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Tour Title: Materializing Memories
Name and ID of Curators:
THE LIGHT WRITERS (in order of stories within the tour)
1. David E. Dass -‐ 0767570
2. Eva Palaiologk -‐ 0775179
3. Manuel Suarez Prat -‐ 0791194
4. Gilles Spierings -‐ 0743533
Tour Introductory Summary:
Cameras have been built by the people for the people, as service devices to share memories. This device is made up of pieces engineered evolving in various European countries. At the same time, the camera has provided an opportunity for its users to collect pieces of activities and use them as a medium to connect and share cultures and information within European countries in an international context.
STORY 1
STORY TITLE: SENT VIA THE TELEGRAPH
CURATOR: David E. Dass
BIOGRAPHY: David is an Industrial Design Bachelor student at the Technical University of Eindhoven. He is from a mixed background having roots from India, Kenya and Portugal. Born and raised in Kenya, David has an outsider’s perspective of the EU. However working also in a European country for design exhibitions and projects he has needed to study the evolution of technology and products as well as their effects today.
STORY: The telegraph was the spark to spreading cultural connecting points within Europe and eventually the globe. The first photo sent was of Prince Luitpold in a loop from Munich– Nuremberg, taking 42 minutes. It did not stop there: scientists cut it down. This got press agencies interested.
With the French newspaper L’ Illustration as the pioneer, the service became popular across Europe when a picture taken in Paris, transmitted by telegraph to the UK, and published in the Daily Mirror was used to identify and arrest a thief in London.
During the WW1 the image of pope Pius X1, who at that time was passionately against the rise of communism and Nazism, was sent from Rome to Berlin. This entailed further connection of two European countries, which generated talking points. The common question, “Did you see this?” involved different backgrounds of different cultures.
The uprising in communication across boundaries led to people being aware of both destruction and constructivism, within Europe. The awareness of European well-‐being became more evident and whether from this came growth or downfall is questionable. But without this cross-‐border communication, these questions would never be formed.
REFERENCES: Huurdeman, A. A. (2003). Phototelegraphy. In A. A. Huurdeman, The World Wide History of
Telecommunication (pp. 294 -‐ 295). New Jersey: John Wiley & Sons Inc.
Lommers, S. (n.d.). More than a thousand words? Retrieved November 21, 2012, from Inventing
Europe: http://www.inventingeurope.eu/exhibit4tour2item1/
OBJECT: Telegraph transmission of a photograph via a looped line Berlin-‐ Munich-‐ Berlin.
METADATA: Dublin Core Meta Data with regards to the Image:
Title Telegraph transmission of a photograph via looped line Berlin – Munich – Berlin.
Creator Artur Fürst
Description After a drawing by A. Dressel. From Artur Fürst, Das Weltreich der Technik Berlin 1923.
Publisher Deutsches Museum, Munich
Contributor Deutsches Museum
Identifier BN-‐41603
Rights Deutsches Museum
STORY 2
STORY TITLE: THE TRANSNATIONAL COMMUNITY OF PHOTOGRAPHY ENTHOUSIASTS.
CURATOR: Eva Palaiologk
BIOGRAPHY: Eva Palaiologk is a 25year old Greek student of Industrial Design, born in Yerevan, Armenia. After obtaining her BSc in Physics she continued her studies in Industrial Design. Her challenge currently is to combine her knowledge in applied science with art in a professional way.
STORY: In the early 1850s, photography had slowly started gaining trust and ground in the everyday life in Western Europe, where Industrial revolution, led to the fast growth of the cities and played a major role in its spread.
People -‐mostly of the middle class-‐ who moved from the countryside to the cities trying to find a better job, wanted to portray both themselves and their new environment. Cities rapidly became a main theme in photographs, which portrayed them in different ways. Fresh views were captured. Photographs created the desire for traveling and adventurism. People started to travel more; sharing ideas and memories was easier than ever before. A transnational community of photography enthusiasts developed.
As urban populations grew, traditional jobs, and unpolluted countryside landscapes appeared as romantic and nostalgic objects in the visual arts. Photography was not an exception. Moreover, with time, the community of photography enthusiasts brought the meaning of the word photography -‐derived from the Greek words photos ("light") and graphein ("to draw"): draw with light-‐ to life by shading light and capturing in their pictures every possible aspect and moment of people's lives.
As a result photography managed not only to build a transnational community of photography enthusiasts, but also built new connections between the nations of Western Europe.
REFERENCES: Codruta JALIU, Mircea NEAGOE, Daniela CIOBANU. "PRASIC '02." FROM CAMERA OBSCURA TO THE DIGITAL PHOTO CAMERA, no. ISBN 973-‐635-‐076-‐2 (2002): 1.
Marien, Mary Warner. “Photography: A Cultural History.” In Photography: A Cultural History, by Mary Warner Marien, 28-‐30. Laurence King Publishing, 2006.
OBJECT:
BP364 Mannen achter cameras
Url to video: http://www.beeldengeluid.nl/media/5624/bp364-‐mannen-‐achter-‐cameras
METADATA Dublin Core Meta Data with regards to the Image:
Title BP364 Mannen achter cameras Creator eye film instituut nederland Publisher BEELD EN GELUID Contributor BEELD EN GELUID Date 20 december 2011 Format video Source Open Images
http://www.openbeelden.nl/media/104922 Language Dutch Rights http://creativecommons.org/publicdomain/mark/1.0/
deed.nl
STORY 3
STORY TITLE: PHOTOGRAPHY IS BULLETPROOF.
CURATOR: Manuel Suarez Prat
BIOGRAPHY: I am a Spanish student who previously studied Textile Design in Madrid and I am now pursuing my dream to become a footwear designer for one of the mayor companies in the sport world.
STORY: By sending photographer Roger Fenton to the Crimean War (1854-‐1856), a Manchester publisher essentially invented the job of a war photograph reporter. He was sent by Thomas Agnew to balance the critical accounts that “The Times” reporters where publishing about the Crimean war.
The Crimean War was fought in the Crimean Peninsula between the Russians and the British as well as the French and Ottoman Turkish. Roger Fenton. An official photographer for the British museum was sent to the Crimean War in 1855 by art dealer and print publisher Thomas Agnew. Fenton’s goal was to get positive images and change the public opinion about the war and also to calm down the families of British and French soldiers
Fenton photographed officials as well as soldiers sitting down in relaxed positions. He made positive impressions of the atmosphere of war camps. In the battlefield, he could only make photographs when the fight was over, thus showing a view that the end is near.
This acted as a source of inspiration for a new generation of artists and illustrators. Through his photographs, Roger Fenton not only helped to create a positive image of the war with the British and French people that where worried about the war.
REFERENCES: Abarca, Raul. altfoto.com. 09 02, 2010. http://altfoto.com/2010/09/roger-‐fenton-‐el-‐primer-‐ fotografo-‐de-‐guerra (accessed 10 22, 2012).
Martinez, Enrique. http://viejas-‐fotos.blogspot.nl/. 04 22, 2010. http://viejas-‐ fotos.blogspot.nl/2010/04/la-‐guerra-‐de-‐crimea-‐por-‐r-‐fenton.html (accessed 10 22, 2012).
Reportage Gráfico. http://reportajegrafico.wordpress.com. Unknown Unknown, Unknown. http://reportajegrafico.wordpress.com/2-‐foto-‐en-‐guerra/guerra-‐de-‐crimea-‐1854-‐1858/ (accessed 10 22, 2012).
Lambert Andrew. http://www.bbc.co.uk. 03 29, 2011. http://www.bbc.co.uk/history/british/victorians/crimea_01.shtml (accessed 08 01 2013).
Malcom Daniel. http://www.metmuseum.org. Unknown Unknown,Unknown. http://www.metmuseum.org/toah/hd/rfen/hd_rfen.htm (accessed 08 01 2013).
OBJECT:
Harbour of Balaclava, the Cattle Pier, c 1855
Image URL: http://www.inventingeurope.eu/object_4_2_2/?magnify=1
Description of the Object in the Image:
Photograph by Roger Fenton (1819-‐1869). During the Crimean War (1853-‐1856), the British army used the inlet of Balaclava as its supply harbour. In 1855, Fenton was commissioned (with royal sanction) by the publisher Thomas Agnew to photograph the Crimean War. This was the first extensive documentation of a war, with over 350 images produced. However, some do not see Fenton as a true war photographer as he only took positive images of the war.
METADATA: Dublin Core Meta Data with regards to the Image:
Title Harbour of Balaclava Creator Roger Fenton Subject Photography Description
Publisher Science & Society Picture Library Contributor
Date 1855 Type Photograph Format
Identifier 10311401
Source http://www.inventingeurope.eu/object_4_2_2/?magnif y=1
Language English Rights National Media Museum / Science & Society Picture
Library — All rights reserved.
STORY 4
STORY TITLE: TO INFINITY AND BEYOND!
CURATOR: Gilles Emanuel Spierings
BIOGRAPHY: Gilles is a student of Industrial Design at the TU/e. He is born and raised in the city of Eindhoven and has through that a strong bonding with the city and the province. Besides that Gilles has lived a year in Firenze to study the language and the history of Art. His biggest passion is sports, in particular cycling, and everything that comes with the sport, like the technology, the training part and the mental side. Gilles’s dream is to become a sports designer on a high end level, preferably in racing bikes.
STORY: Soon after the release of the first project planetarium cities wanted to apply for such an instrument, since it was popular for entertainment but also in educational ways. The Great Depression stimulated that international cities, like Stockholm and Milan, wanted to present something positive and interesting in regards to their citizens. The second version of Carl Zeiss was the first planetarium projector to be widely distributed throughout Europe and contributed to the ascent from the Great Depression
A planetarium was donated by Germany to Italy as part of World War One damages, but also other big European cities had a planetarium van Carl Zeiss, just before World War Two in 1939, like Vienna, Rome, Moscow, Stockholm, Milan, Paris, The Hague and Brussels. The planetarium was technically complex, lights, lenses, fibre optics and micro controllers controlled by computers, designed to put the celestial bodies in the right place.
The first planetarium projector was built by Carl Zeiss in 1923 for the Deutches Museum. During the period before World War Two, Carl Zeiss dominated and pioneered the development of planetarium projectors and its parts. The planetarium production did never lead to a real profit product, there were built for social responsibility and corporate pride.
REFERENCES: “Buhl Planetarium”, Glenn A. Walsh, December 2008, http://buhlplanetarium2.tripod.com/, Accessed on 14 January 2013.
"Planetarium", 23 April 2009, HowStuffWorks.com, http://science.howstuffworks.com/dictionary/astronomy-‐terms/planetarium-‐info.htm, Accessed on 14 January 2013.
“Zeiss Planetaria”, 7 February 1928, Rotterdamsch Nieuwsblad, A.W. Sijthof, http://kranten.kb.nl/view/text/id/ddd%3A010514214%3Ampeg21%3Ap001%3Aa0277, Accessed on 14 January 2013
OBJECT: Image Title: Das Projektionsplanetarium von Carl Zeiss
Image URL: http://www.deutsches-‐museum.de/sammlungen/ausgewaehlte-‐objekte/meisterwerke-‐i/planetarium/
METADATA: Dublin Core Meta Data with regards to the Image:
Title Projektionsplanetarium
Creator Carl Zeiss
Subject Camera
Description See above
Publisher Deutches Museum
Contributor
Date 1925
Type
Format
Identifier
Source http://www.deutsches-‐museum.de/sammlungen/ausgewaehlte-‐objekte/meisterwerke-‐i/planetarium/
Language German
Rights Deutches Museum
