Comparative Technology Transfer and Society最新文献_第10页

Review: Jet Lag, by Chien-Chi Chang and edited by Anna-Patricia Kahn 书评:《时差》，作者张建志，编辑安娜-帕特里夏·卡恩

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/AFT.2016.44.3.41

Néha Hirve

引用次数: 0

Beyond Mourning: On Photography and Extinction 超越哀悼:论摄影与灭绝

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/AFT.2016.44.3.22

E. Mudie

{"title":"Beyond Mourning: On Photography and Extinction","authors":"E. Mudie","doi":"10.1525/AFT.2016.44.3.22","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.22","url":null,"abstract":"Widespread deaths can be observed from time to time among the forms of life on Earth. Please do not plan a trip to Planet Earth for the duration of these rare catastrophes. --Hiroshi Sugimoto, notes for A First Visitors Guide (1) Over the course of its approximate 3.5 billion-year history of life, (2) the Earth has witnessed five mass extinction events thought to be triggered by causes as diverse as asteroid strikes, volcanic eruptions, ice ages, and other extreme shifts in climate. The fifth and most recent mass extinction event, the Cretaceous-Tertiary mass extinction, occurred some sixty-six million years ago, and while it resulted in the loss of up to eights percent of species, (3) it is most known for the death of the dinosaurs. Fast forward to today, and scientists estimate we are currently losing animal and plant species at more than one thousand times the background or natural extinction rate. The evidence increasingly suggests we are living in a period of such highly elevated species loss as to warrant its naming as the sixth great mass extinction event. It is the first in the Earth's history for which human activity can be counted as a primary causal agent and, in turn, there is no guarantee the human race will survive it. What will be the fate, then, of the planet after the event of human extinction? And what role can the photographic medium play in conceptualizing such an unthinkable event as the disappearance of human and nonhuman life? When the Japanese American photographer Hiroshi Sugimoto presented his ruinous and highly personal vision of humanity's end days. Aujourd'hui, Le Monde Est Mart [Lost Human Genetic Archive/(4) at the Palais de Tokyo in 2014, the artist's response reflected what is emerging as a distinctly speculative turn in contemporary art in response to the present extinction crisis. For his Paris installation, Sugimoto mixed his vast and eclectic collection of objects witli images from his photographic oeuvre to construct thirty-three diorama-like scenarios extrapolating on how human civilization might end and featuring fictitious characters who had either agreed, or declined, to archive their genetic information for the future. Where visions of a future Earth bereft of humankind were once the domain of science fiction novelists and apocalyptic Hollywood cinema, Sugimoto's Last Human Genetic Archive signals the extent to which the imminent threat of extinction, both human and nonhuman, exercises the imagination and concern of a growing number of artists, including photographers. As a trace, a document, and an index of the real that fixes a moment in time before its disappearance, the photograph has for some time now been implicated in extinction and conservation discourses, most notably as a memento mori that performs the work of memorialization and mourning for lost and vanishing species. Yet the future-oriented perspective invoked in addressing the fate of the planet after our own extinction, coupled with the pr","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124974173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Review: Carol Sawyer: The Natalie Brettschneider Archive 回顾:卡罗尔·索耶:娜塔莉·布雷特施奈德档案

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/AFT.2016.44.3.38

Jaclyn Meloche

引用次数: 0

The Female Gaze, Part Two: Women Look at Men 女性的凝视，第二部分:女人看男人

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/AFT.2016.44.3.34

A. Chase

{"title":"The Female Gaze, Part Two: Women Look at Men","authors":"A. Chase","doi":"10.1525/AFT.2016.44.3.34","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.34","url":null,"abstract":"The Female Gaze, Part Two: Women Look at Men CHEIM & READ NEW YORK CITY JUNE 23-AUGUST 31, 2016 Artists have always flattered those with the most power--and money--by giving them what they desire to view, and for most of Western history it has been white heteropatriarchy that has been in control. A wise cultural critic would say it's therefore no surprise that many of the images made by and for men are of desirable women. But hindsight is 20/20, and it's only due to some smart deconstructionist theory that we now understand the complex politics of \"looking.\" In 1972, John Berger illustrated how a culture's \"ways of seeing\" are determined to a large degree by dominant social groups' subject positions and experiences. Drawing a direct expressive parallel between Jean-Auguste-Dominique Ingres's La Grande Odalisque (1814) and a Playboy pin-up, Berger opined that the essential way of seeing women, the essential use to which their images are put, has not changed. Women are depicted in a quite different way from men--not because the feminine is different from the masculine--but because the \"ideal\" spectator is always assumed to be male and the image of the woman is designed to flatter him. (1) Three years later, Laura Mulvey furthered Berger's ideas in her psychoanalytically grounded essay \"Visual Pleasure and Narrative Cinema\" (1975). Mulvey posited that mainstream cinema was centered upon the dualistic paradigm of \"active/male\" and \"passive/female,\" ultimately making women the object of the \"controlling male gaze.\" The idea that men do the looking and women are there to be looked at wasn't novel, but it was finally exposed for the social construct it is. Michel Foucault summed it up later that decade with his theories on surveillance, linking the \"inspecting gaze\" to power. In the intervening thirty years, academics have built upon and challenged these ideas, but always conceded that looking is inextricably bound to power. It seemed curious, then, that in the 2009 exhibition The Female Gaze: Women Look at Women, curator John Cheim conjectured that a female artist's gaze is somehow different from a male's. The press release stated that the group show would \"debunk the notion of the male gaze by providing ... works in which the artist and subject do not relate as 'voyeur' and 'object,' but as woman and woman.\" Basing an exhibition on artists' gender identities is itself a perilous endeavor, but the presumption that there is no power dynamic simply because both artist and subject are women was naive at best, and willfully essentialist at worst. One such example from the 2009 show, Lisa Yuskavage's Heart (1996-97), in which a masturbating, pig-faced nude floats in a vacuous pink halo, certainly insinuates that women are more than capable of objectifying other women. It's even more problematic when the curator ignores the complexities of spectatorship. In that same exhibition, Sally Mann's Venus After School (1992), in which her pubescent daughter reclines","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128339643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Riga Photography Biennial 2016 里加摄影双年展2016

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/AFT.2016.44.3.2

Jacquelyn M. Davis

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Review: Cao Fei

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/AFT.2016.44.3.32

Godfre Leung

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Review: Less Than One 回顾:少于一个

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/AFT.2016.44.3.28

Suzanne E. Szucs

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The Third Island 第三岛

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/aft.2016.44.3.4

Luisa Grigoletto

{"title":"The Third Island","authors":"Luisa Grigoletto","doi":"10.1525/aft.2016.44.3.4","DOIUrl":"https://doi.org/10.1525/aft.2016.44.3.4","url":null,"abstract":"THE THIRD ISLAND TRIENNALE, MILAN DECEMBER 1-20, 2015 OIGO n.1 The Third Island Edited by Antonio Ottomanelli Planar Books, 2015 240 pp (book) +42 (booklet)/38 [euro] In the post-photographic era, where image dissemination on the internet has made billions of images, from satellite photography to Instagram, readily available, is there any meaningful room left for documentary photography with a strong social bent? A new, ambitious project by OIGO (International Observatory on Major Works), a collective of photographers, argues in favor of the affirmative, with a book and traveling exhibition curated by Italian photographer Antonio Ottomanelli, titled The Third Island. Its first installment, The Third Island, brought together photographers and writers in 2014 to focus on the impoverished region of Calabria, and particularly its often failed infrastructure, which is frequently the first thing Italians think of when they hear the word \"Calabria.\" The goal is to prod politicians, city planners, and citizens to take a critical look at the long-term effects of such building projects on the economy, environment, and landscape. The Third Island culminated in an eponymous book publication and a collateral photo exhibition at the Triennale International Exhibition in Milan (December 1-20, 2015) and amalgamated a kaleidoscope of voices and contributions. The next show (December 13, 2016-February 14, 2017) is expected to open in Rome at the National Graphics Institute in December 2016 with some new, additional shots by photographers Armando Perna and Maurizio Montagna. The focus of the investigation stemmed from Ottomanelli's participation in the Monditalia section of Rem Koolhaas's 2014 Venice Biennale of Architecture, where participants were invited to reflect on Italy as a \"case study\" within the coordinates of architecture. Calabria, the toe to Italy's boot, has an ignoble reputation for its large number of unfinished construction projects that dot the horizon, its hotels and illegal villas that stand as concrete skeletons overlooking the Mediterranean and, most notably, its highways. Geographically, the region is dominated by rugged mountains. Promontories impede on the shoreline. Such majestic yet inhospitable terrain has helped make Calabria one of the least developed areas in the country, which in turn makes it vulnerable to the 'Ndrangheta, the local mafia that today stretches the width of the globe, generating billions of euros every year in illicit trade. The region remains largely unknown also to most Italians. \"When we hear about Calabria, it's usually on the news, because of some legal orders or mafia-related facts,\" said Ottomanelli. \"We're accustomed to a certain rhetoric in the way the region is portrayed, which has generated a very static perception at a collective level.\" (1) But with The Third Island, OIGO has taken it upon itself to research and document this problematic territory without sensationalizing it. The group consists of eleven ","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132239877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Outcasts: Exploring Documentary Photography and Photo-Elicitation with Longterm Heroin Users 弃儿:探索长期海洛因使用者的纪实摄影和照片启发

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/aft.2016.44.3.8

A. Goodman

{"title":"Outcasts: Exploring Documentary Photography and Photo-Elicitation with Longterm Heroin Users","authors":"A. Goodman","doi":"10.1525/aft.2016.44.3.8","DOIUrl":"https://doi.org/10.1525/aft.2016.44.3.8","url":null,"abstract":"When Providence Healthcare won a legal challenge in May 2014 at British Columbia's Supreme Court to prescribe medically supervised heroin to two hundred and two of Vancouver's most severely addicted drug users, a firestorm lit up online. Many called it a positive step for harm reduction that would help keep addicts from engaging in crime and using potentially lethal street drugs. Others said it was shameful that taxpayers would be funding a program for drug users who \"contribute nothing to society,\" according to one individual. Many had even more scathing things to say about heroin users. While heroin-assisted treatment programs have long been recognized as scientifically sound and cost-saving in countries across Europe such as the United Kingdom, Switzerland, the Netherlands, and Denmark, this is the first time one has been offered outside of a clinical study in North America. Realizing how deeply divided the public was about heroin-assisted treatment, I suspected it was due to a lack of information. I wondered if documentary photography could play a role in educating people about compassionate, science-based treatment for drug users. I began planning a photo documentary project that I hoped would help humanize some of the long-term heroin users taking part in the Study to Assess Longer-term Opioid Medication Effectiveness (SALOME). My intention was to help foster empathy toward vulnerable drug users and allow people to come to their own conclusions about heroin-assisted treatment. The scale of the heroin addiction Across Canada, as many as ninety thousand people (1) are addicted to heroin, according to Providence Healthcare. The New York Times has reported on a heroin \"epidemic\" sweeping across the United States. (2) Thousands of heroin users receive methadone and other forms of treatment. However, for some of the most chronic and vulnerable addicts, nothing has worked. \"Ninety percent of the refractory people- the people who've tried the treatments and haven't benefited from them, haven't been retained in care-need another option.\" Dr. Scott MacDonald, lead physician at Providence Healthcare's Crosstown Clinic, told me. \"Heroin-assisted treatment works. It gets people into care, and that's what's important to me, that's what's important for their health and what's important for our society.\" (3) \"Dark, seedy, secret worlds\" 1 began to explore the work of some of the most influential documentary photographers who have focused on heroin users in recent decades. What 1 learned is that most of them have consistently represented heroin users as exotic, primitive, dangerous to society, and essentially as outcasts. \"There is a tendency in drug photography to attempt to make images of dark, seedy, secret worlds,\" writes drug policy expert John Fitzgerald. \"This can have the effect of Othering the subject, or making them different through eroticizing or exoticizing them.\" (4) Many viewed Larry Clark's 1971 photo work Tulsa, about young people experimen","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132870175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

When Art and Science Collide: Arts at CERN 当艺术与科学碰撞:CERN的艺术

Comparative Technology Transfer and Society Pub Date : 2016-11-01 DOI: 10.1525/AFT.2016.44.3.6

Gabrielle Decamous

{"title":"When Art and Science Collide: Arts at CERN","authors":"Gabrielle Decamous","doi":"10.1525/AFT.2016.44.3.6","DOIUrl":"https://doi.org/10.1525/AFT.2016.44.3.6","url":null,"abstract":"Located in Geneva, Switzerland, the European Organization for Nuclear Research, known as CERN (from the French Conseil Europeen pour la Recherche Nucleaire) is an immense international research project in particle physics that inquires into the origin and composition of the universe under the motto \"CERN accelerating science.\" One interesting study aims at demonstrating the theory behind the Brout-EnglertHiggs mechanism, that the whole universe existed within a field (the Higgs field) after the Big Bang, which would have allowed the particles to interact and have mass. This would ultimately explain how we exist. In order to pursue the research, extensive means have been employed over several decades. Anyone visiting the premises cannot but be impressed by the vastness and magnitude of the initiative. In order to fully describe it, one has to resort to impressive if not showy numbers: the underground facilities of the now famous Large Hadron Collider consist of an imposing ring that measures twenty-seven kilometers, is buried approximately one hundred meters underground, and is so big that it crosses the border between Switzerland and France. No fewer than two thousand people employed by CERN run its daily activities, and nearly ten thousand scientists from over one hundred countries have collaborated over several decades. Finally, what could be more impressive than this?: CERN scientists' collisions of particles are described as the hottest spots in the universe, hotter than the sun--or, to be precise: one hundred thousand times hotter than the center of the sun (albeit for an extremely short period of time). It is in this unique context that international cultural strategist and curator Ariane Koek initiated, designed, and directed Arts at CERN (formerly Arts@CERN) to give time and space for artists and scientists to explore and work together. Since 2011, Arts at CERN has hosted a series of residency programs for artists. (1) Yet the uniqueness of Arts at CERN is not just that artists can visit and be inspired by CERN. Its uniqueness lies in offering artists the opportunity to meet scientists and to learn about and become immersed in various scientific theories and problems without any expected or defined product or outcome. Arts at CERN's mottos are \"Colliding Art and Science\" and \"Great Arts for Great Science\"--and the result is captivating. [ILLUSTRATION OMITTED] One of the first artworks produced from the art/science \"collision\" is Versuch unter Kreisen (2012) by German artist Julius von Bismarck. In the exhibition space, four industrial lights hang from the ceiling, rotating in motorized patterns. As viewers enter the space, they automatically try to identify the patterns, but the lights move between order and chaos, between law and disorder. Although there is no overall regular circling of the lights, the mind tries to recognize a law to rationalize them, and this is the most interesting aspect of the piece. There is a pressing need to und","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124461513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1