IGNITE Network+’s Post

In our rapidly evolving world, the interplay between humans, nature, and technology is more apparent and crucial than ever. One remarkable manifestation of this synergy is through the lens of a camera. 📷 Capturing Nature's Essence Through photography, we capture the fleeting moments of natural beauty that surround us. These images serve not just as memories but as powerful reminders of our planet's fragility and splendor. They inspire conservation efforts 🌲, foster environmental awareness 🌊, and encourage us to appreciate and protect our natural world. 💡 Technology's Leap Forward Camera technology, with its continuous advancements, mirrors the broader trajectory of human innovation. From high-speed to high-resolution imaging, these advancements not only enhance our artistic expressions 🎨 but also play a pivotal role in scientific research 🔬 and educational outreach 🏫. 🎭 Art, Culture, and Education Photography is a powerful tool for cultural documentation and artistic expression. It bridges the gap between complex scientific concepts and public understanding, making learning about our world more accessible and engaging. 🔍 As we click and capture, let's remember the profound impact of this simple act. It's not just about preserving moments but about deepening our connection and responsibility towards the world we live in. #Photography #Nature #Technology #Conservation #Culture

From photography to economy: what do the tears tell us? Topography of tears of the photographer Rose-Lynn Fisher,  their distribution during the Olympic Games of the  Economics professor Alex Krumer and a research published on PLOS Biology on the relationship between tears and gender show us that we are all different and all the same. Read Marta Abbà’s article here: https://lnkd.in/eUTrs2J9

The 𝗛𝗲𝗹𝘀𝗶𝗻𝗸𝗶 𝗕𝘂𝘀 𝗦𝘁𝗮𝘁𝗶𝗼𝗻 𝗧𝗵𝗲𝗼𝗿𝘆 was something shared by Arno Rafael Minkkinen, a Finnish American photographer in a graduation speech in 2004. The theory, in essence, talks about how we may all start off in the same direction, and by being persistent we can gain an understanding of the work we are doing thus helping us develop a body of work, which can be classified as ‘original’. As James Clear writes in this article, “Nobody knows the best bus, but if you want to fulfill your potential you must choose one. This is one of the central tensions of life. It’s your choice, but you must choose. And once you do, stay on the bus.” By ‘staying on the bus’, we can give ourselves time to engage in deliberate practice, rework what we have done, till such time that we have created something truly unique. #frameworks #creativity #selfdevelopment

Some images are taken, some images are made, this image was definitely made. Conceived, created, and captured by Gerry. #architecturephotography  #architexture #hospitalityphotography #beach #resort

📯CALL FOR PAPERS! 📯 ARCHIVAL PRACTICES IN CONTEMPORARY VISUAL ARTS: A MODEL AND A SOURCE Organising committee: Ana Catarina Pinho Annalisa Laganà https://lnkd.in/dvERzfFS INFO & APPLICATIONS: https://lnkd.in/dBD6azK8 Archivo Platform and the Archivo Papers Journal, are pleased to announce the 5th ed. of the Reframing the Archive – International Conference on Photography and Visual Culture. The conference aims to gather contributions on archival art and archival research for contemporary art, considering them as two complementary aspects of a broad and complex field of investigation. On one hand, the archive serves as a structural model for artists from diverse backgrounds and engaged in various fields. On the other hand, authors' archives provide essential resources for historiographical studies on contemporary art, offering valuable information and direct testimonies. This dual focus necessitates engagement not only with the present but also with a relatively short historical span. Since at least the 1960s, artists have been grappling with the concept of the archive, influenced by post-structuralist studies and early achievements in conceptual art. By employing tools of collection, classification, and indexing borrowed from archival theory and practice, artists of that (sociologically changing) era explored artistic languages capable of transcending the objecthood prevalent in post-World War II art. This exploration led to the development of an expressive form that remains relevant today. Indeed, much of contemporary art continues to yield compelling results when its semantic and formal contents are mediated by the archival model, particularly in genres such as photography, installation and performance. Despite the vast productivity of this global trend, critics are currently challenged with defining and contextualising archival art, often grappling with the complexities of its heterogeneity. While the archive serves as an artistic model, its contemporary incarnation as an institution offers a formidable resource for reconstructing recent art history. In recent years, scholars have increasingly turned their attention to the author’s archive as a vital component in studies on the preservation of historical documents and art objects. Research efforts are expanding to develop criteria for the conservation and administration of contemporary art archives, describe case studies on the acquisition or museamisation of art document collections, and critically reinterpret artistic and artists' correspondence sourced from archives of artists, critics and scholars. Through such resources, the reconstruction of contemporary art gains detailed descriptive capacity, thanks to the archival documents containing first-hand information about artists' studios, relationships, contracts and exchanges with patrons, family memories, and personal research contained in notebooks, sketches, photographic negatives and other repertoires.

This should be good for students studi g architecture in Dehradun.

Experiments in photo editing have caused quite a stir this week - from royal controversies to AI-generated climate change images. The debate around authentic vs. doctored visuals is crucial, as highlighted in this thought-provoking article. It delves into the power of genuine photography in capturing the real impact of climate change and warns against the potential harm of using fake images to tell the story. A must-read for anyone interested in the intersection of visuals, authenticity, and communication, especially in the context of https://lnkd.in/dRbWkZAc

📯CALL FOR PAPERS! 📯 ARCHIVAL PRACTICES IN CONTEMPORARY VISUAL ARTS: A MODEL AND A SOURCE Organising committee: Ana Catarina Pinho Annalisa Laganà https://lnkd.in/dvERzfFS INFO & APPLICATIONS: https://lnkd.in/dBD6azK8 Archivo Platform and the Archivo Papers Journal, are pleased to announce the 5th ed. of the Reframing the Archive – International Conference on Photography and Visual Culture. The conference aims to gather contributions on archival art and archival research for contemporary art, considering them as two complementary aspects of a broad and complex field of investigation. On one hand, the archive serves as a structural model for artists from diverse backgrounds and engaged in various fields. On the other hand, authors' archives provide essential resources for historiographical studies on contemporary art, offering valuable information and direct testimonies. This dual focus necessitates engagement not only with the present but also with a relatively short historical span. Since at least the 1960s, artists have been grappling with the concept of the archive, influenced by post-structuralist studies and early achievements in conceptual art. By employing tools of collection, classification, and indexing borrowed from archival theory and practice, artists of that (sociologically changing) era explored artistic languages capable of transcending the objecthood prevalent in post-World War II art. This exploration led to the development of an expressive form that remains relevant today. Indeed, much of contemporary art continues to yield compelling results when its semantic and formal contents are mediated by the archival model, particularly in genres such as photography, installation and performance. Despite the vast productivity of this global trend, critics are currently challenged with defining and contextualising archival art, often grappling with the complexities of its heterogeneity. While the archive serves as an artistic model, its contemporary incarnation as an institution offers a formidable resource for reconstructing recent art history. In recent years, scholars have increasingly turned their attention to the author’s archive as a vital component in studies on the preservation of historical documents and art objects. Research efforts are expanding to develop criteria for the conservation and administration of contemporary art archives, describe case studies on the acquisition or museamisation of art document collections, and critically reinterpret artistic and artists' correspondence sourced from archives of artists, critics and scholars. Through such resources, the reconstruction of contemporary art gains detailed descriptive capacity, thanks to the archival documents containing first-hand information about artists' studios, relationships, contracts and exchanges with patrons, family memories, and personal research contained in notebooks, sketches, photographic negatives and other repertoires.

📯CALL FOR PAPERS! 📯 ARCHIVAL PRACTICES IN CONTEMPORARY VISUAL ARTS: A MODEL AND A SOURCE Organising committee: Ana Catarina Pinho Annalisa Laganà https://lnkd.in/dvERzfFS INFO & APPLICATIONS: https://lnkd.in/dBD6azK8 Archivo Platform and the Archivo Papers Journal, are pleased to announce the 5th ed. of the Reframing the Archive – International Conference on Photography and Visual Culture. The conference aims to gather contributions on archival art and archival research for contemporary art, considering them as two complementary aspects of a broad and complex field of investigation. On one hand, the archive serves as a structural model for artists from diverse backgrounds and engaged in various fields. On the other hand, authors' archives provide essential resources for historiographical studies on contemporary art, offering valuable information and direct testimonies. This dual focus necessitates engagement not only with the present but also with a relatively short historical span. Since at least the 1960s, artists have been grappling with the concept of the archive, influenced by post-structuralist studies and early achievements in conceptual art. By employing tools of collection, classification, and indexing borrowed from archival theory and practice, artists of that (sociologically changing) era explored artistic languages capable of transcending the objecthood prevalent in post-World War II art. This exploration led to the development of an expressive form that remains relevant today. Indeed, much of contemporary art continues to yield compelling results when its semantic and formal contents are mediated by the archival model, particularly in genres such as photography, installation and performance. Despite the vast productivity of this global trend, critics are currently challenged with defining and contextualising archival art, often grappling with the complexities of its heterogeneity. While the archive serves as an artistic model, its contemporary incarnation as an institution offers a formidable resource for reconstructing recent art history. In recent years, scholars have increasingly turned their attention to the author’s archive as a vital component in studies on the preservation of historical documents and art objects. Research efforts are expanding to develop criteria for the conservation and administration of contemporary art archives, describe case studies on the acquisition or museamisation of art document collections, and critically reinterpret artistic and artists' correspondence sourced from archives of artists, critics and scholars. Through such resources, the reconstruction of contemporary art gains detailed descriptive capacity, thanks to the archival documents containing first-hand information about artists' studios, relationships, contracts and exchanges with patrons, family memories, and personal research contained in notebooks, sketches, photographic negatives and other repertoires.

Excited to share a new publication, co-authored with my #DePaul colleague, photojournalist Robin Hoecker: "Unmasked: Iconography and the COVID-19 Pandemic." In this essay, we argue that the discarded #mask is the #icon of the COVID-19 pandemic. We share many #images in this essay, including a link to Robin's interactive #mosaic which she constructed from 500 of my discarded mask photos. COVID epitomizes the concept of liminal space and so it's appropriate that this publication can be found at *Liminalities,* a performance studies journal. #iconography #performance #communication #photojournalism #healthcommunication #covid19pandemic #covid 😷