f you look at enough photographs of disasters, you will see people posing with high water marks. It is a genre of photography onto itself: over and over, they will point to the mark, put their bodies in front of the mark, or photograph the high water line alone. This post explores the possible roles that the visual culture of post-disaster high water marks play, especially given the prevalence of the genre across disasters, geography, and time.
*This post originally appeared on Cyborgology. Objects have lives. They are witness to things. –This American Life, “The House on Loon Lake” Atlantic Cities’ feature on the psychology of “ruin porn” is worth a look–in part because it’s interesting in itself, in part because it features some wonderful images, and in part because it has […]
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Saturday, 14 September 2013 Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), University of Cambridge, United Kingdom Convener Dr Christos Lynteris (Mellon/Newton Research Fellow, CRASSH) Despite recent developments in the historical and anthropological study of medical photography, the photographic depiction of epidemics remains a largely unexplored area in the humanities and the […]
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