Tour Through Scotland: A Finding Aid of Scottish Travel Photography at the Archival & Special Collections, University of Guelph

Among the various collections housed in the Archival & Special Collections CASC) at the University of Guelph is a group of photographic material that exhibits the integral role photography played in Scotland's tourism industry from the nineteenth and early twentieth centuries. Photographic publishing firms such as G.W. Wilson & Co. and Valentine & Sons, Ltd. incorporated photography into their commercial repertoires and both helped to create and capitalize on Scotland's vibrant tourism industry during this period. This thesis focuses on this specific group of material that includes four bound albums, five opalines, seven travel view books, and over four hundred stereographs, and additionally looks at how institutions such as the ASC use descriptive tools like finding aids to provide access to and information about their collections. This thesis project reevaluates the structure and role of the finding aid as applied to photographic material in archival collections. Additional components such as a biographical sketches, a glossary of photographic terms, a geographic index, and a historical overview, have been incorporated to further demonstrate how a finding aid can build a greater web of connections and narratives for such collections.

Tour Through Scotland: A Finding Aid of Scottish Travel Photography at the Archival & Special Collections, University of Guelph

Among the various collections housed in the Archival & Special Collections CASC) at the University of Guelph is a group of photographic material that exhibits the integral role photography played in Scotland's tourism industry from the nineteenth and early twentieth centuries. Photographic publishing firms such as G.W. Wilson & Co. and Valentine & Sons, Ltd. incorporated photography into their commercial repertoires and both helped to create and capitalize on Scotland's vibrant tourism industry during this period. This thesis focuses on this specific group of material that includes four bound albums, five opalines, seven travel view books, and over four hundred stereographs, and additionally looks at how institutions such as the ASC use descriptive tools like finding aids to provide access to and information about their collections. This thesis project reevaluates the structure and role of the finding aid as applied to photographic material in archival collections. Additional components such as a biographical sketches, a glossary of photographic terms, a geographic index, and a historical overview, have been incorporated to further demonstrate how a finding aid can build a greater web of connections and narratives for such collections.

“Gazing” and “performing”: Travel photography and online self-presentation

This article illustrates the self-presentations young people foreground when they visually communicate international volunteer experiences to social media audiences. Through a “categorical-content” analysis of repeated semi-structured interviews and photographic content posted to Facebook, and with theoretical support from Urry’s “tourist gaze” and Goffman’s “presentation of self,” I describe three impressions “given” and “given off” within participants’ profiles. The findings reveal some familiar touristic scenes (necessitating tribute to the well-established “family” and “romantic” gazes) and also inspire a new gazing form (incorporating “gutsy” bodily experiences). However, these holiday-like portrayals were selectively disclosed and complicated by the sentiments participants expressed during face-to-face interviews. As different self-presentations were idealized in different settings, this article helps to elucidate the situational role of the audience and offers unique analytical insights that may not have emerged had I utilized one method in isolation. Its contribution is located within its intersections: blending gazing and performing frameworks, employing verbal and visual approaches, leading to etic and emic understandings.

TAMBORA SEBUAH PERJALANAN VISUAL

The purpose of this research is to reflect back 200 years of the eruption of Tambora on the island of Sumbawa, West Nusa Tenggara through travel with a photographic study approach, specifically travel photography. Since its inception, photography has played a constitutive role in shaping a travel record, this is also comparable to the importance of that role as a depiction of social identity (Osborne, 2000). In addition, travel photography is also a way to see experiences through visual authentication (Hilman Wendy, 2007). Mount Tambora erupted in April 1815, impacting global climate change and natural disasters which claimed 84,000 lives on the island of Sumbawa, and buried the Tambora kingdom and Concentrated .. Based on the results of research, researchers see the occurrence of reconstruction in the history of the eruption of Tambora which is not only seen as a mountain, but also as an identity in the social structure of society in the form of photography. A photographer has the authority to create a reality from pre-travel to post-travel.

Photography and other Media at the Service of Ottoman Archaeology

From its earliest days, photography was linked to material remains of the past. Western pioneers of the medium were attracted to photographing Ottoman lands, especially the land of the Pharaohs, and the Holy Land. The Ottomans also seized upon photography themselves, turning the lens upon monuments and artefacts within their own Empire. The literature on archaeological photography in the region has focused on European travel photography, and on the upper echelons of state officialdom. This article shifts attention to Ottoman bureaucracy, and to the societal level. It discusses the relationship between photography and the daily tasks associated with the Ottoman administration of antiquities. Additionally, it looks at the ways that an important learned society, the Hellenic Literary Society at Constantinople, used photography. The article treats Ottoman archaeological photography in its own right, largely on the basis of primary material in Ottoman Turkish and Greek. The article argues that photography was a new, technologically advanced medium that - in tandem with other visual reproduction techniques - was instrumental in promoting visions of modernisation. Photography, and other visual media, helped the Ottoman state promote state centralisation and modernisation, while enhancing the Hellenic Literary Society’s civilising mission.

Travel Images, Capitalism and the Ideology of Enjoyment

A commonly held assumption about social media is that because users create their own content such as images, videos and so on and thereby their own representations, social media are largely free from any ideological dispositions imposed from above. Creating images is a discursive practice, mediated by a myriad of social and cultural influences that we encounter in our everyday lives. Like in any other form of communication, certain image sharing practices become more dominant, where they intersect with a range of connotative meanings and their ideological dimensions. Within our current conjuncture of global consumerist capitalism, the dominant cultural order is that of maximizing enjoyment through consumption. This essay puts forth a semiotic reading of a cross-section of travel images shared by users on Instagram to explicate the relationship between travel photography, enjoyment as an ideology and capitalism. It is argued that to travel is not just an activity but it is a commodity that is consumed by us and sold to us by the tourism industry. Contradictions of life under global capitalism remain, with growing inequalities, precarious working conditions, casual job contracts and meagre pays. Material enjoyment remains illusory for many, while the ideological inducements to enjoy finds its outlet in the images we share. When shared on social media for the gaze and ‘likes’ of the viewers, our travel images are not just memoirs of a journey undertaken but also an affirmation of our enjoyment. For the viewers of these images, the enjoyment of others pertaining to consumption is to be envied or held up to an ideal against which the viewers may imagine their own enjoyment. Capitalism demands enjoyment in the form of consumption, and those who cannot enjoy, are ‘free’ to fantasize about such enjoyment in the future. While ‘free’ is the buzzword under neoliberal global capitalism, enjoyment is that kernel that underpins and sustains its ideology. Keywords: capitalism, enjoyment, ideology, social media, travel