Seminar III: Social History of Technique Images
Part of this Programme
Level of Qualification|Semesters|ECTS
Doctorate | Semestral | 5
Year | Type of course unit | Language
1 |Mandatory |Português
Total of Working Hours | Duration of Contact (hours)
125 | 15
Recommended complementary curricular units
Prerequisites and co-requisites
1. Social history of technical images: disciplinary scope. The culture of oddities; 2. Religious fundamentals of technical images; 3. Iconographies of the invisible: science, spiritist photography and appearances in the cinema; 4. Technical image and death: postmortem photography; 5. Stereoscopy and photography: popularity and disbelief; 6. Photomechanical reproduction: hybrid images and visual conventions in nineteenth-century journalism.
To characterize the social history of images as the identification of uses, practices and social appropriations of images. To analyze how the same anthropological impulse for images that could not be deceived (Belting) lent itself to popular appropriations and to different institutional appropriations, originating either "magic" or irrational, as well as scientific and political uses. To analyze significant cases of popular appropriation of photographic appropriations (portraiture, postmortem portrait, spiritist and vernacular photography, stereoscopy) and institutional appropriations (documentary photography, portraiture and photojournalism). To reflect the impact of the computational phenomenon and the increasing practices of information visualization in the reconfiguration of the contemporary observer subject, considering that it has been described as occupying a more abstract (Crary) or even "secondary" position (Weibel) by having "retreated" to observe the machines that see.
Knowledge, abilities and skills to be acquired
Understand how technical images come to authorize a new social history of images motivated by the strong social penetration and unparalleled popularity of the new technical park of the images since the emergence of photography. Reflect how the social history of technical images gives continuity to the social history of art by retrieving experiences and beliefs that were once addressed through art to a metaphysical or religious plane.
Teaching methodologies and assessment
Theoretical exposition classes combined with discussion of texts and presentation of works. Evaluation essay on one of the themes of the program from the texts indicated for each theme, as well as from another possible bibliography investigated. Size: 20-22,000 characters (8-10 pp). Delivery date: (to be agreed with the class). Weight in the evaluation: 60%. participation: discussion of the themes of the classes from the recommended texts. Weight in the evaluation: 40%.
GUNNING, Tom (2004), «Re-Newing Old Technologies: Astonishment, Second Nature, and the Uncanny in Technology from the Previous Turn-of-the-Century», in David Thornburn e Henry Jenkins (eds.), Rethinking Media Change. The Aesthetics of Transition, Massachusetts, MIT Press.
GUREVITCH, Leon (2013), ¿The stereoscopic attraction: Three-dimensional imaging and the spectacular paradigm 1850 ¿2013¿, Convergence: The International Journal of Research into
New Media Technologies 19(4), pp. 396-405, Sage Publications.
(1996), Image, icône, économie. Les sources byzantines de l¿imaginaire contemporain, Paris, Éditions du Seuil.
TUCKER, Jennifer (2005), Natured Exposed. Photography as Eyewitness in Victorian Science, Baltimore, The Johns Hopkins University Press.
WHEATSTONE, Charles (1838), Contributions to the physiology of vision. Part the first. On some remarkable, and hitherto unobserved, phenomena of binocular vision