Reception of photography

Reception of photography Using a broad range of critical, satirical, and photographic texts, assess the cultural reception of photography in the mid nineteenth century. The mid nineteenth century was a time of great technological advancement, and a more modern way of living came to be that bought with it significant cultural and social change. The industrial age was in full swing (as a consequence of the recent development of the steam engine), and photography was an exciting (but also intimidating) technology that caused incredible debate surrounds its status as an art form, and also the ethical and social issues its conception invoked. Although Daguerre/Fox Talbots Victorian audience were generally a receptive and willing one ready to embrace new and exciting technology (Goldberg 1991), there is significant evidence that shows a mixed cultural reception in regards to the emergence of early photographic processes. Wells (2004 p.12) states that: hailed as a great technological invention, photography immediately became the subject of debates concerning its aesthetic status and social uses Henisch (1994 pg.2) agrees stating intense controversies raged concerning its status and role in society. Photography had a huge impact on the Victorian society, and in 1839 artist Paul Delaroche is said to have claimed hysterically upon first seeing a daguerreotype photograph, from this day painting is dead. Japanese artist Renjio Shinoke also reportedly snapped his paintbrushes and become a pioneer of early Japanese photography (Eastman 1962). Whilst these examples are clearly overt exaggerations (almost to the point of satire) , they also highlight genuine fears and anxieties felt by artists (especially portrait) and critics alike, which stimulated and engaged the Victorian society in a plethora of debates surrounding the cultural, ethical and social impact the emergence of photography raised . The majority accepted its ability to record mechanically accurate images that are free of discrimination, but photographys status as an art form (or a creative medium) was much less certain , and something that was fiercely contested. Charles Baudelaire (1821-1867), a French Poet artist (and well known and very vocal critic of early photography) wrote: If photography is allowed to deputize for art, it will not be long before it has supplanted or corrupted art altogether (Baudelaire 1859 pg.297) Baudelaire suggests photography simply should not be allowed to supplant more traditional artistic methods, and to allow it do so would not only undermine, or negatively impact art, but corrupt it altogether. Baudelaire was not alone, as Goldberg (1991 pg.10) declares William Wordsworth shared in Baudelaires cynical view of photography, and in the 1840s penned a sonnet which declared the degradation of mans noblest attire', and expressed fears that a dumb art would lead his once-intellectual land back to the caves. Here Wordsworth is stipulating photographys potential to instigate the death of human intellect, and again, whilst such arguments are surely sensationalist, these declarations shows that not only was there an opposition to photographys ability to render art useless, but also a fear that its mechanical nature would dumb down society by removing a large part of the human aspect from the creative process. Both views show people believed (among what we can consider high artist s) that photography was a genuine threat to the fine arts of the time. Perhaps artists felt threatened by the technology? Threatened by its ability to so effortlessly paint reality, and ultimately achieve what they had been trying to do for long? Satirical publications in circulation in the mid nineteenth century, of which Punch magazine was the most popular, produced a number of cartoons highlighting these very issues. One such untitled illustration (1860 pg. 140) portrays a fashionable photographer forbidding smoking in his studio, as he declares himself not a common artist. Clearly an underhanded attack on the attitudes photographers took to their work which wasnt shared by their critics. Another satirical sketch, titled How the Famous Photographer Nadar Elevates Photography to the Level of Art show the French artist and photographer Fà ©lix Nadar taking to the sky in an air balloon, clutching a camera under his arm, physically lifting photography into the realms of high art. Su ch a picture of absurdity is surely meant to openly ridicule photography and its quest to be recognised as fine art. The latter picture serves a secondary purpose though, as Nadar was famous for his unsuccessful attempt to build a gigantic air balloon named Le Gà ©ant (or The Giant) around the same time as his photographic exploits. These are just two examples of many cartoons published around the mid nineteenth century that served to ridicule not only photographys quest for a higher status, but also many criticized the photographic studios and the rising popularity of carte de visite . In the photographic studios defence, famous photographic studio owner Richard Beard ran a series of advertisements for his business that served as much to promote his business as they did to promote photography as an art form. Close scrutiny of one of his earliest advertisements (Beard 1843) circulated in 1843 reveals the words Photography is indeed as grand a step in the fine arts as the steam engi ne was in the mechanical arts. This isnt to say everybody had difficulty accepting photography as true art, as many did indeed lament the skill that was required of a competent photographer, and the innate talent required to turn out a successful exposure. A Victorian periodical titled Once a Week published in 1862 states that To produce a good photograph, it requires a thoroughly artistic hand. Francious Argo (1930), when asked by the French government to assess the daguerreotypes successes concluded that M Daguerres wonderful discovery is an immense service rendered to art. This prompted the French government to subsidise Daguerre a pension of 6,000 francs for life, and his son 4,000 on the understanding they could use and adapt it for their own need (Goldberg 1991). Newell states that Argos memorandum mustnt be taken as a reflection of the attitudes of all artists to the new discovery. It appears that it was mainly established artists that held the biggest contempt for photograph y, and I believe not only suggests a fear for their livelihoods, but also a fear that the status of artist, usually reserved for a chosen few, would know be available to anyone with enough money to purchase a camera. It is difficult to truly gauge just how profoundly photography affected art in these early days, but it can be certain it was definitely believed at least possible by many that photography could be a form of artistic expression. as Goldberg (1981 pg.20) states photography and art have always been tangled, are tangled still. Millions of daguerreotype portrait photographs were taken in the 1840s and 1850s (to the dismay of photographys critics) as it began to supersede the more traditional painted portraitures. As Goldberg (1991 pg.12) states: After 1839 people who were not wealthy enough to commission portraits by a painter like Jean-Augusta-Dominique Ingres were no longer had to do with silhouettes and stiff pink renditions of their faces turned out by itinerant painters Portrait painters simply couldnt supply the demand necessary, and the affordability and fast turnaround of mainly studio based daguerreotype photographers (there were also the travelling carts) could offer was simply impossible to match. Photographic studios were the staple of early photography, the most famous of which were the Beard chain of studios (aptly ran by Richard Beard) which began opening in London in 1943. His studios were incredibly successful and lucrative business opportunity at the time, as the deal he made with Daguerre (who held the patent to his process) ensured his studios were the only ones in the UK throughout the early years of photography. Punch magazine (18 ran numerous satirical cartoons that highlighted what appears to be a clear distaste for the photographic studio. One cartoon named Step in, and be done sir! features a cat trying to lure a mouse into a photographic studio. More an echo of the society in which photography was operating, this piece could be looked at in a number of different ways. Perhaps the photographer being the cat (fat cat) and the enchanted lower/middle classes being the mice, echoing how the sitters are led into the studios under what could be considered false pretences in order to have their money relieved of them. Julia F Munro (2009 pg.167) states: George Dodd personified the by-then popular process of photography as the optical stranger, and as [s]trange, scientific, mournful, all at once. Such a figuration typifies the Victoria reaction to the uncanny qualities of the new technology. This statement was retrieved from an article entitled Busy with the photograph, published on April 29th 1854, and encapsulates the mixed reactions of the Victorian public towards early photography and more importantly the photographic studio. The idea of the optical stranger was one that was re-enforced by La Gazette de France in 1839, as they declared the invention of photography upsets all scientific theories of light and optics. The whole act of having ones picture taken was seen by many as a mysterious and bizarre concept, and the resulting exposures were often cited as too-real images (Munro 2009 p.168) and encouraged diverse reaction, ranging from that of excitement, to anxiety and fear, often leading to suggestions of magic (the transfiguration of the common photographer to the role of a magician or illusionist). Literature from the mid nineteenth century is rife with personal accounts of visits to local daguerreotype photographers studios and the wonders of photography. A le tter, published in the Times newspaper in 1852, where-by a middle aged man talks of his recent visit to a photography studio discusses how with a fluttering heart he approaches the mysterious apartment. He is of course simply referring to a typical early photographic studio setup, but these anxieties were very real for the everyday person. Another letter, written by a women this time, was published in the Times newspaper in 1854 describes the photographer disappearing into a mysterious closet and alludes to some hocus pocus being indulged in before he returns with the exposed plate. The photos were perceived as taking on a life of their own to a naive Victorian subject. The tone and lack of colour often provoked reactions of dismay, and many linked what were known as the dark mysterious chambers to execution houses (Munro 2009). The small stiff chairs (encouraging the sitter to sit upright), complete with leg clamps. Further controversy was sown by the nature of daguerreotype. Many referred the way a photograph could only be viewed in certain light, and as Munro (2009 pg.172) puts it seemingly wasnt to be seen one moment, only to burst into view the next. Being photographed and indeed even seeing a photograph were completely new and exotic experiences. For many Victorians, photography was too-real, and a large part of the fear was simply a natural reaction to the newness of the communicative medium, and novelty of a strange new and exotic process (Munro 2009 pg.169). The quoted realness of the photos could suggest a sense of fear relating to just how life like the photos were to a first time viewer, or suggest a much more deep routed fear related to magic and the unknown. It wasnt only the daguerreotype that achieved large scale success among the Victorian public. A large trade in what was known as carte de visite photographs soon came about after their circulation became widespread, as highlighted in the Victorian periodical Once a Week. Carte de visite photo graphs were small paper portrait photographs which usually originated from the albumen process (which allowed for paper based prints to be made from the negative, meaning it was a simple process to produce copies). Once a Week (1862 pg 135) states Literary men have a constant sale and their carte de visites were bought for every album. It becomes clear that collecting these small portrait photographs of the rich and famous was a popular pastime among the middle classes. It became so popular among the middle classes that it was often referred to as Cardomania (Once a Week 1862). We can clearly see that there was a need for photography, but these needs arose after its introduction and were not in place before its conception. There was certainly something about early photography which caused an anxiety in the general public, but also fascinated them enough to endure it (even embrace it). It is now widely accepted that photography wasnt truly discovered until 1839, as it was then that Daguerre and Fox Talbot made their discoveries of early photographic processes, the daguerreotype and calotype respectively, and shared them with the world. Goldberg (1991) agrees that it was much earlier when people began to realise a need and take interest in using light as a way of recording images, the need to preserve a moment accurately and without discrimination. Goldberg (1991 pg.10) goes on to state that desire was abroad to catch nature in a net, and that photography came to serve a much needed purpose, one that had been recognised much earlier that its first conception. Indeed as early as the late eighteenth century, devices such as the camera obscura (optical device used mainly to aid drawing) and camera lucida (a piece of technology which allowed artists the ability to precisely record contours of landscape) were rife, and captured the eye of professional and amateur artists alike. Henry Fox Talbot (1800-1877), sometimes referred to as the Grandfather of Photography, was one of many people searching for an answer to the void that existed before the conception of photography, and was most interested in its ability to record nature accurately. Talbot states is his manual The Pencil of Nature (1844) that his photography should be thought of as photogenic drawing. Talbot (1844) goes on to say he pursued his development of the calotype photographic process mainly as a result of his poor ability as an artist. Lewis (1996 pg.16) states: The canon of images to which we are so attached reveals as much and perhaps more about the intervening century Talbots photography, The Open Door for instance, appears to serve very little artistic purpose, and could merely be interpreted as a mechanically accurate recording, something he was simply incapable of doing by hand. On the other it could be seen as an example of how photography could supplant the more traditional arts, an early example of the photographers ability to shape, to frame, and to manipulate reality how he saw fit. We may never know, as whilst we are able to appreciate early photographs, it is impossible to know the original context, how they were read, and indeed, what made them meaningful to the society of which they were a product. It is even more difficult to gauge the early intentions of photographic pioneers. Many widely believed that photography was going to bring a truth to society that had never been seen, its potential as a truth bearer, and an accurate recorder of history. Ernst Mach, an Austrian empiricist (ironically) stated How tranquil politics will be!, an d even the notorious critic Baudelaire (1859 pg. 297) stated photography could be considered a handmade of the arts and sciences although he goes on to say a very humble handmaid. Society became increasingly aware of its benefits as a scientific tool and embraced the possibilities this afforded with open arms: A new found purpose perhaps, a commitment to relating to truth? As Goldberg (1981 pg. 16) states: The engine was an extension of the muscle, the telegraph a superhuman voice, and the photograph an unblinking eye with a new outlook on history and knowledge Baudelaire (1859) also suggests photography was merely a sign of the times, showing that links were made between the mechanical nature of photography and societies rising industrial prowess and reliance on machines. The unstoppable rise of industry so to speak. Wells (2004) states a society will also invest and put time into developing new technologies in order to help satisfy previously unseen social needs, and goes on to summarise (2004 pg. 12) that photography was a consequence, and not a cause of culture. I believe that photography was not a cause of change, but an answer to an unforeseen social need brought about by the emerging modern metropolitan lifestyle. It has become clear to me that there certainly was a need for photography, and the Victorians were fascinated with it, whether they loved it or hated it. As Bede (1855) begins is his satirical book Photographic Pleasure with a metaphor comparing men and womens intrigue with photography to the same intrigue they hold for a h uman child: The ladies are enamoured of him: The gentlemen evince their affection by suggestions for his improvement, and by general attention to his welfare.All are fond of him: everyone is declaring that he is the most beautiful baby yet born to Science. It is entirely feasible that the reason it raised such widespread controversy, why it was so widely debated, and ultimately why it was so popular as an amateur hobby or leisure pursuit was simply because the technology was still in its infancy. It was still new, and fresh. Artists were fearful of photography , not only because their jobs were endangered, but also their status as artists. A profession usually only available to a truly gifted few now had the potential to be available to anyone. These critics only served to fuel the anxieties that were common place among the general public, but, despite this, the public did allow photography room to grow (albeit carefully, and with great caution and concern). It was a new technology which people needed time to come to terms with, time to understand, and time to flourish and co-exist peacefully with other more established art forms in the new, fast paced, and modern Victorian metropolitan lifestyle. Bibliography WELLZ, L. 2004. Photography: A critical introduction. Oxford: Routledge. CLARKE, G. 1997. The Photograph. Oxford: Oxford University Press. BAUDELAIRE, C. 1859. The Salon of 1859. Unknown. BRIGGS, A. 1998. A Victorian Portrait. London: Cassell Publishers Limited. GOLDBERG, V. 1991. The Power of Photography: How photographs changed our lives. New York: Abbeville Publishing Group. BEARD, R. 1843. Advertisement [Accessed 2rd December 2009]. Available from: http://www.gettyimages.com/detail/73604552/Hulton-Archive GOLDBERG, V. 1981. Photography in Print: Writings from 1816 to the present. New York: University of New Mexico Press GREEN-LEWIS, J. 1996. Framing the Victorians. New York: Cornell University Press. HEINZ, K. 1994. The Photographic Experience 1839-1914. Pennsylvania: Pennsylvania State University Press. MARIEN, M. 1997. Photography and its Critics. Cambridge: Cambridge University Press. MUNRO, J. F. July 2009 The Optical Stranger: Photographic anxieties in British periodical literature of the 1840s and 1850s. Journal of early popular visual culture 7(2) pp167-183. UNKNOWN. 1860 Punch magazine October 6th. p.140 UNKNOWN. 1861 Punch magazine June 1st pg.221 ARGO, F. 1930 Bulletin de la Socià ©tà © Fran?aise de Photographie NEWELL, B., and R. DOTY. 1962. The value of photography to the artist, 1839. The Bulletin of the George Eastman House of Photography [online]. 11 (6), [Accessed December 2nd 2009], pp. 25-40. Available From: http://image.eastmanhouse.org/files/GEH_1962_11_06.pdf Daumier, H. 1862. How the Famous Photographer Nadar Elevates Photography to the Level of Art [Accessed 3rd December 2009]. Available from: http://www.superstock.com/stock-photos-images/463-5227 BEDE, C. 1855. Photographic Pleasures. London: T McLean. UNKNOWN. 1862 Once a Week. Unknown TALBOT, H. F. 1844. The Open Door [Accessed 4th December 2009]. Available from: http://cai.ucdavis.edu/waters-sites/aesthetic_movement/opendoorphoto.jpg BEARD, R. 1843. Advertisement [Accessed 2rd December 2009]. Available from: http://www.gettyimages.com/detail/73604552/Hulton-Archive Daumier, H. 1862. How the Famous Photographer Nadar Elevates Photography to the Level of Art [Accessed 3rd December 2009]. Available from: http://www.superstock.com/stock-photos-images/463-5227 TALBOT, H. F. 1844. The Open Door [Accessed 4th December 2009]. Available from: http://cai.ucdavis.edu/waters-sites/aesthetic_movement/opendoorphoto.jpg

Iroquois Kinship System

Iroquois Kinship System Anthony Sifuentes ANT 101 Introduction to Cultural Anthropology Instructor Mario Tovar March 5, 2012 The Iroquois is the group I have decided to do my research of kinship systems on. This will come from what I have found in the text of chapters three and four of the text. The Iroquois is a unilineal descent group. This means that descent is traced back through one sex or side of the family. They traced their bloodline through the female side of the family, meaning they were a matrilineal descent group.These groups are not as common as patrilineal descent groups, which trace their bloodlines through the male side of the family. Horticultural societies used the matrilineal descent group because of women having a key part of the food producing role. They also owned land. The likelihood of a society being or remaining a matrilineal society depends upon how much food is obtained from hunting and herding. The more meat and food gathered by men as a result of this wi ll drive down the role of women as major food producers.The fact that descent groups extend beyond any one individual because it goes beyond any one person’s lifetime allows things to remain in a group for a long time. This includes property, land, hunting and fishing territories, animals, and even knowledge. Iroquois matrilineage gave women the right to fields and tools, since they were a horticultural society, this made sense. Women did most of the cultivating of the crops and they should have the rights to both the land and tools to reap what is sown. They also lived in longhouses.These were long structures in which nuclear families lived in different compartments inside the house. After marriage, the Iroquois were matrilocal, meaning the husband lived in the wife’s community or longhouse. The eldest woman of a matrilineage was the most influential in decision making, including the allocation of resources and property. (Nowak & Laird, 2010, Chapter 4) This greatly d iffers from today’s society in that most of the bloodlines are traced back through the male’s side of the family. Also, most of the ecisions that I have heard of or seen are made and decided by the oldest or most respected man of a family. This is not to say one is more right than the other. In my own personal experience, on my father’s side, which is Mexican, my grandfather was the patrilineal leader of the family. The best way I can explain it is that my family roots for nuclear purposes goes to my grandparents on that side. Once my grandfather passed away, my grandmother took over as matrilineal leader. She passed away not long after him and that role was overtaken by my oldest aunt and her husband, with my aunt carrying the authority on that side.Marriage among the Iroquois had to be exogamous. This means that they had to marry outside their lineage or clan. The Iroquois kinship system recognizes two groups: parents and siblings who are too closely related t o marry, and potential spouses and in–laws. A person may marry a cross-cousin, where parallel cousins are considered as close as siblings. Parallel cousins are treated to and referred to as siblings and their parents and treated to and referred to as parents. They are traced through matrilineage and are in the first group.In the Iroquois system, they cannot marry parallel cousins, but can and should marry cross-cousins. Sometimes referred to as the sibling-exchange system, it keeps wealth in the family and reasserts alliances between lineages. There are laws in American preventing cousins and family members from marrying. Aside from the legal ramifications, marrying within a nuclear family is dangerous, biologically. It is not as bad when it goes out as far as cousins, but there is a social stereotype against marrying someone close to you within the bloodline.I personally do not a problem with second or third cousins marrying, but I have never had to go through knowing or won dering if someone in my family or if I was going through the marriage process with a cousin. Marriages in the Iroquois society were easily dissolved. Since everything went through the female side of the marriage, the man was an outsider living in the village. If the woman did not want to be married to him anymore, she packed his belongings and left them on the steps of the longhouse. When the man returned, he saw his things, realized the marriage had been terminated and returned to his own village.Marriages in today’s society are much more differently dissolved. Today, we have to go through the process of dividing property, belongings, child support and visitation and well as money. A man or a woman cannot simply come home and realize a marriage is ended. We must go through courts and make sure that things are done according to laws. In what I have experienced, being married and divorced twice, people should think more before marrying. I do not regret marrying either time, bu t more thought should be put into it and more work should be put into marriages to make them last. Kinship affects my life in a very big way.My family lines are important to me and I enjoy finding out where I come from and who my ancestors were. I also live it every day, because I currently live with my girlfriend, who has two children that are not mine. I find it difficult to discipline them because I am not their father and struggle with ways to make the house work sometimes. I believe that kinship is important and should be talked about and worked on by all of us to make our lives easier. Reference Page Nowak, B. , & Laird, P. (2010). Cultural anthropology. San Diego, Bridgepoint Education, Inc. https://content. ashford. edu

Personal Statement: M.A. in Graphic Design Communication Essay

I believe I am more than qualified to be considered for admission in the school’s Masters in Graphic Design Communication program as I possess the needed knowledge, skills, experience, and most of all, attitude, which would allow me to become successful in the field. I graduated with a bachelor’s degree in Graph Design Communication and received my M. A. certificate in Marketing in 2008. Basically, I consider these as two of the most important accomplishments in my life as they have enabled me to fully utilize my skills and made me grow as an artist. I consider Graphic Design Communication as my bread and butter because it allows me freely express my inner feelings and thoughts and in the process, showcase my talents. I have always been the type of person who has always shown the willingness to express myself and I believe that the best way to do so is through the various activities I perform in my course. I also find little difficulty in adapting to the challenges presented to me because I have always shown superb creativity and confidence in everything that I do. As a student in Graphic Design Communication, I can honestly say that I performed very well and showed that I deserve to be in that course. I always ensured that I prioritize my education above anything else because I know that it will serve as an important foundation for my future. I developed good study habits while at the same time allocating enough time for my family and other activities that fostered my growth as a person. I was also very active in extracurricular activities in school, particularly those that involved the arts because I realized that as a student and a budding artist, I cannot learn everything in the classroom and I must seek other sources of knowledge and information. I consider those extracurricular activities as an excellent ground for me to hone my skills and talents which I would no doubt be able to put into good use in the future. On the other hand, my experience in the field of marketing has allowed me to incorporate my skills in graphic design communication in the advertising and selling of products and goods. The field also helped me further develop myself as an artist and provided me with a renewed sense of creativity. However, I believe that what sets me apart from the others is my enthusiasm in the field of graphic design communication and the arts in general. I have always had the passion for art and design and I constantly update myself with latest information and trends in the field. I am basically the type of person who constantly seeks to learn new things and lessons as this would contribute to my over-all growth. Furthermore, I am also the type of person who has high standards in most aspects of my life. In school, I always made sure that I maintained good grades. As an artist, I constantly review and assess my work because I want to ensure that my finished product or piece is of the highest quality. In other words, throughout my entire life, I have never settled for mediocrity nor have I ever accepted results that are below standards. This attitude of mine generally enabled me to become a person who constantly seeks self-improvement. Most of all, I believe I would carry this attitude with me as I seek higher education. In short, my array of skills and talents, my vast knowledge, my positive attitude towards life, and most of all, my passion for my course would not doubt enable me to make an impact on the field of Graphics Design Communication. If I am fortunate and blessed enough to accepted, I would utilize all my skills and work very hard so that in the future, I can become a versatile, well-rounded, and highly competent professional in my field.

The Ethics Of Enterprise Risk Management - 818 Words

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