I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia

Facultad de Bellas Artes UPV octubre 31, 2017 – noviembre 1, 2017

Si la docencia en fotografía es una materia olvidada en los planes de la universidad española, consecuentemente la difusión de la investigación, las aportaciones a su historia, desde ámbitos docentes o particulares, y la discusión sobre la escasa docencia que se imparte en titulaciones como Bellas Artes o Comunicación Audiovisual es muy escasa. El I Congreso Internacional sobre Fotografía: Nuevas propuestas en Investigación y Docencia de la Fotografía pretende generar plataformas que estimulen la reflexión sobre la fotografía como lenguaje, como medio, disciplina artística, documento o soporte de creación y comunicación, con la idea de construir redes de conocimiento y colaboración que ayuden a difundir los avances en los campos de la creación, investigación y la docencia en el Estado Español así como en los diferentes países europeos que nos circundan.

Precisamente, uno de los principales objetivos del congreso es apoyar de forma explícita la investigación en los estudios de fotografía e imagen y su posterior difusión, así como compartir experiencias en torno a la docencia de la fotografía. Cada uno de los bloques contará con reconocidos académicos de cada uno de los ámbitos, destacando el carácter internacional del congreso, además participarán ponentes de países que ya han desarrollado una experiencia, tanto en la docencia como en la reflexión, de un elevado interés e innovación.

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/111954

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El movimiento se demuestra andando
(Editorial Universitat Politècnica de València, 2018-03-14) Zori Miñana, Consuelo
[EN] The present document narrates the paths taken for the creation and incorporation in the curriculum of the photography degree, in two public art faculties of Buenos Aires, through the incorporation of a "Degree in Photography, Arts and Techniques "and" Bachelor degree in Photography, Arts and Techniques ". Both careers currently accepted by the Department of Visual Arts" Prilidiano Pueyrredón ", UNA (ex IUNA), and in the process of approval by the Academic Council of the rectorate of the National University Of the Arts for its insertion in the new study plans. Several stages will be described in which the project was developed.
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La identificación con fotografías: un medio obsoleto
(Editorial Universitat Politècnica de València, 2018-03-14) Delgado Fernández, Lourdes
[EN] The use of photographs as a method of identification is very common in our society. If photographs have been used for many years as proof of identity of the bearer — passports, identity cards, driving, membership to an association, club, mutual, etc. —, today with the proliferation of images both in recordings of video cameras for surveillance, as well as the ones accessible through the Internet and social networks, this function is even more frequent. However, are we sure that this method of identification works? The objective of this communication is to demonstrate from the Psychology of facial recognition that the identification of strangers through portraits fails in an inadmissible percentage of cases.
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Render-punctum: El efecto de la imagen en el pensamiento y la gestión de la ciudad
(Editorial Universitat Politècnica de València, 2018-03-14) García Clariana, Inés
[EN] Synthetic images generate the desire of an architecture’s existence through an image-render. This makes us reflect on the effect that the appearance in the mass media of an image-render could provoke with through time. The reappearance in image format of certain types of architectures, evokes the memory around the building, but also involves, in a certain way, all the urban management processes that have been taken over and happened in the city. We speak in short of all that past that a render (not even an existing reality) can provoke and bring back to our present. A punctum effect, as would define it Barthes, a certain movement of consciousness and past states that return through a visual effect to the present, through this render-punctum. This power that the image has in certain contexts to exercise itself as a tool of thinking, this trip to the past in the states of the city helps to rethink it to improve it.
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Del paisaje al territorio. Prácticas fotográficas y giro geográfico
(Editorial Universitat Politècnica de València, 2018-03-14) Dahó Masdemont, Marta
[EN] In recent decades, attention to the geographic in the world of art research has increased exponentially, to the point of shaping a new discursive experience known as the “geographical turn.” Alluding to an extension of the term geography’s meaning, which crystallizes together with an ensemble of essentially diverse practices, the geographical turn is linked to the spatial turn. However, the overlap produced between both is a key question that requires clarification, as it entails major resignification of the concepts of “landscape,” “territory,” and “geography.” Taking heed of the need to establish a map of circumstances, in this study we articulate a few brief considerations on the epistemological frameworks that put the perspective opened by the geographical turn into play in relation to photographic practices that reflect on territory.
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Humberto Rivas, Desde lo Romántico y lo Siniestro
(Editorial Universitat Politècnica de València, 2018-03-14) Aristizábal, José
[EN] The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values that have served to interpret painting or sculpture in the history of art.
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Ex-votos fotográficos: la imagen usada como objeto de culto en la región de Alentejo
(Editorial Universitat Politècnica de València, 2018-03-14) Russo Trindade, Milene
[ES] El siguiente texto expone una investigación doctoral sobre los exvotos fotográficos en la región de Alentejo en Portugal. Se pretende dar a conocer la existencia de estos objetos en el sur del país, siendo una realidad que también se encuentra en España. En la región de Alentejo, es posible encontrar colecciones constituidas por centenares de retratos fotográficos colgados en las paredes de las iglesias, lo que pone en tela de juicio la cuestión de su preservación. El texto se basa en casos de estudio de santuarios o ermitas localizadas en el Alto Alentejo como el Santuário de Nossa Senhora d’Aires en Viana do Alentejo, la Ermida da Nossa Senhora da Visitação en Montemor-o-Novo o la Igreja do Senhor Jesus da Piedade en Elvas. El objetivo de esta comunicación es aportar información que facilite la comprensión de la fotografía como oferta votiva, pero sobre todo, ayude a plantear una estrategia hacia la valorización y salvaguarda patrimonial de estos objetos.
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Una suerte de visión. La concepción de la fotografía como una conclusión experimental entre el arte y la ciencia
(Editorial Universitat Politècnica de València, 2018-03-14) Gil Bell Mutell, Rebecca
[ES] Esta ponencia es una síntesis de mi tesis "Atrapando la luz. Origen y materialidad de la fotografía" presentada en la facultad de Bellas Artes de Barcelona. Una investigación que reflexiona acerca del origen y materialidad de la fotografía como un hecho que preexiste imaginalmente en las diversas figuraciones mágicas, técnicas y simbólicas que la ciencia, la religión y el arte han ido produciendo en torno a la proyección de la luz sobre las cosas. Proyecciones que han sido, como veremos, la causa primera y la fuente principal de todas la formas posteriores de representar la realidad. Siguiendo las reflexiones y rastros de otros autores, en mi trabajo he considerado que actualmente resulta imprescindible investigar y construir una historia de la fotografía que no se limite al discurso dominante –cronológico y por géneros– y que sea capaz de reflejar e incidir con mayor exactitud, cómo fueron los esfuerzos conjuntos del arte y la ciencia los que lograron Atrapar la luz a través de la fotografía.
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Imaginando los lugares e idealizando el arte a través de la fotografía e internet
(Editorial Universitat Politècnica de València, 2018-03-14) Martí Testón, Ana; Departamento de Comunicación Audiovisual, Documentación e Historia del Arte; Facultad de Bellas Artes; Instituto de Diseño para la Fabricación y Producción Automatizada
[EN] The reproduction of the cultural heritage and objects included in museums and collections has been carried out since the origins of art. But there are two key moments in the reproduction of artworks that we want to analyse and compare: the birth of photography in 1839 and the rise of digitization and the internet today. In this article we have compared the two events to analyse the need to reproduce and to communicate the works, as well as the consequences they have had in the society in both periods so that the conclusions could help us in future investigations. Since the birth of photography, this has been considered as an ideal tool to classify the reality and establish testimonies of experiences. That nineteenth-century impulse to locate, record and control heritage is still present in our society. Museums are digitizing their collections compulsively with the intention of making them more accessible. However, these initiatives are far from demonstrating that they serve as a real incentive to increase society's interest in this heritage.
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De la red a la mesa. Una metodología docente para pensar con imágenes
(Editorial Universitat Politècnica de València, 2018-03-14) Pastor Andrés, Gema
[EN] The teaching methodology that is exposed below is being developed at the Master of Cultural Journalism and New Trends of the University Rey Juan Carlos (URJC) with the aim of learning how to think with images. During the last 5 years we have developed, in the field of university teaching of the Faculty of Communication Sciences of the URJC, a workshop of creative photography that complemented the regulated teachings with the process of reflection and creation around the image, and in which the students had to develop a project. From the learnings of these years, together with the new forms of relationship with the contemporary image in which we are immersed, this new proposal arises. And for this new workshop, we are proposing a working methodology with images that is based on the work of Aby Warburg and its Atlas Mnemosyne. This is an open process in which some images from internet are placed next to each other proposing a new montage that generates personal cartographies, beyond the logocentric culture structured in the word that is generated by the network, and through which it is able to propose a common and own culture structured by the image.
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Nuevas Narrativas Digitales en la Educación y Práctica artística para una sociedad 3.0
(Editorial Universitat Politècnica de València, 2018-03-14) Zarza Núñez, Tomás
[EN] This article aims to show how technology and digital culture affects artistic practices in relation to the representation of the real and social construction in a different way than we were accustomed in the analogue era. For this we will help of some experiments carried out with the students of Digital Image of the Degrees of Fine Arts and Integral Design at Rey Juan Carlos University.
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Imágenes, libros, diálogos. Experiencias en la enseñanza de la Historia de la Fotografía en un Grado de Historia del Arte
(Editorial Universitat Politècnica de València, 2018-03-14) Albarrán Diego, Juan; Fernández López, Olga
[EN] In this paper we aim to reflect on some teaching experiences developed in the course History and Theory of Photography, that is taken by the students in the second year of the Degree in History of Art at the Universidad Autónoma de Madrid. The referred practices have as their main objectives to highlight the materials aspects of photography, to think on its discursive fields, to explore its centrality as a theoretical object and to foster a critical and dialogical attitude in the classroom.
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La permanencia del oficio fotográfico
(Editorial Universitat Politècnica de València, 2018-03-14) Martín Fernández, Diego; Martín Segura, José
[EN] “When we suspect that something is soon to be lost is when we start talking about it” (Laguillo, 1995:20). More than 2,000 years ago the philosophers asked what would happen to the philosophy schools if the profession of philosopher was lost. Now we would have to ask if we are losing the profession of photographer? In effect, since the emergence of new technologies the profession is no longer understood in the same way as it was in the past. In fact, the evolution of photographic technique is constantly developing with forms and uses profoundly different to those of the past, which creates new habits in the profession. Overcoming these technical questions is something that, without a doubt, represents an advantage that must be considered, given that what is now starting to differentiate professionals is more of a conceptual issue than a mechanical ability. But we cannot lose sight of the fact that even today the new digital photographic system still rests on everything that had already been done in the photochemical system. Therefore, neither can it be stated that the methods of work have drastically changed. This article does not question the fact that digital photography has meant an increase in the advantages over the disadvantages of the earlier system. It does not even refute that there has been a technological improvement on the technical knowledge previously only enjoyed by expert photographers using the photochemical system. What is proposed in this study is the need to defend a photography profession based on an indepth knowledge of the technique, which can then be used as the photographer desires. For that, the photographer of today must determine that control over their work lies in not allowing the camera to act alone. Because no matter how precisely and exactly the technology is constructed, the objective of the photographer is to use it consistently, until understanding its idiosyncrasies and finally making it their own. That is the appropriate way to achieve an ideal “negative” that recreates the atmosphere in which the photograph was taken, and forms the basis for subsequently achieving a good piece of work. Owing to the complexity of the subject, different methods have been followed that have strengthened the hypothesis. Starting from a thorough biographical revision, from the experience of the author himself, carrying out a comparison between the answers to a set of questions around three issues -the essence of photography, good practice and its guidelines and the emergence of the digital system-, through the nominal group technique and in a series of interviews with Spanish professionals directly involved in the photographic sector and who have experienced this transitional phase between photochemical and digital from different spheres (distributors, professionals, gallery owners, collectors or theorists, among others).
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La Enseñanza de la Fotografía en la Encruzijada. Nuevos paradigmas pedagógicas en la era digital
(Editorial Universitat Politècnica de València, 2018-03-14) Guixà Frutos, Ricardo
[EN] This paper proposes a revision of some recent pedagogical practices in the field of photography propitiated by the digital revolution. On the one hand, it proposes an analysis of the real possibilities of its online teaching, based on the use of a whole set of resources and new tools provided by the present day technology. On the other, it deals with the way in which these same materials make possible to take further traditional masterclasses by means of the so-called "inverted classroom" procedure, which allows to change the habitual dynamics of lectures by a method that facilitates a personalized learning rhythm, more habitual in the collaborative, interactive and interconnected virtual contexts. Finally, it exposes how the omnipresence of photography has implied an exponential increase of interest in deepening in this system of representation beyond its mere mechanical production, and how this development has led to an increase of specialized investigations, building new paradigms around the medium itself, which have germinated the need to define and delimit the theoretical and scholarly study of the photographic as a science, as a specific area of knowledge differentiated from its practice, to which the term “photography” is commonly associated.
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La investigación “¿Qué es ‘mover’ una imagen? Tácticas artísticas para desestabilizar y transformar las imágenes?” como caso de estudio de una investigación desarrollada a través de la práctica artística
(Editorial Universitat Politècnica de València, 2018-03-14) Cerezo, Belen
[EN] This paper presents the doctoral research "What is it 'to move' a photograph? Artistic tactics to destabilize and transform images" as a case study of a practice-led reseearch. This investigation examined how my artistic practice based on working with found photographs destabilizes and transforms the meaning of these images through explores photography through performance and it proposed a "performative materiality" to renew the discourse on images. The notion of the image in a broad sense and more specifically an understanding of a photograph as a material object guided the investigation. The objectives of this researchs were to examine the artistic tactics that were used and to analyze the functioning of the images, since this was crucial to work with them. This paper exposes the motivations, the initial objectives, the findings and the main features of the methodology developed alongside some of the artworks-research made during the investigation. In doing so, this paper (a) situates and defines my research as research in or through the photographic, and (b) contributes to the debate on artistic practice-led reaearch (practice-as-research).
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Humberto Rivas y la fotografía española de los 70
(Editorial Universitat Politècnica de València, 2018-03-14) Gómez Arroyo, Ana Rosa
[EN] Photography expresses the social political reality of the country. In 1978, the Spainish democracy is established, and with it the birth of a new Spanish photojournalism. Photography is introduced in the university, opening painting galleries and photographic centers which will contribute to energize the sector becoming it in a nucleus of information and discussion. These factors and also the social political situation in Argentina, push Humberto Rivas to settle down in Spain. Starting from the studies and specialized publications born in the decade, the research will be developed through the information collected in interviews, documents and access to the photographic funds of the artist; which ones contributing with a formal and sensorial enrichment to the transmission of the reading their images. The arrival of the artist in Barcelona meant a renovation of the Spanish photographic panorama of that moment in which new photographic approaches appeared according to the international tendency, with numerous photographers grouping and influencing. This research studies into the particularity of the photographic debate of the 70, analyzing and therefore highlighting the contribution of Humberto Rivas' work to the history of Spanish photography.
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Postales de Babel. Nuevos itinerarios docentes e investigadores de la fotografía en un contexto multimodal
(Editorial Universitat Politècnica de València, 2018-03-14) Sánchez Montalbán, Francisco
[EN] Contemporary photography is not only about photography but part of something greater. Its visual works do not exclusively produce aesthetic or informational products. Contemporary photography defends deeper and more complex values. It is the result of a new context where cultural levels and social strata are connected; linked and shared producing a multicultural identity. Creativity, perception and artists’ researches are in this situation. The artistic languages of contemporary photography are part of a reflection and analysis on the development of contemporary society. New lines of research should considered photography as a visual system, producing new multimodal identity. The coexistence of multiple perceptual systems and all kinds of images providing a multi-relacional scenario. Contemporary image can caused changes in the photography processes as a reaction to globalized system of communication and its relationship or how ICT affect society.
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Fundamentos de Fotografia y Arquitectura
(Editorial Universitat Politècnica de València, 2018-03-14) Boned Purkiss, Javier; López Rivera, Javier; Ventura Blanch, Ferran; Yeregui Tejedor, Jorge
[EN] In the academic context of the Andalusian universities, the course named Fundamentals of Photography and Architecture introduces as a first novelty the coordination between the schools of architecture of Seville and Malaga, as well as between the Universities of both cities. It is a pioneering project never proposed in the Andalusian framework, composed of a scientific committee, a cadre of professors and a teaching program unique for both sites. Not without effort, are the teachers who moves between both sites to establish, through teaching, a connection and achieve interprovincial coordination between two educational centers with shared concerns. Finally, it’s the joint interest in the relationship between photography and architecture, which has motivated the development for the first time in Andalusia of an educational program of an autonomous nature that advocates directly for interuniversity collaboration and for the development of a coordinated research and training, based on the knowledge.
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La edición fotográfica en Ramón Masats
(Editorial Universitat Politècnica de València, 2018-03-14) Fuster Pérez, Jaime
[EN] The National Photography Prize 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), has traditionally been considered an intuitive photographer. However, a careful study of his photographs and photographic essays published in illustrated magazines unveils another aspect of his craft completely unknown until now: his work as a layout artist. Throughout his career Masats pays great attention to photographic edition: from the lonely image published besides the news in a newspaper, to the photographic essay, understood from E. Smith’s point of view as “a greater set of images that deepen and transcend leading the viewers to a more detailed reflection of the story that is being told; until reaching the photo book, which is considered an expressive unit, a whole with a complete meaning: definitely the most complex format of all. A sophisticated and academic Masats reveals a whole new aspect of his personality, showing his awareness of the layout, the rhythm and the dialogue between images, so that the sum and disposition of the images alter the perception of the whole. A language that will finally lead him to explore the world of filmmaking and the direction of audiovisual documentaries. In an age in which the Spanish photobook is at its peak, it is good to look back and give credit, remember and learn from our background, from those teachers in the art of storytelling.
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“Memoria versus historia en tu propio álbum familiar” (valorando una actividad educativa en Historia de la Fotografía de Ciclo Formativo)
(Editorial Universitat Politècnica de València, 2018-03-14) Perramon Zapatero, Francesc
[EN] We present an educational activity proposed by the author as a teacher of History of Photography at vocational-professional studies level. In this activity students are requested for searching, document and analyse an own family portrait, dated to the first half of the 20th century. The activity reaffirms the pedagogical value of learning with objects and topics close to student’s own world. The activity it’s useful too because asks the students for using two types of information about the past: memory tellings and historical documentation. According to P. Nora, Memory and History must be opposite. We can recognize how difficult is for the students to apply this difference properly. Actually, there is a widespread confusion about history and memory meanings, especially nowadays when, in mass media, the truth seems something malleable, and we tend to confuse the objective and the subjective. Finally we compare this educational activity in relation with the requirements established by the Spanish Official Curricula of History of Photography for Professional Studies. This comparison allows us to review the adequacy of same of the curricular requirements at this specific educational level in which they should be implemented.
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El archivo fotográfico Atín Aya, claves para una interpretación
(Editorial Universitat Politècnica de València, 2018-03-14) Martinez Cousinou, Pablo
[EN] This communication aims to make known the Atín Aya photographic archive, its inventorying and cataloging process as well as analyzing its main thematic axes. Atín Aya extensively documented the social reality of Andalusia during the last quarter of the twentieth century, a period characterized by the leap into modernity and the international competition of Spain: European integration, Expo 92, Olympic Games, etc. His legacy houses abundant visual documentation of the creation and first years of Andalusian Regional Administration, the urban transformation of Seville on the occasion of the Universal Exhibition, the policies of preservation of the vernacular Andalusian heritage, the economic, social and infrastructure advances that integration brought with it, but at the same time, Aya knew how to collect, with an extraordinary sensitivity and anthropological view, those disappearing cultural forms that development relegated to ever more minority scenarios, paying special attention to the culture of work and its people. His work allows us to dialectize modernity in Andalusia with a critical eye, as well as to establish connections between the social function of documentary practice and the construction of democracy in our country. The funds of the Atín Aya photographic archive will be available soon in open access at www.atinaya.com, facilitating any subsequent consultation or research about it.

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