scholarly journals Between Life and the Underground: A Study of Photography Found in Rolling Stone Magazine from 1967 to 1972

2021 ◽  
Author(s):  
Rachel Lobo
Keyword(s):  
Comparative Analysis ◽  
New Journalism ◽  
Life Magazine ◽  
Underground Press ◽  
National Convention ◽  
Rolling Stone ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

scholarly journals Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972.

2021 ◽  
Author(s):  
Rachel Lobo
Keyword(s):  
Comparative Analysis ◽  
New Journalism ◽  
Life Magazine ◽  
Underground Press ◽  
National Convention ◽  
Rolling Stone ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

scholarly journals Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972.

2021 ◽  
Author(s):  
Rachel Lobo
Keyword(s):  
Comparative Analysis ◽  
New Journalism ◽  
Life Magazine ◽  
Underground Press ◽  
National Convention ◽  
Rolling Stone ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

scholarly journals Between Life and the Underground: A Study of Photography Found in Rolling Stone Magazine from 1967 to 1972

2021 ◽  
Author(s):  
Rachel Lobo
Keyword(s):  
Comparative Analysis ◽  
New Journalism ◽  
Life Magazine ◽  
Underground Press ◽  
National Convention ◽  
Rolling Stone ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

scholarly journals Changing Images of the Democratic Party: an analysis of the aesthetic and philosophical underpinnings of Life's photo-essay "Happy days in Miami"

2021 ◽  
Author(s):  
Rick Slater
Keyword(s):  
Democratic Party ◽  
Scene Reconstruction ◽  
New Journalism ◽  
Life Magazine ◽  
Stylistic Elements ◽  
Political Narrative ◽  
Art Photography ◽  
The Aesthetic ◽  
Photo Essay

The purpose of this study was to examine the influence of New Journalism on the photo-essay "Happy Days in Miami" from the 21 July 1972 issue of Life Magazine. The stylistic elements of New Journalism such as scene-by-scene reconstruction, overt stylization, status details and others, are analyzed for their role in the construction of the visual and political narrative utilized in this photo-essay. Its influence on 1960s art photography as embodied by Larry Clark, Danny Lyon and the New Documents exhibition is also considered. This was analyzed through research of the various topics (New Journalism, the Presidential Convention in 1972, Life and 1960s art photography), critical readings of the photographs and original interviews with Ralph Graves, Life's managing editor in 1972 and contributing editor Richard Meryman.

scholarly journals Kärlekens etos i Gösta Ågrens 1960-talslyrik

2017 ◽  
pp. 22-37
Author(s):  
Anna Möller-Sibelius
Keyword(s):  
Early Stage ◽  
Left Wing ◽  
Rudolf Steiner ◽  
Contemporary World ◽  
Common Opinion ◽  
History Of ◽  
The Common ◽  
Post War ◽  
The 1960S ◽  
The Aesthetic

The Ethos of Love in Gösta Ågren’s Poems from the 1960s Gösta Ågren is one of the most appreciated poets in contemporary Finland-Swedish literature. Nevertheless, his early works dating back to the 60s have been considered (not least by himself) to be of little interest. The common opinion is that his engagement with left-wing politics impoverished the aesthetic aspects of his poetry; when released from these ideological bonds in the late 1970s he became an important poet. The aim of this article is to call into question the reasons put forth by the negligence of his early poetry. Ågren is one of the earliest examples of the 1960s left-wing movement in Finland-Swedish poetry, which per se is of literary historical interest. However, he combines his Marxist perspective with ideas recognizable in a broader tradition of history of ideas, which makes his ideological and ethical undertaking complex. In addition, he integrates political and existential aspects in his poems at an early stage. In this article, I examine a central theme in Ågren’s early poetry from the 1960s: love. I relate his thoughts on the topic to various thinkers such as eodor W. Adorno & Max Horkheimer, R.W. Emerson, C.G. Jung and Rudolf Steiner. Although love between man and woman in many respects is a timeless issue, the contextual aspects of love are important in Ågren’s poems. Furthermore, in his early poetry dating from the rather dystopic post-war period in Europe love has an emphasized ethical function. In his efforts to find a solution to the problems of a contemporary world in distress, the very concept of “woman” becomes a metaphor for ideas such as peace, hope, love and freedom. Clearly, this is an idealist but also (more surprisingly) a feminist standpoint.

scholarly journals Changing Images of the Democratic Party: an analysis of the aesthetic and philosophical underpinnings of Life's photo-essay "Happy days in Miami"

2021 ◽  
Author(s):  
Rick Slater
Keyword(s):  
Democratic Party ◽  
Scene Reconstruction ◽  
New Journalism ◽  
Life Magazine ◽  
Stylistic Elements ◽  
Political Narrative ◽  
Art Photography ◽  
The Aesthetic ◽  
Photo Essay

The purpose of this study was to examine the influence of New Journalism on the photo-essay "Happy Days in Miami" from the 21 July 1972 issue of Life Magazine. The stylistic elements of New Journalism such as scene-by-scene reconstruction, overt stylization, status details and others, are analyzed for their role in the construction of the visual and political narrative utilized in this photo-essay. Its influence on 1960s art photography as embodied by Larry Clark, Danny Lyon and the New Documents exhibition is also considered. This was analyzed through research of the various topics (New Journalism, the Presidential Convention in 1972, Life and 1960s art photography), critical readings of the photographs and original interviews with Ralph Graves, Life's managing editor in 1972 and contributing editor Richard Meryman.

scholarly journals Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?

Proceedings ◽  
2020 ◽  
Vol 47 (1) ◽  
pp. 54
Author(s):  
John Holgate
Keyword(s):  
Theory And Practice ◽  
Philosophy Of Information ◽  
Artistic Activity ◽  
Digital World ◽  
Media Objects ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic ◽  
Concept Of Information ◽  
Aesthetic Measure

The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.

scholarly journals Predictive Policing Management: A Brief History of Patrol Automation

2019 ◽  
Vol 98 (98) ◽  
pp. 139-155
Author(s):  
Dean Wilson
Keyword(s):  
Science Fiction ◽  
Systems Analysis ◽  
The United States ◽  
Police Work ◽  
Predictive Policing ◽  
Digital Capitalism ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic ◽  
And Control

Predictive policing has attracted considerably scholarly attention. Extending the promise of being able to interdict crime prior to its commission, it seemingly promised forms of anticipatory policing that had previously existed only in the realms of science fiction. The aesthetic futurism that attended predictive policing did, however, obscure the important historical vectors from which it emerged. The adulation of technology as a tool for achieving efficiencies in policing was evident from the 1920s in the United States, reaching sustained momentum in the 1960s as the methods of Systems Analysis were applied to policing. Underpinning these efforts resided an imaginary of automated patrol facilitated by computerised command and control systems. The desire to automate police work has extended into the present, and is evident in an emergent platform policing – cloud-based technological architectures that increasingly enfold police work. Policing is consequently datafied, commodified and integrated into the circuits of contemporary digital capitalism.

scholarly journals Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?

Proceedings ◽  
2020 ◽  
Vol 47 (1) ◽  
pp. 54
Author(s):  
John Holgate
Keyword(s):  
Theory And Practice ◽  
Philosophy Of Information ◽  
Artistic Activity ◽  
Digital World ◽  
Media Objects ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic ◽  
Concept Of Information ◽  
Aesthetic Measure

The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.

Apocrypha from the History of the Jewish Military Union and its Authors

2008 ◽  
pp. 147-176
Author(s):  
Dariusz Libionka
Keyword(s):  
Comparative Analysis ◽  
Critical Analysis ◽  
Communist Regime ◽  
Research Approach ◽  
Warsaw Ghetto ◽  
History Of

This article is an attempt at a critical analysis of the history of the Jewish Fighting Union (JFU) and a presentation of their authors based on documents kept in the archives of the Institute of National Remembrance in Warsaw. The author believes that an uncritical approach and such a treatment of these materials, which were generated under the communist regime and used for political purposes resulted in a perverted and lasting picture of the history of this fighting organisation of Zionists-revisionists both in Poland and Israel. The author has focused on a deconsturction of the most important and best known “testimonies regarding the Warsaw Ghetto Uprising”, the development and JFU participation in this struggle, given by Henryk Iwaƒski, WΠadysΠaw Zajdler, Tadeusz Bednarczyk and Janusz Ketling–Szemley.A comparative analysis of these materials, supplemented by important details of their war-time and postwar biographies, leaves no doubt as to the fact that they should not be analysed in terms of their historical credibility and leads one to conclude that a profound revision of research approach to JFU history is necessary.

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