ABSTRACT
Abstract As of the nineteenth century, the number of world fairs and hygiene exhibitions grew significantly. This phenomenon was linked to the experience of modernity and the emergence of bacteriology, when different cities were sanitized with the aim of combating urban diseases and epidemics. For the purpose of sanitary education and hygiene propaganda, many objects and pictures were displayed in hygiene exhibitions and museums, such as the International Hygiene Exhibition of 1911 and the German Hygiene Museum, both in Dresden. The goal of this article is to analyze a chapter of the international history of health through images that portray the connections between the German Hygiene Museum and Latin American countries between 1911 and 1933.
Resumo A partir do século XIX, o número de exposições universais e de exposições de higiene cresceu significativamente. Esse fenômeno estava ligado à experiência da modernidade e ao surgimento da bacteriologia, quando diferentes cidades foram higienizadas com o objetivo de combater doenças e epidemias urbanas. Visando à educação sanitária e à propaganda da higiene, inúmeros objetos e imagens foram exibidos em exposições e museus de higiene, como na Exposição Internacional de Higiene de 1911 e no Museu Alemão de Higiene, ambos em Dresden. O objetivo deste artigo é analisar um capítulo da história internacional da saúde por meio de imagens que retratam as conexões entre o Museu Alemão de Higiene e os países latino-americanos de 1911 a 1933.
Subject(s)
Bacteriology , Hygiene , Global Health , Health Fairs , Disease Prevention , Exhibitions as Topic , History, 19th Century , Latin AmericaABSTRACT
Has the history of film digitization ever been incorporated in questions of evidence and knowledge production? The digitization of thousands of films from the former Institute for Scientific Film (IWF) that is currently underway gives an occasion to think about the provenance and reuses of filmic images as well as the ways in which they claim to produce scientific (or in this case, historical) evidence. In the years between 1956 and 1960, the German Social Democrat, historian and filmmaker Friedrich "Fritz" Terveen initiated a film series that used historical found film footage in order to educate university students about contemporary history. The first small series of films was entitled Airship Aviation in Germany which consisted of four short films using found footage of zeppelin flights, of which the earliest images stem from around 1904 and the latest from 1937, the moment of the "Hindenburg disaster." This article explores how Terveen sought to shape the political landscape of history teaching in the new Federal Republic of Germany by first setting up nation-wide visual archives to host historical film documents, and secondly by seeking to improve the political education of a new generation of young Germans with the aid of the moving image.
ABSTRACT
The practice of early modern natural history depended on the collective collecting activities of a great variety of people. Among them, artisans played a major role in acquiring and distributing knowledge about the natural world and they contributed significantly to the scholarly labour in natural history. This distributed labour was both acknowledged by contemporaries as well as hidden from sight, reflecting the period's dominant norms for class and gender. By combining an interpretation of the visual representation of labour in European insect studies with an examination of written sources about natural history practices from about 1680 to 1810, this article decodes the often-codified frontispieces and other more symbolic illustrations to offer new insights into the labour of natural history. Those who identified as scholars and artisans (or both) conceptualised their own intellectual and practical engagement with natural history within the semantic field of work. Some seemed to have even envisioned a new social role for academics as well as artisans. This article analyses the diversity of the "productive forces" in insect studies as they changed over time and it reconstructs what I will call the social imaginaries of participation.
ABSTRACT
Hans Belting sugere que as 'imagens são os nômades dos meios', porque montam e desmontam acampamento a cada surgimento de uma nova mídia. Sempre que a fotografia retrata outra imagem (pintura, tela de tevê) encena um capítulo dessa história. A fotografia foi guardiã dos paradoxos da distância e das tensões entre imagem e mundo na modernidade. Por isso ocupa hoje lugar crucial no debate acerca da visualidade contemporânea. Nosso destino e o das imagens estão de algum modo entrelaçados. A última geração de artistas visuais do século XX procurou expressar a dor da virtualização; a fotografia do século XXI redescobre a promessa de corpo latente em cada imagem.
Hans Belting suggests that 'images are the nomads of media' because they set up and dismantle their camps every time new media appear. Whenever photography portrays another image (painting, TV screen) it plays out a chapter in this history. Photography has been the guardian of the paradoxes in the distance and tensions between image and world in modern times. This is why it now holds a central position in the debate about contemporary visuality. Our fate and the fate of images are somehow interconnected. The last generation of visual artists from the twentieth century sought to express the pain of virtualization; twenty-first century photography is rediscovering the promise of a latent body in each image.
Subject(s)
Humans , History, 20th Century , History, 21st Century , Art , Human Body , PhotographABSTRACT
Linus Pauling, Roger Hayward, and the Value of Visualizations. Linus Pauling's work was intrinsically linked to visualizations. While his use of three- and two-dimensional inscriptions has been the focus of much scholarly research, the production of visualizations remains a rather poorly studied subject. This article focuses on the cooperation between Pauling and Roger Hayward, an architect by profession who came to scientific illustration in the late 1920s. By concentrating on the papers of Pauling and Hayward I describe the workflow between scientist and illustrator. Although Hayward's visualizations were epistemically indispensable and economically profitable, they were never fully acknowledged as such. This was due to the ongoing conflicts caused by the economic strategies pursued by Pauling and his publisher, Hayward's personal style, and science's general disregard for images as epistemic instruments. I suggest that these contentious relationships between scientist, illustrator, and publisher are paradigmatic for the history of scientific visualization.
