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This website provides additional knowledge and understanding around film production techniques:

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This website provides additional knowledge and understanding around film production techniques:

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film filmmaking "production management" directing screenwriting screenplay "video essays" cinematography "film analysis" "call sheets" "shot list" storyboard...

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StudioBinder is a production management solution that helps video and photo productions create call sheets, shot lists, shooting schedules, breakdowns, storyboards, moodboards and more.

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An exhibition bringing together all aspects of high music production.  Lots of papers to explore with direct reference to higher level Music Production courses:

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An exhibition bringing together all aspects of high music production.  Lots of papers to explore with direct reference to higher level Music Production courses:

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The 2019 NAMM Show will be held January 24-27 in Anaheim. Discover everything you want to know including, events, badge registration, hotels, directory, map and general info.

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A great resource for taking skills to the next level and providing contextual tasks and problems within the studio.

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A great resource for taking skills to the next level and providing contextual tasks and problems within the studio.

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All contents copyright © SOS Publications Group and/or its licensors, 1985-2022. All rights reserved. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written cons…

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An advanced ear training website to support transition into critical listening. Providing key skills for the advanced producer.

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Genre is dead - long live genre A critique _ English & Media Centre

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Jenkins Fandom and Participatory Cultture

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Ain't I A Woman: Black Women and Feminism:  Bell Hooks

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Hesmondhalgh Creative and Cultural Industries

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The Black Atlantic: Modernity and Double Consciousness:

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The Black Atlantic: Modernity and Double Consciousness:

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Curran and Seaton and the Murdoch Dynasty:

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Curran and Seaton and the Murdoch Dynasty:

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Studiobindr: Provides additional knowledge and understanding around film production techniques

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Studiobindr: Provides additional knowledge and understanding around film production techniques

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Filmmaking articles and videos. Discover free resources like a script breakdown, call sheet template, shooting schedule, model release form and much more.

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MrMcMillanREvis:  Covers both GCSE and A Level RS topics in more depth — good for advanced revision and exploring ideas beyond exam spec.

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MrMcMillanREvis:  Covers both GCSE and A Level RS topics in more depth — good for advanced revision and exploring ideas beyond exam spec.

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A source for videos to help students studying for A Level and GCSE Religious Studies in the UK.

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Ben Wardle:  The best RS channel on YouTube

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Ben Wardle:  The best RS channel on YouTube

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GCSE Religious Studies and A Level Religion, Philosophy & Ethics revision.

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Patheos — Religion & Worldviews.  A large, multi-faith online platform with articles and commentary from various religious and non-religious perspectives — ideal for comparative reading and developing evaluative writing.

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Patheos — Religion & Worldviews.  A large, multi-faith online platform with articles and commentary from various religious and non-religious perspectives — ideal for comparative reading and developing evaluative writing.

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Buddhism Religion: Beliefs, History, Rituals | Patheos

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Learn about the faith, religion, and spirituality of Buddhism and how it compares with other religions and faiths of the world!

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RE:ONLINE: A comprehensive archive of resources on religion, worldviews, themes and lived experience that can be used for wider reading or to underpin essays.

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RE:ONLINE: A comprehensive archive of resources on religion, worldviews, themes and lived experience that can be used for wider reading or to underpin essays.

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What is a Religion and Worldviews approach? Maybe you have heard the phrase and are unsure what it means. This free self-study course provides an introduction to what is happening in Religious Education right now, covering the most recent report into the subject and the thinking behind a new approach to teaching and learning in the subject. Take the course

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Free to use, quality assured, resources and subject knowledge for Religious Education teachers. Comprehensive coverage of religion and worldviews.

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Biomechanics - Projectile Motion: The Bernoulli Principle

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The modern Olympic Games or Olympics (French: Jeux olympiques)[a][1] are the leading international sporting events featuring summer and winter sports competitions in which thousands of athletes from around the world participate in a variety of competitions. The Olympic Games are considered the world…

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Videos on a range of topics on the EverLearner:

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Sports Anatomy: Physiology & Biomechanics | StudySmarter

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Sports Anatomy: ✓ Sports Anatomy and Physiology ✓ Functional Anatomy for Sport ✓ Applied Anatomy ✓ StudySmarterOriginal!

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Michael Bracewell: 'Peter Fraser photographs 2002-2003'

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Michael Bracewell: 'Peter Fraser photographs 2002-2003'

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The modern landscape is filled with strange configurations of materials:industrial detritus, litter, the ragged ends of technology, machines and cables, gaping wounds in the fabric of construction,…

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Graham Clarke: How do we read a photograph? from 'The Photograph' 1997

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Graham Clarke: How do we read a photograph? from 'The Photograph' 1997

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Much of Burgin's understanding of this discourse was, consciously at least, quite alien to 'readers' of the photograph in the nineteenth century, although we can claim with some confidence that much photography was 'read' in relation to the accepted language of painting and literature of the time, especially in terms of symbolism and narrative structure. Early commentators like Poe, as much as Hawthorne, Holmes, and Baudelaire, noted the literal rather than symbolic aspects of the photograph, ignoring the extent to which it replicated cultural meaning rather than actual things.

The photograph both mirrors and creates a discourse with the world, and is never, despite its often passive way with things, a neutral representation. Indeed, we might argue that at every level the photograph involves a saturated ideological context. Full of meanings, it is a dense text in which is written the terms of reference by which an ideology both constructs meaning and reflects that meaning as a stamp of power and authority. We need to read it as the site of a series of simultaneous complexities and ambiguities, in which is situated not so much a mirror of the world as our way with that world; what Diane Arbus called 'the endlessly seductive puzzle of sight'. The photographic image contains a 'photographic message' as part of a 'practice of signification' which reflects the codes, values, and beliefs of the culture as a whole. Its literalness, as such, reflects the representation of our way with the world the site (and sight) of a series of other codes and texts, of values and hierarchies which engage other discourses and other frames of reference; hence, its deceptive simplicity, its obtuse thereness. Far from being a 'mirror', the photograph is one of the most complex and most problematic forms of representation. Its ordinariness belies its ambivalence and implicit difficulty as a means of representation.

To read a photograph, then, is to enter into a series of relationships which are 'hidden', so to speak, by the illusory power of the image before our eyes. We need not only to see the image, but also to read it as the active play of a visual language. In this respect two aspects are basic. First, we must remember that the photograph is itself the product of a photographer. It is always the reflection of a specific point of view, be it aesthetic, polemical, political, or ideological. One never 'takes' a photograph in any passive sense. To 'take' is active. The photographer imposes, steals, recreates the scene/seen according to a cultural discourse. Secondly, however, the photograph encodes the terms of reference by which we shape and understand a three-dimensional world. It thus exists within a wider body of reference and relates to a series of wider histories, at once aesthetic, cultural, and social.

​Even on a basic level such difference is vital. One twin is 'happy' and one is 'sad'; the noses are different, the faces are different; their collars are a different shape, the folds of the dresses are different, the length of the arms different, their stockings are different. All, it seems is similar but equally all is different. Eyebrows, fringes, hair, and hairbands are different. The more we continue to look, the more the merest detail resonates as part of a larger enigmatic presence and tension as to what, exactly, we are being asked to look at. Far from identical, these are individuals in their own right. They are, as it were, very different twins.
Identical Twins, then, recalls us to a consideration of the implicit complexity of the photographic message. But it also underlines the extent to which we must be aware of the photographer as arbiter of meaning, and namer of significance. Every photograph is not only surrounded by a historical, aesthetic, and cultural frame of reference but also by an entire invisible set of relationships and meanings relating to the photographer and the point at which the image was made. Part of any reading of this image would involve a knowledge of the work of Arbus and, in turn, her photographic philosophy. We could place it in relation to her oeuvre as a whole, allowing its difference and similarity to other images to determine the terms by which we read it. We might note specific influences upon Arbus (for example, the work of Weegee and Lisette Model), as well as a penchant for particular kinds of subject-matter. Photographs by major photographers might be said to elicit a particular style in the same way that any author exhibits a style of writing that we come to recognise. In this sense we can view the photographer as an auteur, and the work as the summation of a visual style in which content and form are the visual reflection of a photographic discourse and grammar, as much as they are in writing and film. Although this is to the fore in relation to the photographer as artist, literally signing, so to speak, each image with the mark of creative authenticity, it equally recalls to us the extent to which every image is part of a self-conscious and determining act of reference to give meaning to things. The image is as much a reflection of the 'I' of the photographer as it is of the 'eye' of the camera.

In any image, however, the primary frame of reference remains the subject of the photograph (although this in itself can be problematic). Roland Barthes has suggested an important distinction here between the relative meaning of different elements within the photographic frame, distinguishing between what has been termed the denotative and the connotative. By 'denotative' is meant the literal meaning and significance of any element in the image. A gesture, an expression, an object remains just that - a literal detail of the overall image. Meaning thus operates at the most basic of levels, a simple recognition of what we look at: a smile, a table, a street, a person. But beyond this moment of recognition the reader moves to a second level of meaning, that of the 'connotative' aspects of the elements of the scene. Thus connotation is 'the imposition of second meaning on the photographic message proper' ... 'its signs are gestures, attitudes, expressions, colours, and effects endowed with certain meanings by virtue of the practice of a certain society'. In other words, series of visual languages or codes which are themselves the reflection of a wider, underlying process of signification within the culture.

In any image, however, the primary frame of reference remains the subject of the photograph (although this in itself can be problematic). Roland Barthes has suggested an important distinction here between the relative meaning of different elements within the photographic frame, distinguishing between what has been termed the denotative and the connotative. By 'denotative' is meant the literal meaning and significance of any element in the image. A gesture, an expression, an object remains just that - a literal detail of the overall image. Meaning thus operates at the most basic of levels, a simple recognition of what we look at: a smile, a table, a street, a person. But beyond this moment of recognition the reader moves to a second level of meaning, that of the 'connotative' aspects of the elements of the scene. Thus connotation is 'the imposition of second meaning on the photographic message proper' ... 'its signs are gestures, attitudes, expressions, colours, and effects endowed with certain meanings by virtue of the practice of a certain society'. In other words, series of visual languages or codes which are themselves the reflection of a wider, underlying process of signification within the culture.

Equally, the trees at the back have a looming presence that suggests a haunting otherness. Even at this level the atmosphere seems gloomy, empty, and depressing. A literal, physical configuration has given way to the beginnings of a compelling connotative register suggestive of a psychological and emotional inner space. This is the setting for the figures in the image. The parents are separate and alone, and every detail of their figures and bearing adds to this sense of difference. The man is tense (rather than relaxed, as we might expect) and holds his head in his hand. His right hand looks to touch and make contact with his wife, but remains inert and separate. The mother also 'relaxes' but in a seemingly 'fixed' mode, just as she is dressed in a stereotypical bikini and wears make-up. Their separation is made obvious by the way in which their lounge chairs are presented formally to the camera, with the round table between them: a circular reminder of unity and wholeness, although the slatted lines imply a rigid familial and psychological geometry - a connotation further suggested by the solitary child who stares into a circular bathing pool.

The boy plays alone and is turned away from his parents. The title itself 'frames' our terms of reference and guides us into the symbolic structure of the photographic message. Punctum follows punctum, so that each aspect resonates as part of a larger map of meaning, especially in relation to the associations implied by 'family', 'Sunday', and 'lawn'. An image of family relaxation seems to have been inverted and emerges as a psychological study of estrangement and loneliness which, in its compulsive effect, speaks about a whole culture's condition. Look, for example, how obvious items of play and pleasure have been pushed to the borders of the image. On the left is a picnic table, in the background a swinging seat and see-saw, and on the right a swing; all abandoned and ignored. We could continue such a reading, noting (and explaining) the significance of the cigarettes, the glass, the portable radio, the washed-out sky, the father's dangling feet, the abandoned plate to the left of the mother, and the way the child is closer to his mother than his father: all compounded by the square format of the photograph and the way the family seems unaware of the photographer's presence.

Arbus's image, which is typical of her photography, both plays with and questions codes of meaning. It inculcates a dense play of the denotative and connotative in relation to its subject, and compounds its textual reference within a geometry of the straight and the circular. It is a static image which resonates with multiple meanings and ultimately retains a complexity which resists paraphrase and description.

Photographs have always had this capacity to probe and suggest larger conditions, which underlies the notion of an image's potential 'universal' appeal and international language. Such, for example, were the terms of reference for The Family of Man Exhibition in New York in 1955. Curated by Edward Steichen, its 503 photographs were divided into distinct general categories: 'creation, birth, love, work, death, justice .. . democracy, peace . ..' and so on. The exhibition thus suggested 'universal' themes which mitigated against the argument for a photographic language rooted in the culture as the ideology within which the photograph established its meaning. We can, then, speak of a language of photography, in which every aspect of the photographic space has a potential meaning beyond its literal presence in the picture.

Thus we can read a photograph within its own terms of reference, seeing it not so much as the reflection of a 'real' world as an interpretation of that world. The punctum allows us then to deconstruct, so to speak, those same terms of reference, and alerts us to the fact that a photograph reflects the way we view the world in cultural terms. Photographic practice, though, has in many ways made invisible its strategies and that language, so that we tend to look at the photograph as a reflection - once again, the simple mirror - but on the other hand much photography does seek to make us aware of how and why a photograph has 'meaning'; and in the twentieth century, certainly, many photographers have questioned not just the terms of reference we take for granted but also the codes and conventions of photography itself (e.g. the photographer's status, photographic genres, style, etc.). ​

The compositional balance of the 'first' photograph is completely broken. What emerges is a double structure: an official group portrait which advertises and celebrates a white military world, and a second which, through the simple presence of the photographer, questions the terms of reference of the first. Brady has established a critical distance between himself, the group, and the way the group has been photographed; an aspect further underlined by the way his own pose, nonchalant and casual, is in direct contrast to the others. In terms of Barthes's reading of photographs Brady's presence creates a punctum which begins a process of questioning. Brady, along with such figures as Timothy O'Sullivan and Alexander Gardner, is among the most celebrated of the 'official' war photographers of the period, but once we begin to question the context, the terms of imaging, the treatment of subject, and so on, a very different image of the war emerges, and a very different sense of war photography as an historical account. What such images show us is not so much a history as an ideology, and in their accretion as a composite image they create a sustained photographic essay on that ideology. Collectively they build towards a critical questioning and, far from 'official', they suggest the contradictions and myths at the centre of the culture. Thus, in relation to the General Potter photograph an image like takes its place within a very different tradition of portraiture and history, as a fundamental inversion of the 'official' portrait. This is, literally, the underside of the formal advertising and reveals the Potter image as both propagandist and mythologized. The single figure is isolated, at the margins of the world depicted and at the bottom of the hierarchy. Most obviously he is black, and just as his presence was missing from the white world of Potter's image, so here he is restrained within a domestic context. He is named as a servant, passive, and surrounded by rubbish. His uniform confirms his condition.

Such a critical and self-conscious use of the medium is most often associated with radical twentieth-century photography, especially since the 1950s, when there has emerged a sustained questioning of the terms of representation and the structures of meaning very much influenced by critical theories associated with modernism, and in the postmodern period, by structuralism and semiotics. But in many ways we need to see all photographs in the same terms and be alert to the extent that photographers have always been concerned with the context of both the photograph and the act of taking it. The illusion of a photograph's veracity is always open to a punctum which allows us to read it critically and to claim it as not so much a token of the real, but as part of a process of signification and representation.

The extent to which many contemporary photographers have questioned the idea of a single representational space and made the reading of the photograph their subject helps to place all photography within the context of postmodern practice. The irony that photography achieved its ascendency as a visual medium confirming a real world just at the point when literature and painting were rejecting the aims and assumptions of realism, is tempered once we agree to a theory of photographic meaning as being as problematic as anything we find in such works as The Waste Land, Ulysses, or Les Demoiselles d'Avignon. Just as Wallace Stevens declared that in modern poetry the subject was 'poetry itself', so in painting the act of representation itself became central. Photography has followed a similar development, creating the terms for a critical reading of its meaning and status as a mode of representation. One such photographer is the American Lee Friedlander (1934 - ). Friedlander's photographs are deliberately difficult to read, indeed, they make difficulty basic to their meaning as part of a larger critical process. The question of the terms by which we read a photograph, and the status of the world it 'reflects' are central to his whole enterprise. His eye roams the United States not as a Walker Evans intent on a vision of a particular cultural order, but as the recorder of a series of random events and images which, once questioned, fail to cohere. What emerges is a disparate world of chaotic images and signs, signifying processes in which everything hovers about meaning but finally only declares itself as part of a larger problematic structure. And within this process the photograph directly implicates us in the act of reading. It neither draws us into its assumed space, nor mirrors back a world which affirms our own terms of reference. Instead, it purposefully distorts the world we take for granted and makes the photographic act part of a larger way of seeing and constructing meaning. His images are not so much a record of what is, as visual essays on cultural representation. Highly self-conscious, they work through paradox, the play of absence and presence, radical perspectives, and the breaking up of the photographic surface to create new and difficult relationships. ​

They return to the basic distinctions between the denotative and connotative so insisted upon by Barthes and Umberto Eco and make clear that, as much as in painting and literature, the meaning and practice of photography takes place within its own series of codes and frames of reference. When Barthes declared that photography 'evades us' and is 'unclassifiable', he alerted us to the paradox of something seemingly so obvious and yet so problematic.

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Much of Burgin's understanding of this discourse was, consciously at least, quite alien to 'readers' of the photograph in the nineteenth century, although we can claim with some confidence that much photography was 'read' in relation to the accepted language of painting and literature of the time, especially in terms of symbolism and narrative structure.

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John Tagg: from the introduction to 'The Burden of Representation' 1988

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John Tagg: from the introduction to 'The Burden of Representation' 1988

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John Tagg: from the introduction to 'The Burden of Representation' 1988

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1.
In his posthumously published book, Camera Lucida, Roland Barthes, against his apparent interpreters, leaves us with a poignant reassertion of the realist position. The camera is an instrument of evidence. Beyond any encoding of the photograph, there is an existential connection between 'the necessarily real thing which has been placed before the lens' and the photographic image: 'every photograph is somehow co-natural with its referent'. What the photograph asserts is the overwhelming truth that 'the thing has been there': this was a reality which once existed, though it is 'a reality one can no longer touch'.

The quiet passion of Barthes's reassertion of a retrospective photographic realism, whose unconscious signified must always be the presence of death, has to be read against the death of his own mother, his reawakened sense of unsupportable loss, and his search for 'a just image' and not 'just an image' of her. His demand for realism is a demand, if not to have her back, then to know she was here: the consolation of a truth in the past which cannot be questioned. This is what the photograph will guarantee:

THE IMPORTANT THING IS THAT THE PHOTOGRAPH POSSESSES AN EVIDENTIAL FORCE, AND THAT ITS TESTIMONY BEARS NOT ON THE OBJECT BUT ON TIME. FROM A PHENOMENOLOGICAL VIEWPOINT, IN THE PHOTOGRAPH, THE POWER OF AUTHENTICATION EXCEEDS THE POWER OF REPRESENTATION.

[...] we have to see that every photograph is the result of specific and, in every sense, significant distortions which render its relation to any prior reality deeply problematic and raise the question of the determining level of the material apparatus and of the social practices within which photography takes place. The optically 'corrected' legal record of a building facade is no less a construction than the montage, and no less artificial than the expressively 'transformed' experimental photographs of Lois Ducos du Hauron or, in a different context, those of Bill Brandt. The legal record is, in much the same way though for different purposes, an image produced according to certain institutionalised formal rules and technical procedures which define legitimate manipulations and permissible distortions in such a way that, in certain contexts, more or less skilled and suitably trained and validated interpreters may draw inferences from them, on the basis of historically established conventions. It is only in this institutional framework that otherwise disputable meanings carry weight and can be enforced.

The indexical nature of the photograph - the causative link between the pre-photographic referent and the sign - is therefore highly complex, irreversible, and can guarantee nothing at the level of meaning. What makes the link is a discriminatory technical, cultural and historical process in which particular optical and chemical devices are set to work to organise experience and desire and produce a new reality - the paper image which, through yet further processes, may become meaningful in all sorts of ways. The procedure is familiar enough. Reflected light is gathered by a static, monocular lens of particular construction, set at a particular distance from the objects in its field of view. The projected image of these objects is focused, cropped and distorted by the flat, rectangular plate of the camera which owes its structure not to the model of the eye, but to a particular theoretical conception of the problems of representing space in two dimensions. Upon this plane, the multicoloured play of light is then fixed as a granular, chemical discolouration on a translucent support which, by a comparable method, may be made to yield a positive paper print.

How could all this be reduced to a phenomenological guarantee? At every stage, chance effects, purposeful interventions, choices and variations produce meaning, whatever skill is applied and whatever division of labour the process is subject to. This is not the inflection of a prior (though irretrievable) reality, as Barthes would have us believe, but the production of a new and specific reality, the photograph, which becomes meaningful in certain transactions and has real effects, but which cannot refer or be referred to a pre-photographic reality as to a truth. The photograph is not a magical 'emanation' but a material product of a material apparatus set to work in specific contexts, by specific forces, for more or less defined purposes. It requires, therefore, not an alchemy but a history, outside which the existential essence of photography is empty and cannot deliver what Barthes desires: the confirmation of an existence; the mark of a past presence; the repossession of his mother's body.

We could go further. Even if we were confronted by the actual existent about whose (past) existence the photograph is supposed to assure us, we could not have the authentic encounter Barthes wants. We could not extract some existential absolute from the conscious and unconscious, cultural, psychological and perceptual codes and processes which constitute our experience of the world and make it meaningful - just as they invest meaning in a paltry piece of chemically discoloured paper. Neither experience nor reality can be separated from the languages, representations, psychological structures and practices in which they are articulated and which they disrupt. The trauma of Barthes's mother's death throws Barthes back on a sense of loss which produces in him a longing for a pre-linguistic certainty and unity - a nostalgic and regressive phantasy, transcending loss, on which he founds his idea of photographic realism: to make present what is absent or, more exactly, to make it retrospectively real - a poignant 'reality one can no longer touch'. What exceeds representation, however, cannot, by definition, be articulated. More than this, it is an effect of the production of the subject in and through representation to give rise to the phantasy of this something more. We have no choice but to work with the reality we have: the reality of the paper print, the material item.

But what is also real is what makes the print more than paper - what makes it meaningful. For this, however, we must look not to some 'magic' of the medium, but to the conscious and unconscious processes, the practices and institutions through which the photograph can incite a phantasy, take on meaning, and exercise an effect. What is real is not just the material item but also the discursive system of which the image it bears is part. It is to the reality not of the past, but of present meanings and of changing discursive systems that we must therefore turn our attention. That a photograph can come to stand as evidence, for example, rests not on a natural or existential fact, but on a social, semiotic process, though this is not to suggest that evidential value is embedded in the print, in an abstract apparatus, or in a particular signifying strategy. It will be a central argument of this book that what Barthes calls 'evidential force' is a complex historical outcome and is exercised by photographs only within certain institutional practices and within particular historical relations, the investigation of which will take us far from an aesthetic or phenomenological context. The very idea of what constitutes evidence has a history - a history which has escaped Barthes, as it has so many labourist and social historians too. It is a history which implies definite techniques and procedures, concrete institutions, and specific social relations - that is, relations of power. It is into this more extensive field that we must insert the history of photographic evidence. The problem is historical, not existential. To conjure up something of what it involves today, I suggest in the text that you ask yourself, and not just rhetorically, under what conditions would a photograph of the Loch Ness Monster (of which there are many) be acceptable?

2.
What I go on to argue is that the coupling of evidence and photography in the second half of the nineteenth century was bound up with the emergence of new institutions and new practices of observation and record-keeping: that is, those new techniques of representation and regulation which were so central to the restructuring of the local and national state in industrialised societies at that time and to the development of a network of disciplinary institutions - the police, prisons, asylums, hospitals, departments of public health, schools, and even the modern factory system itself. The new techniques of surveillance and record harboured by such institutions bore directly on the social body in new ways. They enabled, at a time of rapid social change and instability, an unprecedented extension and integration of social administration, amounting - even before Alphonse Bertillon's systematisation of criminal records in the 1880s - to a new strategy of governance.

At the same time, the emergence and official recognition of instrumental photography was caught up with more general and dispersed transformations in society and in ways of thinking about it, representing it, and seeking to act on it. The development of new regulatory and disciplinary apparatuses was closely linked, throughout the nineteenth century, to the formation of new social and anthropological sciences - criminology, certainly, but also psychiatry, comparative anatomy, germ theory, sanitation, and so on - and the new kinds of professionalisms associated with them, which took both the body and its environment as their field, their domain of expertise, redefining the social as the object of their technical interventions. On a profound level, indeed, the two developments could not be separated, for, as Foucault's work has shown, the production of new knowledges released new effects of power, just as new forms of the exercise of power yielded new knowledges of the social body which was to be transformed. Power and meaning thus have a reciprocal relation described in the coupled concepts of the regime of power and the regime of sense. What characterised the regime in which photographic evidence emerged, therefore, was a complex administrative and discursive restructuring, turning on a social division between the power and privilege of producing and possessing and the burden of being meaning. In the context of this historical shift in power and sense, photographic documentation and evidence took form; not all at once, of course, for the photograph's status as evidence and record (like its status as Art) had to be produced and negotiated to be established.

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1. In his posthumously published book, Camera Lucida, Roland Barthes, against his apparent interpreters, leaves us with a poignant reassertion of the realist position. The camera is an instrument of evidence. Beyond any encoding of the photograph, there is an existential connection between 'the necessarily real thing which has been placed before the lens' and the photographic image: 'every photograph is somehow co-natural with its referent'.

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Roland Barthes: excerpts from 'Camera Lucida' 1980

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Roland Barthes: excerpts from 'Camera Lucida' 1980

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1 ONE DAY, QUITE SOMETIME A GO, I happened on. a photograph of Napoleon’s youngest brother, Jerome, taken in I852. And I realized then, with an amazement I have not been able to lessen since: ’I…

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Susan Sontag: an excerpt from 'On Photography' 1977

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Susan Sontag: an excerpt from 'On Photography' 1977

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Humankind lingers unregenerately in Plato’s cave , still revelling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more…

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John Szarkowski: introduction to 'William Eggleston's Guide' 1976

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John Szarkowski: introduction to 'William Eggleston's Guide' 1976

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At this writing I have not yet visited Memphis, or northern Mississippi, and thus have no basis for judging how closely the photographs in this book might seem to resemble that part of the world and…

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Peter Fraser: Eventually, Everything, Connects

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Peter Fraser: Eventually, Everything, Connects

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Everything in the world has been photographed. Or so it would seem. Everything visible, that is, and quite a lot which, at least to the human eye, is invisible. Yet from time to time, one is brought…

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Helen Levitt: An American Century of Photography: From Dry-Plate to Digital

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Helen Levitt: An American Century of Photography: From Dry-Plate to Digital

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​DISCUSSION PROMPTS: What is happening in this image?

Why has the photographer stopped to make an image?
How would you describe the composition of this photograph?
Try to describe how this photographer was able to make an image like this?
How might s/he work on a daily basis?
What kind of camera might s/he have used?
​How does this image make you feel?

​Among the urban themes explored by artists of widely varying sensibilities were these: the physical city, an artefact shaped by the impress of innumerable lives; the symbolic city, in which issues of community and identity are reflected in solitary figures and masses of anonymous faces; and the poetic city, in which the larger meaning of modern existence is revealed in the disjunctions, flux, and contingencies of urban life. The work of many of these photographers reveals a basic sympathy with the much earlier observations of the poet Charles Baudelaire on the relationship of the modern artist to the spectacle of urban life:

For the perfect flaneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, amid the ebb and flow of movement, in the midst of the fugitive and infinite. To be away from home and yet to feel oneself everywhere at home; to see the world, to be at the centre of the world, and yet to remain hidden from the world ... the lover of universal life enters into the crowd as though it were an immense reservoir of electrical energy...

For Baudelaire, the key words were: Multitude, solitude: equal and convertible terms for the active and fecund poet. He who does not know how to people his solitude will not know either how to be alone in a bustling crowd. The poet enjoys the incomparable privilege of being able as he likes to be himself and others. Like those wandering souls which search for a body, he can enter every person whenever he wants .... The solitary and pensive walker draws from this universal communion a singular sense of intoxication."

No photographer is more typical of this approach than Helen Levitt, whose lyrical work was a direct result of her love of walking and her desire to immerse herself in the "fugitive and infinite" vitality of the street. A deeply private person, Levitt photographed strictly for her own pleasure and belonged to no organised groups. She was influenced by her close friendships with Walker Evans and Ben Shahn, and later, by certain visual techniques she developed in her work in film. "' In 1935, she was strongly impressed by the work of Henri Cartier-Bresson, the great exponent of the 35mm Leica camera. Levitt's own photographs were also made with a Leica, which she often equipped with a right-angle viewfinder. This practice allowed her to work unobtrusively, almost invisibly -in the poor or working-class communities of New York City. In these neighbourhoods, the rhythms of daily life were played out in full view on public sidewalks. Levitt responded to this protean theatre of the street by creating photographs that are lyrical, uncontrived, and mysterious. Fascinated by the simplest marks and the most fleeting gestures, Levitt made images of children's graffiti that suggest the timeless human need for self-expression, as well as the surprising insights of un-selfconscious artists. Other works, like New York, Ca. 1942, subtly explore the complex network of connections between individuals and their surroundings. In this case, Levitt creates a gentle mystery from the evidence of touch, expression, and glance, while using internal framing devices to hint at the constraints of these lives. Levitt received high critical praise in the 1940s: her pictures were published in and elsewhere and exhibited at the Museum of Modern Art. Unfortunately, however, the first book of her photographs did not appear for many years: A Way of Seeing, a selection of forty-four uncaptioned images with an eloquent essay by James Agee, was assembled in 1946 but not published until 1965.

from Keith F. Davis, An American Century of Photography: From Dry-Plate to Digital: The Hallmark Photographic Collection

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​Among the urban themes explored by artists of widely varying sensibilities were these: the physical city, an artefact shaped by the impress of innumerable lives; the symbolic city, in which issues...

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Introduction text to Bellocq: Photographs from Storyville

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Introduction text to Bellocq: Photographs from Storyville

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​First of all, the pictures are unforgettable – photography’s ultimate standard of value. And it’s not hard to see why the trove of glass negatives by a hitherto unknown photographer working…

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America & Lewis Hine: Photographs 1904-1940

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America & Lewis Hine: Photographs 1904-1940

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​Who was Lewis Hine? Why is he in a pantheon reserved for a rare few photographers? Frank Manny found him, possibly as an obscure teacher in a normal school in Oshkosh, Wisconsin, and brought him…

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Robert Frank: The photographer in the Beat/Hipster Idiom

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Robert Frank: The photographer in the Beat/Hipster Idiom

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DISCUSSION PROMPTS: Describe the composition of this image. How has the photographer arranged the various elements of the picture?

How has the photographer exploited the way light behaves in this image?
What patterns can you see in this photograph?
What does this image tell us about life in 1950s America?
​How does this image make you feel?

Few analysts have captured the sadness, tensions, ironies and possibilities of 1950s American culture and society with the depth and insight of Robert Frank. Frank's accomplishment is rendered all the more impressive since it was done without words in his volume of photographs, The Americans (1959) ... At first glance, Frank's The Americans might seem yet another document in the long tradition of foreign travelers' accounts of American society and culture. Frank arrived in New York from Switzerland in 1947, but over the next five years he traveled abroad often. Before beginning work on The Americans, Frank was a highly successful commercial photographer; his work appeared in Fortune, Life, Look, Harper's Bazaar and McCall's. Frank's auto-tour of 1955-1956 represented not only his break with previous photographic compositions but also his initial discovery of America. Frank did not record America passively; he approached it with cultural baggage, assumptions, a set of questions, a medley of expectations and definite, strongly formed visual preferences. Frank's personality, described by Joyce Johnson as a blend of "European dourness and pessimistic wit," certainly helped to focus his photographic vision ... If Frank was the Beat photographer in style, then as Jack Kerouac well understood, his images reflected and codified the Beat-Hipster ideal. In the under-punctuated, rambling stream-of-consciousness introduction to The Americans, Kerouac in his opening sentence places Frank's artistic vision squarely within the mainstream of the Beat:

"THAT CRAZY FEELING IN AMERICA when the sun is hot on the streets and music comes out of the jukebox or from a nearby funeral, that's what Robert Frank has captured in these tremendous photographs taken as he traveled on the road around practically forty-eight states in an old used car (on Guggenheim Fellowship) and with the agility, mystery, genius, sadness and strange secrecy of a shadow photographed scenes that have never been seen before on film."

Kerouac's introduction did not ignore, in fact it celebrated, the pervasive sense of sadness evoked by Frank's photographs. Frank had, Kerouac observed, "sucked a sad poem right out of America onto film." ... Out of a total of about sixty photographs depicting faces in The Americans, only a handful capture a smile or indicate any sense of happiness or adjustment ... Frank also proved to be an astute political observer of black life in America. He did not seek to mythologize blacks, to remove them from the complexity of history; he was careful to present their human dimensions and to provide visual clues to their historical situation. Rather than presenting a simplistic celebration of black existence, a call for primitivism, Frank was careful to document the ambivalence, irony and pathos of the black experience ... The cover photograph for the Aperture edition of The Americans (Fig. 6) perfectly captures realities of black life: we see faces of a number of people through the open windows of a New Orleans trolley. The pain and despair in the face of one black man immediately draw our attention. He is framed, as if in a prison, by the windows of the vehicle and is thus chained to the social realities of the segregation era. Likewise, he and the other black passenger pictured are exiled to the back of the trolley ... Critique and commentary, The Americans retains its distinguishing mark as a piece of literature that departs from the consumer oriented, standardizing trends of 1950s culture. The Americans presents the machine-the idol of the era-as livelier than its builders and consumers. The Americans also breaks from mainstream culture through its paradoxical interpretation of black America: oppressed blacks are emotionally freer than their white superiors. The volume must be read and understood as a significant commentary on American race relations in the 1950s.

an extract from George Cotkin's essay Robert Frank: The photographer in the Beat/Hipster Idiom

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Few analysts have captured the sadness, tensions, ironies and possibilities of 1950s American culture and society with the depth and insight of Robert Frank. Frank's accomplishment is rendered all...

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#DECinJsy (decinjsy) • Instagram photos and videos

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#DECinJsy (@decinjsy) • Instagram photos and videos

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213 Followers, 435 Following, 100 Posts - See Instagram photos and videos from #DECinJsy (@decinjsy)

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DEC School is a unique online school for budding architects and engineers, and for teachers of the Design...Engineer...Construct! learning programme.

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"URBAN SKETCHING" (sketching buildings in 2-point perspective) via YouTube 

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"URBAN SKETCHING" (sketching buildings in 2-point perspective) via YouTube 

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- Buy a sketchbook and start sketching buildings (or bits of buildings) you like/love

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LANDSCAPE Urban Sketching Tips For Beginners!

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MOOC: (TU Delft - DelftX) "AI in Architectural Design"

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MOOC: (TU Delft - DelftX) "AI in Architectural Design"

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(register and follow 'Audit Course' for free access)

- great for CV / Personal Statements!  (You only pay if you want a certificate/ accreditation)

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DelftX: AI in Architectural Design: Introduction | edX

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Learn about the elements of AI, machine learning and computer vision. Discover the open-source AI tools, and hidden AI gems. Learn how to play with architectural design data using freely available AI model.

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MOOC: (Harvard University - HarvardX) "The Architectural Imagination"

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MOOC: (Harvard University - HarvardX) "The Architectural Imagination"

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(register and follow 'Audit Course' for free access)

- great for CV / Personal Statements!  (You only pay if you want a certificate/ accreditation)

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HarvardX: The Architectural Imagination | edX

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Learn fundamental principles of architecture - as an academic subject or a professional career - by studying some of history's most important buildings.

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- independent (individual or group) extra curricular projects.

Choose the course(s) that interest(s) you at https://learn.designengineerconstruct.com/courses and ask Mr. Forestiero to enroll you.

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Personal reflections on the best of 20th Century architecture in Britain

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"ABSTRACT" (Season 2) : BIO ARCHITECTURE (NERI OXMAN) via Netflix

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"ABSTRACT" (Season 2) : BIO ARCHITECTURE (NERI OXMAN) via Netflix

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Watch Abstract: The Art of Design | Netflix Official Site

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Step inside the minds of the most innovative designers in a variety of disciplines and learn how design impacts every aspect of life.

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"ABSTRACT" (Season 1) : ARCHITECTURE (BJARKE INGELS) via Netflix

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"ABSTRACT" (Season 1) : ARCHITECTURE (BJARKE INGELS) via Netflix

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Watch Abstract: The Art of Design | Netflix Official Site

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Step inside the minds of the most innovative designers in a variety of disciplines and learn how design impacts every aspect of life. Watch trailers & learn more.

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AJA (Association of Jersey Architects) LECTURE SERIES

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AJA (Association of Jersey Architects) LECTURE SERIES

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The AJA run regular guest lectures which you can sign up for and watch in person when new ones are announced.

In the meantime, many have been recorded and they have kindly shared them with you here via these YouTube links in the attached .pdf file.

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STEM Racing delivers the world-leading STEM challenge, inspiring students globally through motorsport, engineering, and STEM education.

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Arkwright Engineering Scholarships - Smallpeice Trust

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Arkwright Engineering Scholarships - Smallpeice Trust

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Arkwright Engineering Scholarships - Smallpeice Trust

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Arkwright Engineering Scholarships exist to identify, inspire, and nurture high-potential young people aged 16–18 as they prepare to leave school and progress

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FREE STEM resources for teachers & parents - Leaders Award

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FREE STEM resources for teachers & parents - Leaders Award

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Live revision sessions, Q&A and discussion panels for students and teachers.

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Tutor2u livestream replies to enhance understanding:

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Tutor2u livestream replies to enhance understanding:

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Live revision sessions, Q&A and discussion panels for students and teachers.

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Offered by University of Pennsylvania. Solve Real Business Problems. Build a foundation of core business skills in marketing, finance, ... Enroll for free.

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TED Talks are influential videos from expert speakers on education, business, science, tech and creativity, with subtitles in 100+ languages. Ideas free to stream and download.

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Module 1: Introduction to Developmental Psychology – Introduction to Human Development

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Module 1 Learning Objectives Upon completion of this module, the learner will be able to: Understand Psychology Explain what psychology is and why it’s important…

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Explore the various types of psychology, their history, and the major theorists behind them and apply the knowledge to your mental and emotional well-being.

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The Brain Research Through Advancing Innovative Neurotechnologies® (BRAIN) Initiative is aimed at revolutionizing our understanding of the human brain. By accelerating the development and application of innovative technologies, researchers will be able to produce a revolutionary new dynamic picture…

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Brain Research UK | Funding world-class brain research

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We fund brain research to help those affected by neurological disorders. Brain Research UK - inspiring progress, together.

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The American Psychological Association (APA) is a scientific and professional organization that represents psychologists in the United States. APA educates the public about psychology, behavioral science and mental health; promotes psychological science and practice; fosters the education and training of psychological scientists, practitioners and educators; advocates for psychological knowledge and practice to inform public policy; and champions the application of psychology to promote human rights, health, well-being and dignity.

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Natália Carvalho de CamargoRomes Bittencourt Nogueira de SousaMaria Sebastiana Silva

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Trends in Psychology is the official journal of the Brazilian Society of Psychology. It is a quarterly publication intended to disseminate original work in…

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Simply Psychology | Self-Care, Theories, Famous Studies & More

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We're committed to being your expert and trustworthy source for psychology theories, relationship advice, and mental health information. Whether you want to learn about theories or studies, understand a mental health disorder, or how to improve your relationships, get the guidance you need to be healthy and happy.

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Created with Hot Potatoes by Half-Baked Software, registered to Andrew Balaam.

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Suarez - Ni rancœur, Ni colère - Trouvez le français

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Parce que je me sens beaucoup mieux depuis que j’ai tout effacéParce que ces larmes sur tes yeux, c’est du faux, c’est du contrefait

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OCR Blog – GCSE→A Level Transition (Chemistry skills)

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OCR Blog – GCSE→A Level Transition (Chemistry skills)

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Five resources to support students moving from GCSE to A Level Chemistry

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Five resources to support students moving from GCSE to A Level Chemistry 17 July 2023

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Oxford University, St Anne’s College – Super Curricular Resources (Chemistry included)

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Oxford University, St Anne’s College – Super Curricular Resources (Chemistry included)

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Super-Curriculars and Resources | St Anne’s College, Oxford

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The following pages, websites and documents pull together a range of resources which we would highly recommend. Some of these resources were created at the University of Oxford, many were created far beyond. These are by no means exhaustive lists – if you find any new resources that you think we should include, please share the link with us at outreach@st-annes.ox.ac.uk! We also aim to keep these lists regularly updated, to make an ever-growing set of resources to help prospective students enrich their learning and boost their applications. Thank you to everyone who has put work into making and sharing these resources!

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Townsend School – Chemistry Super Curricular Guide – journals, museums, competitions & more 

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Townsend School – Chemistry Super Curricular Guide – journals, museums, competitions & more 