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Two subspecies of the Yellow-throated Woodland Warbler Phylloscopus ruficapilla (family Phylloscopidae) have been recognised in South Africa based on the extent and intensity of yellow colouration. Our previous multi-locus population genetic survey across much of the Eastern Cape and southern KwaZulu-Natal provinces, conducted from 2017 to 2023, revealed a single homogenous regional population. That finding, derived from 93 individuals sampled from nine sites—six northeast of the Great Kei River (n = 72) and three to the southwest (n = 21)—did not support a subspecies boundary near the Great Kei River. Here, using 188 publicly archived photographic records for this species in South Africa, we show that the phenotypes of both subspecies are present on either side of this divide. The observed genetic homogeneity and lack of clear phenotypic vicariance suggest that P. ruficapilla is more dispersive than currently appreciated, and that the plumage-based subspecies may not represent significant population-level differences. [ABSTRACT FROM AUTHOR]

J.R. Collins (1865-1957) produced the best astrophoto by an amateur member of The Royal Astronomical Society of Canada in the early years of its existence. The circumstances of his lunar image are discussed, and the astronomical career of its creator is sketched. The existence of his image highlights the paucity of other early astrophotos by amateur members in the present Archives, and the poor quality of what little survives. What this could mean is explored. A possible inspiration for the attractive star charts for his newspaper column is suggested. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In a project to preserve photographic archives in Southeast Asia, the authors sought to develop sustainable solutions with low environmental impact, avoiding air conditioning and using locally available materials. Dry cabinets were tested and implemented to store a glass plate negative collection that was rehoused in envelopes and boxes made locally. The project took just over a year to complete, and two years of monitoring environmental conditions have shown that relative humidity can be stabilized at low levels. However, the dry cabinets are airtight to limit the introduction of moisture and dust, preventing air exchange. In order to avoid the build-up of degradation by-products released by the stored materials, and in particular off-gassing of acetic acid from the cellulose acetate-based photographs, the use of an adsorbent is necessary. To achieve this, a cellulose-based composite with particles of a porous hybrid inorganic/ organic solid, denoted as a metal–organic framework (MOF), at a very high loading over 70% by weight and shaped as a sheet of paper, has been prepared and tested. This special paper maintains acetic acid-free air in the cabinets and also helps to reduce the energy consumption by reducing the need for cool storage. This MOF paper composite traps small carboxylic acids and was found to be an appropriate solution for maintaining clean air in the dry cabinets or any other confined space or enclosure. Additionally, it can also be designed to trap other noxious pollutants such as hydrogen sulfide or formaldehyde, by choosing other MOFs. [ABSTRACT FROM AUTHOR]

This paper proposes that the dissemination of marginal archival resources can be informed by forms of socioeconomic precarity experienced by their creators and primary subjects. To account for these modes of circulation, the author proposes the notion of a precarious archive. The concept is developed with reference to the Kewpie Collection, an official though marginal archival resource containing photographs as well as recordings and transcripts of interviews with the photographs' collector, Kewpie. The Collection depicts a group of self-described gays and girls living in District Six, a multicultural, inner-city area of apartheid Cape Town, before and during the District's physical destruction by the Nationalist government. By the early 1980s, the girls were among the sixty thousand residents forcibly removed from the District because they were legally classified 'Coloured'. The circulation of materials constituting the Kewpie Collection is characterised as precarious in two senses. First, the materials have been available to diverse uses incorporating a range of identificatory claims, often in terms in which Kewpie does not describe herself. Second, Kewpie's account of the girls' experiences of precarity has been de-emphasised and her photographs celebrated as evidence of the ability of gay lives to flourish in the lost District. The author instead reads these photographs as one example of the girls' efforts to imagine new forms of social existence in the absence of sustaining infrastructure and thereby enable liveability. [ABSTRACT FROM AUTHOR]

Preserving historical architectural structures is crucial for safeguarding cultural heritage. This study explores the application of Heritage Building Information Modelling (HBIM) to enhance the documentation process of the Ghiqa Historical Market in Saudi Arabia, a monument known for its intricate architecture and cultural significance. Traditional documentation methods often fail to capture detailed features accurately and rely on labour-intensive manual processes. HBIM uses advanced digital technologies to improve precision, efficiency, and preservation efforts. In this study, point cloud data from 3D laser scanning is used to create a detailed digital model of the market, covering structural systems, material attributes, architectural features, and historical context. The research also integrates historical archives and photographs to enrich the model with additional contextual information. This comprehensive approach provides a holistic understanding of the Ghiqa Historical Market, aiding accurate preservation and restoration decisions. HBIM offers several advantages in architectural documentation. The digital model enhances visualization, allowing stakeholders to explore the site from multiple perspectives. It also serves as a tool for analysing structural integrity, identifying potential risks, and planning restoration interventions. Moreover, digital documentation ensures effective knowledge transfer across generations, preserving valuable architectural heritage for future reference and research. Additionally, it promotes interdisciplinary collaboration among architects, historians, conservators, and other stakeholders involved in preservation. Including the Ghiqa Historical Market in the UNESCO World Heritage List would highlight its global significance, attracting international attention and resources for its preservation. This designation would underscore the market's cultural and historical importance, fostering a sense of pride and responsibility in its maintenance. The implementation of Heritage BIM demonstrates its potential to revolutionize heritage conservation by combining diverse data sources into a single, detailed, and accessible digital resource. [ABSTRACT FROM AUTHOR]

In north-western Poland, cultural and historical structures were erected using erratic boulders of Scandinavian origin. These structures have yet to be subjected to detailed analysis with the aim of determining their origin, type of erratic boulders and rock abundance of a given petrographic type. This topic has not been addressed by art historians in previous studies of similar structures. The objective of this paper is to present five illustrative examples of stone structures that are closely related to cultural heritage in north-western Poland. A comprehensive inventory of the stone material is presented, categorised according to petrographic types. This is accompanied by a guide to the erratics. Furthermore, this article addresses the principles of geoethics and the concept of sense of place, with the objective of fostering a sense of pride in cultural heritage among residents and viewers. The objective was to identify the current and potential future geosystem services that erratic boulders can provide at the aforementioned locations. The survey methods were non-intrusive and included a comprehensive analysis of the stone material at eye level. Furthermore, in addition to graphic and photographic archiving, the petrographic type of rock and the type of indicative erratics were identified in carefully designed test fields. The results were subjected to basic statistical calculations. The results obtained represent a new corpus of knowledge that can be employed in the sustainable development of the five regions through the utilisation of a tool such as geotourism. It is anticipated that the implementation of innovative initiatives aimed at fostering geoenvironmental awareness and providing educational benefits, such as disseminating knowledge about the petrography and history of the sites (including the evolution of stone workshops and techniques), the role of historic buildings in strengthening attachment to roots, and their promotion in the media and on the internet, will result in the attraction of a more diverse group of tourists with interests beyond the current tourist and recreational offerings. [ABSTRACT FROM AUTHOR]

This paper examines underexplored police photographs of Chinese migrants in Korea under Japanese colonial rule, with a focus on architectural spaces. In 1940, a secret anti-Japanese association known as Ildonghoe was established by a group of Chinese migrants in the Korean city of Incheon. Following the arrest of its members in 1943, Japanese colonial authorities documented with photographs locations and objects related to the organization’s activities. This investigation serendipitously created a photographic archive of architectural spaces in and around Incheon’s Chinatown, many of which have since disappeared. The paper sheds light upon these police photographs as an “accidental archive,” a repository of historical materials that gives rise to unintended outcomes with critical information about certain events, places, and moments. The paper pays particular attention to the peculiarity of police photographs as a form of happenstance yet significant documentation capturing historical moments that might otherwise remain elusive. Reading against the grain of colonial archives, this paper shows how the Ildonghoe photographs invite viewers to envision a different narrative of the racial relations forged under colonial rule and imagine decolonial futures that have yet to come. [ABSTRACT FROM AUTHOR]

Aims. The Archives of Photographic PLates for Astronomical USE (APPLAUSE) project is aimed at digitising astronomical photographic plates from three major German plate collections, making them accessible through integration into the International Virtual Observatory (IVO). Methods. Photographic plates and related materials (logbooks, envelopes, etc.) were scanned with commercial flatbed scanners. Astrometric and photometric calibrations were carried out with the developed PyPlate software, using Gaίa EDR3 data as a reference. The APPLAUSE data publication complies with IVO standards. Results. The latest data release contains images and metadata from 27 plate collections from the partner institutes in Hamburg, Bamberg, and Potsdam, along with digitised archives provided by Tautenburg, Tartu, and Vatican observatories. Altogether, over two billion calibrated measurements extracted from about 70 000 direct photographic plates can readily be used to create long-term light curves. For instance, we constructed the historic light curve of the enigmatic dipping star KIC 8462852. We found no evidence of previously assumed variations on timescales of decades in our light curve. Potential uses of APPLAUSE images for transient sources can be appreciated by following the development of the nova shell of GK Per (1901) over time and the change in brightness of two extragalactic supernovae. The database holds about 10 000 spectral plates. We made use of objective prism plates to follow the temporal changes of Nova DN Gem through 1912 and 1913, highlighting an outburst in early 1913. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Outlined with this report is what is known regarding a significant donation of photographs received by the Museum of Archaeology and Anthropology (MAA), Cambridge, in 2010. The photographer was Jutta Merensky, later Jutta Gethen (1911–96). Information available at present indicates that she visited the Pacific twice or more, probably in 1961 and over 1968–69. Several hundred transparencies and prints now cared for in Cambridge feature landscapes, ceremonies, people and daily activities in Aotearoa New Zealand, Samoa, French Polynesia and elsewhere and notably include a sequence of tatau (tattooing) photographs from Samoa. [ABSTRACT FROM AUTHOR]

In the last decade, many aerial photographic archives have started to be digitized for multiple purposes, including digital preservation and geoprocessing. This paper analyzes the effects of professional photogrammetric versus consumer-grade scanners on the processing of analog historical aerial photographs. An image block over Warsaw is considered, featuring 38 photographs acquired in 1986 (Wild RC10, Normal Aviogon II lens, 23 × 23 cm format) with a ground sampling distance (GSD) of 4 cm. Aerial triangulation (AT) and dense image matching (DIM) procedures are considered, analyzing how scanning modalities are important in the massive digitization of analog images for georeferencing and 3D product generation. The achieved results show how consumer-grade scanners, unlike more expensive photogrammetric scanners, do not possess adequate recording quality to ensure high accuracy and geometric precision for geoprocessing purposes. However, consumer-grade scanners can be used for time and cost-efficient applications where a partial loss of data quality is not critical. [ABSTRACT FROM AUTHOR]

"The Unseen Archive of Idi Amin: Photographs from the Uganda Broadcasting Corporation" is a book that explores the life and presidency of Idi Amin through a collection of photographs. The book aims to humanize Amin and shed light on his rise to power, the collapse of his government, and his alleged crimes. It examines the relationship between Amin's presidency and the unseen actions captured by the cameras. The book also discusses the discovery of 60,640 negatives that provide insight into Amin's first 366 days, his campaigns, and the justice process in Uganda. While the book is comprehensive, it could benefit from including more perspectives and discussing missing photographs. Overall, it is a valuable resource for researchers interested in photography, history, and African liberation struggles. [Extracted from the article]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Das analoge Fotoarchiv der Zeitschrift „Stern" ist mit 15 Millionen Aufnahmen eines der größten deutschen Pressebildarchive. Derzeit werden drei Millionen Fotografien des Archivs digitalisiert. Nach einer europaweiten Ausschreibung wird das Projekt mit drei Dienstleistern und einem hauseigenen Team aus Eigenmitteln der BSB realisiert. Dieser Beitrag beschreibt die Herausforderungen eines Massendigitalisierungsprojekts dieser Größe und präsentiert die Einzelheiten des Vorhabens. Ausgehend vom physischen Material werden die wichtigsten Grundentscheidungen skizziert, zudem werden die internen Workflows geschildert und die wichtigsten Erkenntnisse aus der ersten Projekthälfte vorgestellt. The analogue photographic archive of the German weekly „Stern" is one of the largest collections of press photos in Germany. It comprises some 15 million images, some three million of which are currently being digitalized. The project was put out to tender all over Europe and is now in the hands of three service providers and an inhouse team using BSB's own funds. This article describes the challenges of digitalization on such a massive scale, and what the project entails. Starting from the physical material, the most important basic decisions are outlined, the internal workflows are described as well as the most important findings from the first half of the project. [ABSTRACT FROM AUTHOR]

Copyright of Ataturk Arastirma Merkezi Dergisi is the property of Ataturk Arastirma Merkezi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This text offers for the first time a critical and comprehensive study of the Necropolis Museum of Tarragona, which was inaugurated in 1930 by the renowned archaeologist Serra i Vilaró. It starts with a detailed description of the museum and its history with many unpublished old photographs and many little-known archive documents. The broader framework of Catalan archaeological and diocesan museums is then analysed in order to understand the context in which the museum of Tarragona was set. The third section of the text analyses the Mediterranean context and all the contemporary museums from which Serra took inspiration. [ABSTRACT FROM AUTHOR]

This article describes the objects in the barniz de Pasto collection at the Museo de América, Madrid. The barniz de Pasto technique will be described, as well as the historical documentary sources that have previously discussed this varnish. The article will also mention the historical reasons why Spain is the European country in which the greatest number of objects decorated with varnish have been found, in both religious and private collections. The main body of the article discusses all the barniz de Pasto objects held in the Museum collection, focuses on the history of their arrival at the Museum, and investigates their possible origin, with the help of ample photographs. The final section examines the Museum's three most recent acquisitions, completed in the second half of 2022, in detail. [ABSTRACT FROM AUTHOR]

This article discusses the creation of an art project called Pulse: New Cultural Registers, which aims to challenge negative narratives about El Salvador and its diaspora. The project combines personal and historical archives with seismic records to create a visual representation of the cultural legacy of the 1980s and 1990s, when El Salvador experienced a civil war. The artist, who is part of the Salvadoran diaspora, uses this project to honor her late mother and the artists who worked during this difficult time. The goal of Pulse is to create a space for dialogue, representation, and solidarity with El Salvador, and to create a more hopeful and restorative future. [Extracted from the article]

The Armenian Memory Project (AMP) is a collaborative effort designed to harness the energy and resources of the University of Connecticut and the New England Armenian community for the goal of fostering greater understanding of the region's Armenian cultural heritage and the impact human rights crimes had on the Armenian community. In 2019, students and faculty from the university worked with Armenian American institutions and individuals on an initial component of the AMP, employing digital media technology to tell the story of one immigrant Armenian family, the Dildilians. A unique course was created to produce a documentary film centring around this family's experiences in Ottoman Turkey before, during, and after the Armenian Genocide. Designed and taught by a documentary filmmaker with support from a family archivist/historian, the course brought students together in a collaborative learning experience. By immersing themselves in the family's extensive photograph archive, these students came to understand the important role that the past continues to play in the lives of present-day Armenians. Furthermore, by taking on the responsibility as storytellers of the Dildilian narrative, students developed a deeper identification with this distant history and, in a wider sense, an appreciation for the ethical value of memory in bearing witness to the past. This collaborative and participatory framework for teaching using archival collections can serve as a model for creating a transformative learning experience in the study of human rights, war, and genocide. [ABSTRACT FROM AUTHOR]

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Copyright of Revista General de Información y Documentación is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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This study examines two large photo-based installations in which the role of memory construction in photography is explored, with emphasis on the concept of image accumulation in the digital era. These installations aim to restore photography as object while exploring the immersive and experiential qualities of physical environments filled with images, in opposition to the digital experience through screens. The visual essay delves into the evolving relationship between photography, the archive and its transformative nature, as it transitions from a digital transient realm, and returns to a physical manifestation (Art Installation, Atlas). The focus on building thematic "Atlases" that serve as spaces for interpretation, draws inspiration from Georges Didi-Huberman's take on Aby Warburg's Mnemosyne Atlas. The works created aim to contextualize the symbolic universe of images, and the construction of visual atlases as historical archives creating permeable and tangible membranes that provide evidence of our contemporary visual experience. [ABSTRACT FROM AUTHOR]

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This study focuses on the development of the landscape during a period of significant social changes in Central Europe from the middle of the 20th century, and evaluates the impact of the selected natural factors on landscape dynamics in the Snohy dispersed settlement area (cadaster of Hriňová, Slovakia). During the periods of feudalism and the democratic Czechoslovak Republic after 1918, private ownership of land prevailed on the territory of Slovakia. After 1948, in the period of the socialist establishment, the municipality was one of the few localities without collectivisation. We focused on the state and changes to the landscape structure based on remote sensing data analysis (1949, 2003, and 2018), as well as field research and archive photographs inspection. The study area is a part of the proposed Special Area of Conservation SKUEV4026 Meadows of Poľana and is situated near the border between the transition and buffer zones of the Poľana Biosphere Reserve. The state of land cover and its changes have been evaluated using a CORINE Land Cover modification at the 5th level. Results showed that the influence of the slope on agricultural extensification, deforestation, and afforestation, was the most pronounced. Since 1949, more than half of the land cover has changed across the study area. The most extensive changes were recorded in the spatial structure and composition of forest communities. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the early 1920s, "Lady Bus Conductors" were recruited for the first time in Melbourne, Australia. They were employed by private companies, who entered into competition with the public-funded urban transport sector. Combining labour and cultural history approaches, this article draws on newspapers, photographs and union archives to develop an original gendered analysis of the interwar motorbus industry. It argues that women's labour underpinned the creation of feminised traits of service, safety and aesthetics on this new mode of transport. Such traits were successfully commercialised by private operators at the same time as they benefitted from "traditions" of women's lower wages. When the public sector reasserted control over metropolitan transport, they defined the buses as "men's work", with long-lasting implications. Yet as this article reveals, some women continued to seek employment on private buses, claiming access to elements of the economic, social and cultural status of uniformed transport work. [ABSTRACT FROM AUTHOR]

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This paper discusses a photographic plate archive of the Ulugh Beg Astronomical Institute (UBAI) of the Uzbek Academy of Sciences, the history of photometric observations, the current state of photometric plates, and the process of their digitization. We will talk about telescopes used for observations, their characteristics and observations. In addition, we will also talk about the preparation of photographic plates for scanning. Also, the work carried out in the "UBAI-SHAO scientific and technical project" on digitization of photographic plates in the UBAI archive at the Shanghai Astronomical Observatory (SHAO) of the Chinese Academy of Sciences and future work will be reviewed and discussed. [ABSTRACT FROM AUTHOR]

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: The involvement of palms and soles is variable among disease entities belonging to autoimmune bullous diseases (AIBD). We present our own clinical-laboratory experience concerning presentations of skin lesions on palms and soles in the pemphigus diseases group, pemphigoid diseases group, epidermolysis bullosa acquisita (EBA), and lichen planus pemphigoides (LPP) and discuss the pertinent literature. Methods: Lesions on palms and soles were assessed retrospectively on the basis of just photographic archives from the beginning of 2014 to March 2023. We comparatively evaluated 462 Slavic patients with AIBD. Results: Palmoplantar involvement was observed in only 21 patients with AIBD (12 females and 9 males). There was no statistically significant difference between palmoplantar involvement in the pemphigus diseases group compared to the pemphigoid diseases group and no statistically significant difference between the pemphigus diseases group compared to the subepithelial AIBD. Discussion: Nevertheless, particularly in LPP and EBA, and occasionally in pemphigus diseases and pemphigoid diseases groups of AIBD, localization on palms and soles may be diagnostically important at the clinical level. [ABSTRACT FROM AUTHOR]

An integral and interdisciplinary experience of the APEX Program of the University of the Republic (Udelar), Uruguay, is presented, which puts the archive, the territory, photography and performance at stake, through a constructivist and socialcognitive pedagogical strategy that takes the archive as an object. alive and possible of performative resignification for the installation of a photo gallery. It is an interdisciplinary and collaborative permanent education space in which older adults, from the community, students, teachers and Udelar graduates participate. Focused on the construction of portraits through photographic archives and oral testimonies that are reflected in a narrative visual process, the experience was proposed to contribute to the recovery of the memory and identity of the Cerro de Montevideo neighborhood. This article shares a journey on the interdisciplinary characteristic of the archive, its relationship with the territory, the link with photography and its potential as a teaching object from a performative approach. Likewise, it describes the institutional context in which the proposal is developed, addresses the pedagogical approach and the five phases of the experience: the integration of multiple participants focused on empathy and identification of a common objective; the oral story that involved various activities and the design of the script for the portrait; personal photographic archives and testimonials; photographic techniques and performative Palabra Clave, (La Plata), octubre 2023-marzo 2024, vol. 13, núm. 1, e198. ISSN 1853-9912 Universidad Nacional de La Plata Facultad de Humanidades y Ciencias de la Educación Departamento de Bibliotecología DOSIER: Prácticas pedagógicas y estrategias didácticas en la enseñanza de las ciencias de la información: nuevos saberes y abordajes production; Installation of the photo gallery. As results, the processes undergone by the students are reported and the images of the photogallery are presented. [ABSTRACT FROM AUTHOR]

Copyright of Papers of the British School at Rome is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2015, I traveled to Havana with the support of an ASTR Targeted Areas Research Grant to work on processing the physical materials of the Photographic Archive of Tablas-Alarcos Press (hereinafter the Tablas-Alarcos archive or collection). The Tablas-Alarcos archive is a unique collection because it exists not in a traditional research institution, but in the offices of a state-run press dedicated to the performing arts. Also, it consists of materials that have been saved after critics, researchers, and editors have completed the process of publishing their work. Much more than photographs, this collection also contains programs, unpublished manuscripts, and various theatre ephemera from all over the globe and in multiple languages. [ABSTRACT FROM AUTHOR]

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Copyright of DEPARCH Journal of Design Planning & Aesthetics Research is the property of DEPARCH Journal of Design Planning & Aesthetics Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Victorian Archives Centre in North Melbourne is currently hosting an exhibition called "Collective City" until December 1, 2023. The exhibition features contemporary street photographs curated from submissions by street photographers, as well as photographs from government archives. The exhibition explores the themes of connection and disconnection in Melbourne, both in terms of infrastructure and social connectivity. The photographs challenge viewers to consider the artistry of official records and highlight the changing nature of photography. The exhibition also examines the history of public buildings and facilities in North Melbourne, showcasing beautifully illustrated maps and building plans. Overall, "Collective City" offers a glimpse into the dis/connection of Melbourne and its people through the lens of photography and government records. [Extracted from the article]

The colonial visual archive has occupied in recent decades the work of scholars and artists from indigenous and racial minority communities, who revealed it as a major apparatus of historical meta-narratives. This article aims at pushing forward this preoccupation by revealing an additional scene: the art of Mizrahi women, descendants of Jewish communities of Arab and Muslim countries. Relying on a visual culture approach and focusing on an analysis of artworks by Mizrahi artist Vered Nissim, as well as on photographs of Mizrahi women, fund in Zionist archives, I demonstrate how Nissim's work challenges the racial category of Mizrahi women as "natural workers", constructed in the Zionist historical meta-narrative. Nissim does so by re-enacting the category's paradigmatic visual image—the Mizrahi women cleaning worker—in a different way, visually and discursively. Body, voice, and visual image, three instances of the subjectivity of Mizrahi women cleaning workers that were separated, shaped, and mediated through Zionist colonial visual archives unite in Nissim's work when embodied by a real Mizrahi woman cleaning worker: her mother, Esther Nissim. By casting her mother to play herself over the past twenty years, Nissim creates political conditions for the appearance of her mother as the author of her own history as she orally, bodily, and visually writes it in front of her daughter's camera. Thus, Nissim joins a transnational phenomenon of global south artists who create political conditions enabling the self-imaging of colonized peoples, empowering the reading of colonial imagery and the historical meta-narratives attached to it through their situated knowledge and lived experience and, thus, constructing a counter history communicated visually. [ABSTRACT FROM AUTHOR]

This article proposes methodological reflections on a digitally mediated ethnographic work that explores the family memories of police and military personnel killed in armed action during the Peruvian internal armed conflict (1980-2000). This exploration was carried out through the consultation of their domestic photographic archives (analog and digital) and from the voices of their closest relatives (widows and older sister). Thus, it was proposed to make visible other stories in relation to the violence of those years. The research digital mediation was held mainly through WhatsApp video calls. This social network allowed the conduction of interviews and photo elicitation exercises with analog photographs, to reconstruct life stories. This experience encouraged a series of (re)adaptations and (re) learnings to understand these video calls as ethnographic meeting places and as windows into the everyday and intimacy of homes, inviting to rethink distances and places of enunciation in research contexts. [ABSTRACT FROM AUTHOR]

This paper focuses on historic anthropological photographs, meant to depict Indigenous individuals as generic models of colonial stereotypes, and examines their later reclamation as portraits. Applying an intention-based account of portraiture, we discuss the historical context and contemporary examples of the utilisation of these images in order to address several questions. What happens when the depicted persons in colonial imagery are treated and presented as sitters, rather than model specimens? Does this change the nature of the image? If a photograph was not originally intended as a portrait, can it come to function as such at a later stage? Regardless of whether they fulfill all the requirements necessary for portraiture, these colonial photographs represent a vital resource for the reclamation of Indigenous cultural heritage. As such, this paper serves as an introductory discussion into the complex issues surrounding the recategorisation, repatriation, and restitution of colonial photographic archives. [ABSTRACT FROM AUTHOR]

This research presents the strategy developed for the enhancement and dissemination of the photographic collections treasured by archives, libraries and museums of the city of Santa Clara, Cuba, with the purpose of contributing to reinforcing the values of local culture and identity, as well as how to motivate processes of appropriation of collective knowledge in the community, by sharing photographs, stories and experiences. The study begins by addressing theoretical elements related to photography as a support for local memory; subsequently, the photographic collection of the city of Santa Clara is characterized, and, finally, examples of practical application of the proposed strategy are shown. Emphasis is placed on the actions developed using the rephotography technique, and on the use of social networks as a communication channel, given their wide possibilities for dissemination and their social impact. In conclusion, the existing potential is shown for the different information institutions to work on the accessibility and visibility of their historical photographic collections, which would encourage the recovery of hidden photographic memory, and would promote co-creation as a way of rewriting history from of the experiences and memories of the population that the images offer. In this way the community manages to appropriate and protect its identity values. [ABSTRACT FROM AUTHOR]

In this research, we address the relationship that exists between the development of certain unsustainable fishing practices among professional small‐scale fishery, industrial fishery and recreational fishing and the historical and social changes observed in the configuration of maritime fishing communities in Mallorca (Balearic Islands, Spain). We also explore the impact that European, Spanish and regional policies have had on the strategies of exploitation of the marine environment and the forms of social organisation of these communities. To do this, we apply a multiproxy approach that includes several kinds of data: field research, photographic archives, oral interviews, local newspapers, legislation, official reports and published literature. The anthropological and historic viewpoints applied in the research delve into how the disappearance of traditional professional small‐scale fishing and the surge of both a bottom‐trawl fleet and recreational marine fishing have not only promoted a loss of sustainability and environmental balance in such coastal environments but have also led to a significant loss regarding key cultural and identity assets. [ABSTRACT FROM AUTHOR]

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