www.dgph.de/sektionen/wissenschaft_technik/symposium08.html#programm
Kristallsaal des Congress-Centrum Ost der Kölnmesse
Sektion Wissenschaft und Technik der Deutschen Gesellschaft für Photographie (DGPh)
„DIGITAL SPEICHERN – FILMBASIERT ARCHIVIEREN?“
25.09.–26.09.2008
In Verbindung mit der Kölnmesse und der Prophoto GmbH wird während der photokina 2008 ein Vortragsforum geboten, welches die Möglichkeiten und Grenzen der filmbasierten und der digitalen Archivierung behandelt. Denn das wichtige Problem der Langzeitspeicherung digitaler Bilddaten ist bisher weitgehend ungelöst: Wer die Daten wichtiger digital aufgenommener Bilder nicht regelmäßig auf der nächsten technologischen Ebene sichert, dem können wichtige Aufnahmen verloren gehen. Filme hingegen sind – bei entsprechender Verarbeitung und Aufbewahrung – über lange Zeiträume beständig.
Donnerstag, 25. September 2008, nachmittags
Prof. Dr. Ulrich Nickel, Vorsitzender der DGPh: Begrüßung
Prof. Dr.-Ing. Hans Brümmer, Vorsitzender Sektion Wissenschaft und Technik der DGPh: Digital speichern - filmbasiert archivieren?
Dipl.-Physiker Jürgen Prasse, MOPS Computer GmbH, Münster: Filmbelichtung mit Filmrecordern (CRT und LCD).
Dipl.-Ing. Rainer Tewes (DGPh), Photolabor "M" GmbH, Stuttgart: Das Savedpictures-System / Langzeitarchivierung auf Farbmikrofilm für Photokunst und Dokumentation.
Dipl.-Physiker Andreas Hofmann, Fraunhofer-Institut Freiburg: Der Farbmikrofilm-Laserbelichter des FhG-Instituts für Physikalische Messtechnik.
Dr. Daniel Fluck, ProArchive AG, Uitikon/Schweiz: Der Laserbelichter Eternity 105.
Freitag, 26. September 2008, vormittags
Dr. Rita Hofmann (DGPh), Dr. Jean- Noël Gex, Ilford Imaging Switzerland GmbH : Der Ilford Micrographic Film.
Dipl.-Ing. Klaus Pollmeier (DGPh), Staatliche Akademie der bildenden Künste Stuttgart: Der digitale Offenbarungseid? Bildarchivierung im Spannungsfeld von Tradition und Fortschritt.
Dipl.-Ing. Dietmar Wueller (DGPh), Image Engineering, Frechen: Welche Daten eignen sich für das digitale Archiv? Eine kleine Analyse der Eignung für die digitale Archivierung und der optimalen Archiv-Strategie.
Dr. Peter Fornaro, Imaging und Media Lab der Universität Basel: Peviar: Ein System zur migrationslosen digitalen Archivierung.
Podiumsdiskussion: Welche Probleme kann die analoge Archivierung lösen?
Um formlose Anmeldung wird gebeten bei: Deutsche Gesellschaft für Photographie, Geschäftsstelle, Rheingasse 8-12, 50676 Köln, Tel. 0221/9232069, Fax 0221/9232070, e-mail dgph (at) dgph.de
http://publicmemories.syr.edu/.
Syracuse University
VISIBLE MEMORIES CONFERENCE
2.-4.10.2008
Conference Theme: The Visible Memories Conference at Syracuse University invites papers for competitive selection. The conference will explore the intersections between visual culture and memory studies with particular focus on the ways in which memories are manifested and experienced in visible, material, or spatial form.
Examples of especially relevant and desirable research topics include:
local sites of memory; memorials and archives; environmentalism and representations of nature; regional, national, or global tourism; photography or cinema; digital media; and art installations. We also welcome other research topics in similarly innovative areas.
The Visible Memories Conference is presented by the Visual Arts and Cultures Cluster of The Central New York Humanities Corridor, made possible by a grant from The Andrew W. Mellon Foundation. The Corridor is a large-scale partnership with Syracuse University, Cornell University, and the University of Rochester that connects scholarship in five other cluster areas: philosophy, linguistics, religions and cultures, musicology/music history, and humanities at the interface of science/technology.
Conference Format: The conference will feature an innovative combination of events designed to facilitate conversation not only between a variety of researchers concerned with the study of visual culture and memory but also between academics and distinguished professionals in art and design, film production, and institutional archiving.
Featured events will include:
- Keynote lecture by conceptual artist Ernesto Pujol.
- Plenary speakers Cara Finnegan, Andrea Hammer, George Legrady, Julia Meltzer, Phaedra Pezzullo, Gregory Sholette, David Thorne, Patricia Zimmermann.
- Competitive panel sessions.
- Research workshops and roundtables.
- A gallery reception and film/video screenings.
Kontakt: Dr. Anne T. Demo, Communication and Rhetorical Studies, 100 Sims Hall, Building V, Syracuse University, Syracuse, New York 13244, Phone: 315-443-1032, E-mail: atdemo@syr.edu
http://www2.warwick.ac.uk/fac/soc/philosophy/research/activities/aestheticsafterphotography/
AHRC Aesthetics after Photography Research project, Department of Philosophy, University of Warwick Department of Art History & Theory, University of Essex
PHOTOGRAPHY AS A MEDIUM (POST-DIGITALISATION)
21.11.-22.11.2008
The widespread use of digital technologies in recent years, and their capacity for apparently seamless integration with the traditional photographic input processes on the one hand and output processes on the other has reawakened interest in the nature of photography as an artistic medium. This workshop will explore such questions from a philosophical perspective in the light of recent technologies:
* What, if anything, does digitalisation tell us about the nature of photography as an art form?
* Is digitalisation best understood as internal to photography or an external adjunct? Is it a distinct medium or some hybrid intermediary form of traditional optics and digital processes?
* What are the implications for widespread pre-digital claims about what distinguishes photography (indexicality, automaticity, realism, objectivity, transparency, and the like)?
* Now that every aspect of the final image is, in principle, open to manipulation by the photographer, is there any difference in kind between photography and other depictive arts, notably painting?
* If digitalisation undermines basic assumptions about the evidential, documentary nature of photography previously taken for granted, how does this impact on the ontology of the photography image, and the epistemic value of photography in general?
The conference will bring together philosophers working on photography with practitioners who use digital photography, and have an intimate knowledge of the technologies involved. To date, philosophical debate in this area has been hindered by an insufficiently fine-grained understanding of the technologies involved, and what they make possible.
This workshop seeks to redress this and thereby promote philosophical understanding of a technology that has significant implications for photography and the pictorial arts more generally. Speakers include:
Philosophers
Jonathan Friday
(University of Kent, UK)
http://www.kent.ac.uk/sdfva/hpa/staff/j_friday.html
Robert Hopkins
(University of Sheffield, UK)
http://www.shef.ac.uk/philosophy/staff/profiles/hopkins.html
Patrick Maynard
(University of Western Ontario, Canada)
http://publish.uwo.ca/~pmaynard/
Peter Osborne
(Middlesex University, UK)
http://www.mdx.ac.uk/www/CRMEP/STAFF/PeterOsborne.HTM
Barbara Savedoff
(Baruch College, New York, USA)
http://www.baruch.cuny.edu/wsas/departments/philosophy/faculty/index.html
Photographers
David Campany
(University of Westminster, UK)
http://www.wmin.ac.uk/mad/page-778
Thomas Demand
(Berlin, Germany)
Silke Helmerdig
(Braunschweig University, Germany)
Andreas Müller-Pohle
(Berlin, Germany)
Space will be limited, if you would like to register your advance interest please contact: Dawn.Phillips@Warwick.ac.uk
Adresse: Institute for Philosophy, University of London (Stewart House, Russell Square London WC1).
DGfP, Sektion Medizin- und Wissenschaftsphotographie, Ludwig-Maximilians-Universität, München
QUO VADIS – PHOTOGRAPHIE IN MEDIZIN UND WISSENSCHAFT?
11.09.-12.09.2009
Kontakt: Deutsche Gesellschaft für Photograhie, Friedrich M. Schmidt
