atlas or Lebenscollage is treated as a conceptual
work from the new readings of artists’
archives, highlighting their importance in 20th and 21st century art and inaugurating
a new post-photography concept of
contemporary artistic practices
cat
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Fotomuntatge
Photomontage
Höch, Hannah, 1889-1978
Violència
Violence
Dadaisme
Dadaism
Art alemany -- S. XX
Art, German -- 20th century
Hannah Höch: el fotomuntatge com a cartografia de la violència = Hannah Höch: Photomontage as a Cartography of Violence
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14952/1/08Art5.pdf
File
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c12467a864a8baf55cfa6a6764d1f89e
511774
application/pdf
08Art5.pdf
oai:dugi-doc.udg.edu:10256/149512021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Duarte-Feitoza, Paulo H.
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-29T12:39:50Z
2018-01-29T12:39:50Z
2017
2014-6752
http://hdl.handle.net/10256/14951
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22009
Visual devices, such as photography or
painting, established complex relations of
power between colonizing and colonized
subjects. As Edward Said demonstrated in
Orientalism, culture was a valuable ally in
this complex imperial system of colonial domination.
The present text aims to establish
connections between Brazilian photography
and the genealogy of A Negra (1923) by Tarsila
do Amaral. Starting from the conviction
that images are constructors of realities, we
aim to highlight some relationships and problems
that link the photography of the late
nineteenth century and the modernist painting
of the early twentieth
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Imperialisme
Imperialism
Art brasiler -- S. XX
Art, Brazilian -- 20th century
Los dispositivos de la modernidad como problema: a Negra de Tarsila do Amaral y la fotografía del siglo XIX = The visual devices of modernity as a problem: a Negra of Tarsila do Amaral and the photography of the nineteenth century
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14951/1/07Art4.pdf
File
MD5
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111517
application/pdf
07Art4.pdf
oai:dugi-doc.udg.edu:10256/149562021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Fontbona Mola, Isabel
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T08:11:18Z
2018-01-30T08:11:18Z
2017
2014-6752
http://hdl.handle.net/10256/14956
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22011
The aim of this paper is to illustrate the ongoing
debate on the objectification of the
body of the muscular woman. It also poses
the question of whether after achieving redefinition
in an attempt to eschew the stereotypes
that have always been attributed to women by
men – the dominant and controlling perspective,
endowed with power – this woman has
managed to break free or, on the contrary, fallen
foul of yet another male categorization. To
perform this analysis, we have chosen two different
objects of study: on the one hand, stills
from Leni Riefenstahl’s film, Olympia (1938);
and on the other, Lady: Lisa Lyon (1980-82),
the series Robert Mapplethorpe dedicated to
the bodybuilder Lisa Lyon. These will allow us
to underscore two different ways of showing
the body of the “other”, inasmuch as the muscular
woman breaks with what is considered
“normal” by shifting away from conventional
canons of female aesthetics. Furthermore,
this will also allow us to address the problems
arising when trying to achieve this
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Culturisme
Bodybuilding
Leni Riefenstahl y Robert Mapplethorpe: dos visiones distintas de objetivación del cuerpo de la mujer deportista = Leni Riefenstahl and Robert Mapplethorpe: two different ways of objectifying the sportswoman’s body
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14956/1/09Art6.pdf
File
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407812
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09Art6.pdf
oai:dugi-doc.udg.edu:10256/149572021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Lorenzo, Ariadna
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T08:32:09Z
2018-01-30T08:32:09Z
2017
2014-6752
http://hdl.handle.net/10256/14957
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22012
Joan Fontcuberta is known for his popular
"fictions", works of art that aim to question
the dogmas of the photographic medium
and the pretended objectivity of the museum
institution through fiction. However,
Fontcuberta’s career in the world of art is not
limited to the production of artwork. Artist,
critic, theorist and university professor, Fontcuberta
is a multifaceted figure in the world
of photography, while also playing an important
role on the contemporary scene as a
curator. Since 2011, in parallel to his artistic
work, he has been invited to leading festivals
to organize exhibitions on “post-photography”,
a new concept he himself developed
after the spread of the Internet and social
networks. This article aims to study Joan
Fontcuberta’s work in relation to curating
practices. Our original perspective will allow
us to review his work from a new standpoint
and connect the two facets of artist and curator
and their respective productions. Thus,
the first part of the article will analyse his artistic work through the study of Fauna, while
the second part will address his practices
as a curator and his role in the creation of
post-photography through the study of From
Here On
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Fontcuberta, Joan, 1955-
Construir y desconstruir: las prácticas de comisariado en la obra de Joan Fontcuberta = Constructing and deconstructing: the curatorial practices in Joan Fontcuberta’s work
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14957/1/10Art7.pdf
File
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10Art7.pdf
oai:dugi-doc.udg.edu:10256/149582023-04-24T12:09:19Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Faxedas, Maria Lluïsa
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T08:40:50Z
2018-01-30T08:40:50Z
2017
2014-6752
http://hdl.handle.net/10256/14958
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22013
027791
This text addresses the relationship between
image, narrative and archive in a selection
of works by the British artist Tacita Dean
(1965), focusing on those of her pieces that
can be more easily related to the literature of
the German writer W.G. Sebald (1944-2001).
In these works, the artist explores issues
such as the construction of individual and
collective memory, the use of found images
versus newly created images, the relationship
between documentary reality and creative
fiction, and the importance of the material
medium in the creation of an artwork.
Likewise, she questions modernist praise of
the grid as a formal element that cancels out
any narrative notion, and suggests a new relationship
between narrative texts and visual
images from an original and fruitful point of
view. This relationship can also be found in
the work of the German writer, whose literature
has been a constant and rewarding point
of reference for Dean. The article analyses
these issues to conclude that they can both be considered archival artists, one of the
most productive trends in the artistic contemporary
practices of the last two decades,
and that their works make an important contribution
to the resignification of images in an
era of visual saturation and banality
cat
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Dean, Tacita, 1965-
Sebald, W. G. (Winfried Georg), 1944-2001
Fotografia artística
Photography, Artistic
Allò que no es veu en una fotografia: entre Tacita Dean i W.G. Sebald = What is not seen in a photograph: between Tacita Dean and W.G. Sebald
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14958/1/11Art8.pdf
File
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11Art8.pdf
oai:dugi-doc.udg.edu:10256/149592021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Guerra, Ana María
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T08:46:18Z
2018-01-30T08:46:18Z
2017
2014-6752
http://hdl.handle.net/10256/14959
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22014
Photography has evolved from the materiality
of silver gelatin to the virtuality of Computer-Generated-Images
(CGI). This essay
is an analysis of three artworks that use
different formats of photographic archives.
Gerhard Richter’s Atlas (ongoing project) is
made up of physical material, Jon Rafman’s
9-Eyes (ongoing project) is composed of digital
images from Google Street View, and
Roc Herms’s Postcards from Home (2016)
uses 3D images taken from the platform
Home of PlayStation 3. The research method
is two-pronged: on the one hand, I identify
the similarities and the differences of how
these works were conceived in the artists’
minds; and on the other hand, I examine
how the medium has changed in each one.
The purpose of the investigation is to define
concepts like identity, objectivity, truth, and
reality in analog photography, digital photography
and virtual photography
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Fotografia
Photography
Del archivo físico al archivo virtual: reflexiones sobre la desmaterialización de la fotografía = From the Analog Archive to the Digital Archive: Reflections on the Dematerialisation of Photography
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14959/1/12Art9.pdf
File
MD5
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application/pdf
12Art9.pdf
oai:dugi-doc.udg.edu:10256/149602021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Recasens Vert, Maria
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T08:54:02Z
2018-01-30T08:54:02Z
2017
2014-6752
http://hdl.handle.net/10256/14960
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22015
This article presents a reflection on the relationship
between the technique of photomontage
and humour in general and the
work of the Swiss Art Ringger (1946, Zurich)
in particular. On the one hand, taking the
hypothesis of an inherent relationship existing
between humour and photomontage as
a starting point, we can reread some of the
best known theoretical contributions on humour
and laughter, like the works of Baudelaire,
Bergson and Pirandello, and establish
general concepts and obligatory references
for their later use in developing the aforementioned
hypothesis. After an initial reflection,
we will show that there is indeed an
inherent relationship between comedy and
photomontage, which focuses on the mechanical
character shared by the two phenomena.
In a second more specific development,
based particularly on some fragments
taken from Baudelaire, we attempt to more
precisely clarify the relationship between
the different nuances of comedy and the
different technical possibilities of photomontage.
In parallel with this theoretical reflection,
we note the possible application of the
results obtained to the work of photomontist
Art Ringger. Finally, we arrive at the conclusion
that the use of photomontage can be
attributed to what we call “modest comedy”,
thus distinguishing it from the two categories
established by Baudelaire, that is, absolute
and ordinary comedy
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Fotomuntatge
Photomontage
Art Ringger , 1946-
Del taller mecánico al mundo complementario: los fotomontajes de Art Ringger = From the mechanical workshop to the complementary world: the photomontages of Art Ringger
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14960/1/13Art10.pdf
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13Art10.pdf
oai:dugi-doc.udg.edu:10256/149612021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Bayó Duran, Anna
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T09:05:18Z
2018-01-30T09:05:18Z
2017
2014-6752
http://hdl.handle.net/10256/14961
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22016
In modern times the relationship between
the subject and photography has grown in
importance. Self-portrait in photography has
become a worldwide trend. The practice of
the selfie could become a way of understanding
a homogenised identity. And herein
lies the paradox: people who want to show
their differences as a subject but use the
same photographic schemas — face and
space in the same frame, always recognizable
— become further proof of capitalist
logic in the digital network. Individual identity
is constructed in photographic self-portraits
through a homogenized representation
of the subject. Once again, the photographic
composition is serialized and individuals are
shown in a virtual reality which they themselves
have created. The way identities are
displayed on networks makes the face the
most important part for identification. And
thus, identities are treated like merchandise
that can be bought and sold
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Autoretrats (Fotografia)
Self-portrait photography
Fotografia
Photography
La construcción y simulación de la identidad en la fotografía de autorretrato del siglo XXI = Construction and simulation of the identity in the photographic self-portrait in the 21st century
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14961/1/14Art11.pdf
File
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application/pdf
14Art11.pdf
oai:dugi-doc.udg.edu:10256/149622021-07-01T10:18:18Zcom_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Vega Mora, Brenda
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T09:10:53Z
2018-01-30T09:10:53Z
2017
2014-6752
http://hdl.handle.net/10256/14962
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22017
The technological explosion brought a “digital
performance” to life. This kind of performance
was born with the use of photography
as a massive means of communication
through mobile technology. It has imposed
itself in a daily routine that we maintain intimately
with our devices. Performance
ceased to be an act that contains a physically
related audience and documented the
action to show it afterwards. Today, it is an
instantaneous action with a high impact in
its digital dissemination. The redesign of the
digital performance proposal goes beyond
the artistic input; “we speak of performance
as an act that empowers a person in search
of liberation, interaction, and a growing audience”.
The dichotomy in which we currently
live involves how the human being handles
personal technology with the activities that
take place outside of it, and how the two
are fed in an attempt of mutual survival, in
which the winning force is who spends more
time behind or interacting with a screen. Technology has already won and “the digital
self” has born. The circulation of millions of
images in social media promotes the repetition
of actions coming from archetypes and
remakes the “15 minutes of fame” ambition.
This is possible thanks to a technological
mediator and Internet access
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Fotografia digital
Photography -- Digital techniques
Performance (Art)
Performance art
La performance fotográfica digital y su condición repetitiva = The digital photo performance and its repetitive condition
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14962/1/15Art12.pdf
File
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15Art12.pdf
oai:dugi-doc.udg.edu:10256/149632021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Merino, Imma
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T09:19:37Z
2018-01-30T09:19:37Z
2017
2014-6752
http://hdl.handle.net/10256/14963
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22018
The filmmaker Agnès Varda (Brussels, 1928)
began creating images as a photographer in
the 1950s. Despite abandoning the profession,
photography has often been present in
her cinema as a reference point and inspiration,
but also to reflect on the image itself
and consider its testimonial value, its autonomy,
its capacity to evoke, and the subjectivity
with which an image is created and seen.
With regards to her new film, ‘Visages, Villages’
(2017), which she made in conjunction
with photographer JR, particular attention is
awarded to two films by Varda, ‘Une chante,
l’autre pas’ (1976) and ‘Ulysse’ (1982), in
which photography plays both a dramatic
and meta-linguistic role. In the former, a fulllength
fictional film, there is a confrontation
between two subjectivities: that of a photographer
and that of his occasional model. In
the latter, a short documentary film, a photograph
taken by Varda twenty-eight years
earlier is observed by the same filmmaker
and by the two people she portrayed on a stony beach in Normandy: with the passage
of time, what is remembered or wished to be
remembered about the moment that photograph
was taken? What is suggested aside
from its real point of reference? Is an image
only simply an image? Also referenced is a
television project by Varda, ‘Une minute pour
une image’ (1982), in which she granted a
variety of people one minute to comment on
a photograph
cat
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Art i fotografia
Art and photography
Varda, Agnès, 1928-
Subjectivitat en l'art
Subjectivity in art
Cinematografia
Motion pictures
Presència de la fotografia i reflexió sobre la imatge en el cinema d’Agnès Varda = The presence of both photography Andrés musings about the image in Agnes Varda’s cinema
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14963/1/16Art13.pdf
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16Art13.pdf
oai:dugi-doc.udg.edu:10256/149642021-07-01T10:18:18Zcom_10256_8075com_10256_2943com_10256_1247com_10256_8749com_10256_329com_10256_2947col_10256_19759col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Aulet Serrallonga, Sílvia
author
Vidal Casellas, Dolors
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T09:27:19Z
2018-01-30T09:27:19Z
2017
2014-6752
http://hdl.handle.net/10256/14964
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22019
In religious tourism, the quality of the visitor
experience depends on several factors. The
nature of the visitor’s experience at the holy
site is very complex because it is intangible
and includes elements such as atmosphere
and the spiritual merit of the visit, among
others. As several authors have argued, visitor
experience and satisfaction are directly
related to the images visitors are exposed
to prior to the visit. The image visitors have
of a destination will condition not only their
expectations but also their behaviour at the
site. This image is configured via very different
sources, including universal images,
destination advertising, literature, television
and film, magazines, blogs and websites,
social networks, word of mouth and many
more. Although sources are not always controllable,
as we can see from the above list,
it is important to know what image (visual or
otherwise) is being conveyed of the destination
we are managing so as to be able to
influence it (if we wish to modify or reinforce it) and to know visitors’ expectations. In this
study, we aim to analyse the image of Montserrat,
the most important religious tourist
destination in Catalonia, in order to ascertain
whether emitted images match received
images in the case of religious tourism or
whether there is a discordance that may lead
to disappointing visitor experiences due to
the destination not living up to expectations
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Turisme religiós
Religious tourism
Publicitat -- Turisme
Advertising -- Tourist trade
Las imágenes en la promoción de los destinos de turismo religioso: el caso de Montserrat = The role of images in the promotion of religious tourism destination: the case of Montserrat
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14964/1/17Art14.pdf
File
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17Art14.pdf
oai:dugi-doc.udg.edu:10256/149652021-07-01T10:18:18Zcom_10256_1247com_10256_2943com_10256_8749com_10256_329com_10256_2947col_10256_1545col_10256_10899col_10256_14923RC2openaire_dataRC1CIRAXRC4RC3driveropenaireMD2MD1recolecta
DUGiDocs
author
Pardo Salgado, Carmen
funder
Ministerio de Economía y Competitividad (Espanya)
2018-01-30T09:35:59Z
2018-01-30T09:35:59Z
2017
2014-6752
http://hdl.handle.net/10256/14965
http://dx.doi.org/10.33115/udg_bib/cp.v6i12.22020
In recent decades, we have witnessed many
compositions that use sound recordings in
places at war. These involve some fundamental
ethical and aesthetic considerations
such as the aesthetic dimension of war. Taking
this as a starting point, which will serve
as a background hum, this text examines
the works of Christine Renaudat and Arsenije
Jovanovic to question the following: the
role of the technical means used in such recordings;
the ethical and aesthetic question
of the origin of sounds; and the role of montage
in relation to the composition and perception
of the works. The article concludes
by alluding to perceptual problems involving
the audibility of war compared to the audiovisual
narratives of war found in the media
and often also in museums
spa
Reconeixement-NoComercial-SenseObraDerivada 4.0 Internacional
Enregistraments sonors
Sound recordings
Voces de la memoria: fonografía y sonidos de guerra = Voices of memory: phonography and sounds of war
info:eu-repo/semantics/article
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URL
https://dugi-doc.udg.edu/bitstream/10256/14965/1/18Art15.pdf
File
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18Art15.pdf