Memory and Media

Time, mortality and memory: artists and writers on the power of photography. (via The power of photography: time, mortality and memory | Art and design | The Guardian)

(Source: modrules)

“Austrian photographer Reiner Riedler’s new project, the appropriately titled The Unseen Seen is a series of macro shots of original filmrolls. Having gained access to The Deutsche Kinemathek, Berlin museum and film archive—home to 13,000 national and international film titles—Riedler selected a mix of well-known cult classics and lesser known films to photograph. He set up a makeshift studio in the archive, using film lights to backlight the filmrolls, lighting each one in the same way for continuity. Alone the images present an interesting graphic visual, but Riedler hopes that coupled with the film titles they will rouse the viewer’s unique associations with the film.” (via Macro Photos of Filmrolls Present a New Way of Seeing The Godfather, Scarface and Citizen Kane | Feature Shoot)

Fukushima town revealed in Google Street View two years after tsunami - Mayor of Namie invites Google’s cameras in to stop world forgetting twin disasters of tsunami then nuclear meltdown (via Fukushima town revealed in Google Street View two years after tsunami | Environment | The Guardian)

“Every frame in a movie compressed into a line, giving an idea of the colour palette used by the filmmakers.” (via Moviebarcode: OBlog: Design Observer)

“The daguerreotype, invented by Louis-Jacques-Mandé Daguerre in 1837, was the first commercially successful photographic process and was popular throughout the mid-19th century. Daguerreotype portraits were made by the model posing (often with head fixed in place with a clamp to keep it still the few minutes required) before an exposed light-sensitive silvered copper plate, which was then developed by mercury fumes and fixed with salts. This fixing however was far from permanent – like the people they captured the images too were subject to change and decay.” (via Decayed Daguerreotypes | The Public Domain Review)

“These photographs of ‘spirits’ are taken from an album of photographs unearthed in a Lancashire second-hand and antiquarian bookshop… They were taken by a controversial medium called William Hope (1863-1933)… In about 1905 [Hope] became interested in spirit photography after capturing the supposed image of a ghost while photographing a friend. He went on to found the Crewe Circle – a group of six spirit photographers led by Hope… Following World War I support for the Crewe Circle grew as the grieving relatives of those lost to the war sought a means of contacting their loved ones.” (via The Spirit Photographs of William Hope | The Public Domain Review)

philmfotos:

Breakfast at Tiffany’s (1961)

Posted by: @Moloknee

hexography:

#14: Cows. From my cachemashing series “Le Cache Engloutie.” Based on images taken in Point Reyes, California, 2010.

jkalin:

Explores how media infrastructure, not content, shapes contemporary digital culture Digital Memory and the Archive, the first English-language collection of the German media theorist’s work, brings together essays that present Wolfgang Ernst’s controversial materialist approach to media theory and history. His insights are central to the emerging field of media archaeology, which uncovers the role of specific technologies and mechanisms, rather than content, in shaping contemporary culture and society. (via Digital Memory and the Archive — University of Minnesota Press)