Photography in the classroom at the digital crossroads

2023-06-15

In the last decade, photography has undergone several reformulations in all its forms (from professional to amateur use and the responses that the market has given to it), which has led to an avalanche of social uses that could hardly - if at all - have been intuited a few years ago. Of course, the academy was always far behind in its scientific research with respect to the uses that were already being made of photography in society. Specifically, with the arrival of smartphones and social media (and their infinite apps), multiple messages are generated and new visual languages are articulated - present in practically all social strata - which are already being widely studied by the social sciences as a whole (memes, Fakes News, infoxications, hate speech, etc.). However, studies that reflect on these new visual communicative devices in society and in the classroom are much less common.

Photography already had a golden age as an artistic and creative language in the classroom in the 1970s and 1980s, also in Spain, when there was a proliferation of activities in schools, institutes and, very notably, the so-called "Photographic Classrooms" organised by university students themselves in their own faculties and which, contrary to what one might think, proliferated in all kinds of branches of knowledge, both arts and sciences alike. Of the fervour for the photographic there remain, from that period, works such as: Hacer fotos: un lenguaje, by José Manuel Navia (1978) and Fotografía: conceptos y procedimientos: una propuesta metodológica, by Joan Fontcuberta (1989) in Spain, as well as On Photographic Education (1985) in the United States or Vers una pedagogie de la photographie (1979) by the Fondation National de la Photographie in France, among many others.

Thus, in a very specific way, and having already internalised that photography is an indispensable element in the articulation of these new messages and visual communicative languages of the 21st century, and that the consumption of these new cultural products is symptomatic of other realities, we are interested in finding out what activities are being developed today in the classroom in order to build new proposals for innovative teaching that provide students with technical tools to learn about and recognise their own world through the visual.

In this context, and for all these reasons, this CFP is a call to those works that approach research in pedagogical resources and teaching innovation that, from current or past photography, articulate various proposals for improvements in the course of teaching. Among the questions we will address in this monograph, without excluding them in any way, we would like to suggest the following:

  1. Socio-cultural paradigm shift in popular culture and its relationship to photography pre and post digital era
  2. Evolution of pedagogical techniques in the teaching of photography diachronically.
  3. Apps, algorithms and the computational in its relation to photography.
  4. New social-political realities and how, in the current context, photography communicates to the world through the network.
  5. Digital humanities applied to the image: new computational and AI languages in the hyperconnected network, as a photographic communicative vehicle.
  6. The photographic project as a tool for creation, knowledge and recognition of students: case studies.
  7. Relationship between photography and other branches of social sciences and humanities studies such as cinema, video games, augmented reality, or the use of Smartphone apps for visual narrative.
  8. New historical discoveries of photography that relate it to other periods, epochs, processes or uses. Cases of memory and dismemory

 

Editors

Manuel Blanco Pérez (Universidad de Sevilla, Spain)

Jerónimo Rivera Betancur (Universidad de la Sabana, Colombia)

 

Referencias

Ansón, Antonio (2019). Hijos del agobio. Memoria y desmemoria de la guerra en la fotografía española contemporánea. Exit Publicaciones.

Blanco Pérez, Manuel y Parejo, Nekane (2021). Historias de la Fotografía en el s. XXI. Comunicación Social.

Blanco Pe?rez, Manuel y Parejo, Nekane (2022). Fotografi?a y Texto en las ensen?anzas universitarias de Comunicacio?n de la era post COVID-19. Una propuesta de Innovacio?n Docente. Historia y comunicacio?n social 27(2). https://dx.doi.org/10.5209/hics.80969

Blanco Pérez, Manuel (2022). La fotografía entre estudiantes de Comunicación y Periodismo de las universidades públicas andaluzas: hábitos de consumo, cultura visual y una propuesta para el desarrollo de la creatividad gráfica. Kepes, 19, Núm 23. 10.17151/kepes.2022.19.25.3

Blanco Pérez, Manuel (2022). El proyecto fotográfico: narración visual y reportaje de autor. Editorial Universidad de Sevilla.

Blanco Pérez, Manuel (2022). La meta?fora visual en el universo del foto?grafo Tatsuya Tanaka: arquitecturizacio?n de un mundo en miniatura. Fotocinema, Número 26. https://doi.org/10.24310/Fotocinema.2023.vi26.15571

Cadenas Cañón, Isabel (2019). Poética de la ausencia: formas subversivas de la memoria en la cultura visual contemporánea. Cátedra.

Carbone, Maria Teresa (2022). Che ci faccio qui? Scrittrici e scrittori nell’era della postfotografia. Italo Stelvo (Roma, Italia)

Del Río, Víctor (2021). La Memoria de la Fotografía. Historia, documento y ficción. Cátedra.

Fontcuberta, Joan (1989). Fotografía: conceptos y procedimientos: una propuesta metodológica. GG.

Fontcuberta, Joan (2008). Historias de la fotografía española. Escritos 1977-2004. GG.

Navia, José Manuel (1978). Hacer fotos: un lenguaje. ICCE Publicaciones.

Martín Núñez, Marta; García Catalán, Shaila y Marzal Felici, Javier (eds.) (2022). Puntos ciegos, miradas afiladas. Discursos fotográficos y prácticas artísticas para hackear la posverdad. Tirant.

Marzal Felici, Javier (2007). Co?mo se lee una fotografi?a: interpretaciones de la mirada. Ca?tedra.

Marzal Felici, Javier; Loriguillo Lo?pez, Antonio; Rodri?guez Serrano, Aarón y Sorolla Romero, Teresa (Eds.) (2017). La crisis de lo real. Tirant.

Ramírez Alvarado, María del Mar y Martínez García, Ángeles (2018). 50 imágenes para entender la comunicación en el siglo XX. Tirant.

 Yocavone, Kathrin (2017). Benjamin, Barthes y la singularidad de la fotografía. Alpha Decay.

Zafra, Remedios (2018). El entusiasmo. Precariedad y trabajo creativo en la era digital. Anagrama.

VV.AA. (1979). Vers una pedagogie de la photographie. Fondation National de la Photographie (Lyon, France).

VV.AA. (1985). On Photographic Education. Camera Lucida (Madison, EE.UU.)