1 Book kia11343380

IntroductionLIGHTENING IN THE DARK BOX: A close look at Post-mortem
photography as a Victorian era phenomenon
.
.ECTURES
RITING WORKSHOP
XHIBITION
L
.W
.E
Role of Photography As Undeniable Proof of Events.Photography of dead: Memento Mori.Photography of dead infant.Post-mortem Photography After19st Century.Conclusion.
.PHOTOGRAPHY! FILM! ACTION!
TYPOGRAPHY AND COMMUNICATION
STYLE & POPULAR TASTE
THE EVERYDAY MODERNITY
AUDIENCE & INTERPRETATION
SYSTEM/GIDE!
SUBCULTURES
HEARTFIELD TO METAHAVEN-
THE INTERSECTION OF GRAPHIC
DESIGN AND POLITICS.
......
..I REMEMBER
IMAGINATION
SOVIET POSTERS OF THE
SILENT SCREEN
PHOTOGRAPHY GALLERY
KINO/FILM
..
.

INTRODUCTION
This book is created to show the summary of our module “contextual and textual”
and it includes the essay , lectures, workshops and exhibitions.
The first lecture began by Dr Mark Ingham. We all were ready to take notes. I tried to be
ready to write the notes and at first I had a bit stress because I had to be careful to do not loos
the important sentence but when he started the lecture, he made a created a relaxed atmos-
phere where it was easy to listen and write. He explained us every thing that we should do
in a great way. He told us, we have some lectures from many different interesting artists and
designers. We were to write a minimum of 300 words from each lecture, as a summary of
what we thought and for one of our favourite lectures we were to write a 2000 word summary.
The presentation of these musings could take any form we desire however documentary,
animation, blog and magazines were a few suggestions given.
In the first day of my Lecture I decided for the presentation of my thoughts I create a good
website. I liked to make it to be as accessible as possible, and what better than something that
can be reached by anyone in the world through the Internet, but I was not sure. So I changed
it and tried to make it more artistic. I preferred to create a small book. This is the book
which it is in your hand now. We had 6 Lectures and 2 exhibitions Plus some work shops.
The lectures are about Photography, Modernity, Typography and communication Critical
history of Design, system Gid and From heart field to metahaven, The intersection of Graph-
ic Design and politics. For my essay I have chosen to write about one of the very intresting
aspect of photography which is Post moterm photography.

Lightening in the dark box: A close look at Post-mortem photography as a Victo-
rian era phenomenon:
photo comes from a Greek word phos. Phosphorus in ancient Greeks meant brightest star
where phos meant “created by light”. The “graph” originates from the word graphic, meaning
sharply defined. (Ingledew, 2005) Thus, clear images created by light named Photograph.
Invention of photography, a 19th century technical innovation, has changed human’s percep-
tion and experience of the world significantly. In the begging, the ability to reproduce reality
chemically recorded on a paper sounds like a miracle. It was the fulfillment of old human
desire to create an imaginary world that is believable to the same extends as the real world.
(Scheps, 1996). For the first time, it was possible to record the past not by writing and paint-
ing but in the form of real images. However, every photograph is more than just a simple
image from reality.
The photography is a vast topic which encompasses various sub-sections that are all worthy
of explore and research. Out of all aspects of photography, I have chosen Victorian post-mor-
tem photography for this assignment. The nature of post-mortem photography, its different
applications during the history and its importance for the families encouraged me to write
about this aspect of photography. This assignment indicates that after introduction of pho-
tography in 1839, the practice of post mortem photography became very prevalent and it
still continues to some extent. The bereaved family and close relatives of the deceased person
were widely using photography to keep the memory of their loved ones after death. Although
the photography of dead are not a common practice today, the practice of taking post mor-
tem photographs of the stillborn infants are still applied by bereaved parents.
This assignment first will focus on the photography as powerful tool for documenting the
important events. This characteristic of photography will be explained by showing the dif-
ferent photos of historical moments in the past. This will help us to realize the reason why
post-mortem photography was used to record the event of death in Victorian era. In the
next section the post-mortem photography will be discussed thoroughly. In order to make
the argument more clear, I have broken down the post-mortem photography into four main
sections based on different applications and different times. Finally, I will write a conclusion
of my findings and observations.

Role of Photography As Undeniable Proof of Events
According to Emanuel Lewis, one of the most important aspects of infant post-mortem
photography, which has therapeutic power, is that it can provide valid evidence regarding
the father and mother’s parental role by showing the existence of the infant.(Emanuel
Lewis, 1976).Thus, in this section I intend to indicate the role of photography as powerful
tool for showing the evidences of the important events and memories.

They said a picture is worth a thousands words.Since 1826,when Niepec succeeded in
producing the first ever-permanent image by using a camera obscura, the photography
has revolutionized our observations of reality. His effort then accompanied with Louis
Daguerre’s and led to invention of “The Daguerreotype” as first type of photography in
1839. This was the first time in history that the puzzle of capturing permanent images
using camera was solved.
Photography has given us new ideas about what is worth looking at and what should
be observed. Observation has its own grammar and more importantly should be based
on ethical grounds. The most interesting thing that we can get from photography is the
ability of holding the whole world in our heads as a collection of images.(Sontag, 1977)
Fig 1. The picture above widely known as “View From The Window At Le Gras” as it was taken from a window
showing the rooftops of Niepec’s home. It is believed to be a very first picture ever captured by camera.

Fig 2. La JeuneFille a la Fleur,” a photograph by Marc Riboud, shows the young woman putting a flower in the
guns of the guards during a protest against the Vietnam War on October 21, 1967.This photo later became the
symbol of the flower power movement.
What is special about photographed image is that it is not like written piece,
which is only an interpretation, and it is not like drawings and paintings, which are the hand-
made visual statements. Photographed images can be presented more as some pieces of the
world rather than the statements about it. (Sontag, 1977)
Photographs provide evidence and gives undeniable proof about thing that happened. Al-
though photographs are mostly related to mirroring the reality, they are still concerned with
conscience and taste. (Sontag, 1977)
Thus, it is clear that photography has substantial power in providing evidences
about the events. As it captures the reality as it is, it is preferred over other alternatives such
as drawing and paintings. It was the main reason that after the advent of photography in
1839, it became widely used by many bereaved families to save the memories of their de-
ceased relatives.
Fig 3. This photo is taken by astronaut William Anders during the Apollo 8 mission in 1968. The beauty of this
picture is that it is looking at the earth from the moon. It not only can be used as a proof of the Apollo 8 mission,
it also contains photographic taste as a single picture.

Figs 4. Sisters pose for the same photo three separate times, years apart. This is an amazing family picture
showing the past and present.

Photography of dead: Memento Mori
In 1839, after introduction of Daguerreotype, photography was used widely as way to re-
member the dead. As it was mentioned by Barbara Norfleet, (1993), when the practical pho-
tography was invented, the mortality rate was very high in Europe and America. The families
embrace the event of death in paintings, poetry, tombstone sculpture and then using the
photography as new invention. Moreover, the dying person was kept in the house rather than
hospitals which led to intimacy of death. (Norfleet, 1993)
According to Pat Jalland, (1996), The welcoming attitude of Victorians towards death was
also stemmed from the role of religions in their life. Majority of families were practicing
Christianity and regarding death as a manifestation of God’s will and belief in the afterlife
meant that person would continue to live in heaven after death. (Jalland,1996).
Audrey Linkman (2011) mentions that the post-mortem photography indicates a desire to
see and remember the deceased person after death. Based on the Christian values in Victo-
rian era, a dying person should have been surrounded by loving relatives for giving the last
farewell to the person comforting them that they would meet in heaven.There were different
rituals for after death.
The body of the deceased person was remained for couple of days and relatives were visiting
the dead person to talk to, pray for and saying goodbye. However, not everyone could be
present by thedeathbed before and after the death due to various reasons.Thus, post-mortem
portrait could be a form of alternative admission to the event of death and provided some
measure of consolation. (Linkman, 2011)
Fig 5. The girl who is standing in the photo is the one who is dead. This is a classic example of
photographic art. Notice the hands. The corpse is standing up by using a certain tool which
supports the body including the neck, arms and back.

Fig 6. Although she looks very much alive, this photo was taken of a young woman not long after her death.
The photographer was usually asked to come before death or right after, as it was easier to pose the person. It
was also aimed to show a person as if she is still alive by holding her eyes open. This is a remarkable photo of a
beautiful young lady who died in her prime.
Fig 7. The woman on the left is deceased while the woman on the right looks to be holding her. They look to
be sisters. In those pictures, adults usually were places in normal everyday positions. This is a beautiful and
emotional picture.

Photography of dead infant
According to Kathleen Alexander, (2001), the birth and death of the loved ones are the most
emotional incidences in people’s life. The scenario became more devastating for parents in
prenatal death when birth and death incidences are combined. (Alexander, 2001)
According to Geoffrey Batchen (2004), the large part of the post-mortem photograph’s heal-
ing power originated from its capability to provide undeniably proof of the deceased in-
fant’s existence and therefore the father and mother’s parental role. It not only helped to keep
memory alive, it provided some proof regarding the birth of the child although it has short
span of life. Those pictures could be shown to friends and family to give a reality to the child’s
life that they didn’t have a chance to see at the birth or death. (Batchen 2004)
Fig 8. This picture shows a woman cradling her deceased infant. In those pictures, children are normally
posed while they were playing with toys or when they are lying in a cradle or on their mother’s lap.

Fig 9. Post-mortem and hidden mother in the back who tries to hold the child’s head
straight.
Post-mortem Photography After19st Century
As it was mentioned by Norfleet (1993), the intimacy with death was one of the main reasons
that people in 19th century practising pot-mortem photography. In 20th century with sci-
entific advances made a death an infrequent event which normally happens in the hospital
rather than the houses. However, Norfleet asserted that he post-mortem photography was as
common in 20th century as it was in 18th century. However, as the attitude of people towards
death was changed the photography of dead are usually kept hidden. (Norfleet, 1993)
“ We no longer accept death as part of nature and frustrated that we can not control it. Most
of us has lost the art of sharing our own grief and helping others with theirs. The photograph-
ic mementos once used so widely to console family and friends about the loss of loved one
remained hidden”. (Norfleet, 1993, 14)
According to Alexander (2001), one of the only types of post-mortem photography which
is still prevalent in western countries is perinatal photography which has been done by pro-
fessionals in the hospital or by bereaved family to help the parents come to terms with their
loss. However, Alexander raised some serious doubt about the effectiveness of this practice.
(Alexander, 2001)

Figs 10. This picture beautifully captures the moments before and after death. The comparison between these
photos helps us to better understand the event of death as an inevitable part of life.
Post Mortem Photography As An Art
Apart from prenatal photography, the practice
of post-mortem photography continues into
modern time due to artistic and non-artistic mo
tivations. The German photographer Walter Schels
and his partner Beate Lakotta made a collection by
photographing terminally ill people before and af
ter their death. They found that capturing the pro
cess of death is the best way to understand and
celebrate life. (Schels & Lakotta, 2008)
As it was explained by Schels, ”Few experiences
are likely to affect us as profoundly as an encounter
with death. Yet most deaths occur almost covertly, at
one remove from our everyday lives. Opportunities to
learn more about them are rare indeed”. (Schels, 2008).

Photography is one of the most influential ways of communication. It has changed the
way people in 19th century saw the world and its effect lingers on to this date. It has broken
down the distances and made a world smaller. It has a power to record and narrate the his-
tory.
In this assignment, I have looked at the post-mortem photography as an interesting aspect of
photography. Perhaps, the substantial effect of those pictures on people’s life cannot be un-
derstood at this time when every person has hundreds of pictures before death. However, the
post-mortem pictures in Victorian era were the only proof of the existence of the dead child
as a member of the family or the only thing which helped the bereaved family to remember
their loved ones. Moreover, it was impressive to me that how the different attitude of people
towards death during past two centuries changed the course of post-mortem photography.
The practice of post-mortem photography indicates the power of photography as an undeni-
able proof of events. It shows that how photography can influence the most vulnerable aspect
of human life which is death. It helped the families in 19th century to accept the fact of losing
their relatives more easily by using their photograph to heal their bereavement. Moreover,
the various applications of post-mortem photography over the past two centuries indicate
that how photography can be blended into the culture of the time that its practice reflects the
attitude of that society towards one certain issue.
As it was elaborately explained by Townsend, (1998),
“The Victorian post-mortem photograph was a way of mourning, an effective means of com-
ing to terms with loss. The image made the fact of death explicit, but the dead body did not
only symbolise itself, it stood in for memories that had not been recorded, and for memories
that would never happen, for potential erased. The photograph of the dead child was as much
anticipatory as it was documentary. In the Victorian home one image stood in for all images,
the memories that its subject, the family and the community would never share. Fixing the
end point of life it too created a retrospective, imaginary narrative that led to the final mo-
ment, and in which the family was included”. (Townsend, 1998, p.36)

PHOTOGRAPHY(By Dr.Mark Ingham)

In this picture a photographic studio is shown in which one man is seated on a stool near
an adjustable clamp to hold his head steady during a long portrait time.
Every aspect of photography is dependent on the light. Light is what the film captures,
“To photograph people is to violate them, by seeing them as they never see themselves, by
having knowledge of them that they can never have; it turns people into objects that can be
symbolically possessed.
Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder-
a soft murder, appropriate to a sad, frightened time.” (Sontag, 1979:14-15)
Fig 11. first photograph on silver. (Cahalan, 2013)
The first photography was in 1826, when the first still Image was taken. Even though
this is the date the first photograph was taken, the year 1839 is named as the beginning of
Photography. (Ingham 2014)
At the very beginning, creating a photograph would take almost 30 minutes. In that time, the
photography was so hard and therefore people’s faces became so pale as if they are not alive.
Moreover, the photographer had to use a specific tool like Clamp to keep the customer’s head
straight. The difficulty of getting one photograph done made the whole concept very exciting,
for both the rarity of the device and stillness in the picture. (Sontag, 1979)
Fig 12. Clamp. (Ingham, 2014) Fig 13. Clamp (Ingham, 2014)

In this Picture, you can
see a mother who hold her
child while they are being
photographed. The mother
is disguised as chairs, cur-
tains or simply rugs to create
the perfect Victorian family
snap. (Ingham 2014)
Fig 14. Mother keep the child. (Ingham, 2014)
As frames were used
to eliminate the background
once the photo was placed on
a wall or mantelpiece, pho-
tographers would sometimes
not be bothered to cover the
mother’s legs or skirt.
(Ingham 2014)
Fig 15. Mother keep the child. (Ingham, 2014)

The first selfie? Parmigianino’s Self-Portrait in a Convex Mirror, 1523–24.
Fig 16
Self-portrait photograph is when someone takes a photo from themselves. The first of
this type photo was in 1839 from Robert Cornelius. The back reads, “The first light picture
ever taken.” (Ingham 2014)
The picture in the right side was also shown in class ( La Jetee (1962) by Chris Marker ).
At first glance, every student had different opinion about this image. Picture shows a couple
in which a woman holds a gun with knife and man has a parrot. It is a family pet photo.
(Ingham 2014)
Fig 17. First selfie Fig 18. Family pet photography

“Soon, from somewhere in the digital uni-
verse, came comparisons to Puentes’s with
selfies taken by gamer avatars in Grand Theft
Auto 5 [11] that depict themselves with ca-
tastrophes. Here, people have created fiction-
al figures that mimic what we do, and amaz-
ingly enough, the genre’s earmarks are often
present in their avatars’ self-shots: the telltale
raised shoulder, the close-in view, the bad
camera angle, and the stare.” (Saltz, 2014)
Fig19
Fig 20. Hoshide: space selfie. (BBC, 2013)
“A selfie is an expression of an active online
identity, something you have some control
over. You might take lots, but you’ll publish
the ones you like - even if they are silly or un-
flattering.”
According to Dr Rutledge, we enjoy opportu-
nities to experiment with different identities
- and the selfie allows just that. “We all want
to be able to ‘try’ on a new image and imagine
how we would feel as that part of ourselves,”
she explains. (BBC, 2013)
Fig 19. Obama daughters. (Coulthard, 2013)
We live in the age of selfie photographs which is a fast self portrait made by a
smartphones. These days selfie photos are taken everywhere. It can be done by famous peo-
ple in Oscar ceremony or political gathering or in the balcony of any house by some friends,
family or individuals to be shared for social networking. Selfies have changed aspects of pri-
vacy, social interaction, public behaviour and self-awareness. It is now a new genre of visual
communication which is different from all other in history. (Saltz, 2014)
We had to take a selfie photo with our group same as the picture on the top.
Fig 21. Obama et al.: “las meninas” selfie. (Saltz, 2014)

Fig 22. thype of photography (Ingham,2014)
To finish the lecture, we looked at an amazing series of photograph taken by DiCor-
cia. His collection of candid photos of the New York public using strobe lights created in-
credible images that could be mistaken for scenes from a blockbuster movie. (Ingham 2014)
In addition, We saw a photograph by Gary Schneider, Tom, 2002. The photo was very strange.
(Ingham, 2014)
This lecture was about photography. Before attending this lecture, my knowledge about pho-
tography, history of photography, the comparison between its application in the past and our
time and etc was very brief. This lecture and the research I have done to write the assignment
changed my outlook about photography significantly. I have learned some techniques and
skills, which will surely be helpful in my future designing.

TYPOGRAPHY AND
COMMUNICATION(BY John-Patrick Hartnett)

Fig 23. Robert Bringhurst book. (Meilleur, 2013)
According to Oxford dictionary, Typography is the procedure or an art of arranging
type or processing data and printing from it. (Oxford Dictionary, 2003) “Typography is an
art that can be deliberately misused. It is a craft by which the meanings of a text ( or it’s a ab-
sence of meaning) can be clarified and honored, or knowingly disguised.” (Brinhurst, 1992,
p 17)
According to Bringhurst, (1992), Typography should perform services for the reader as be-
low:
1.Invite the reader into the text.
2.Clarify the structure and the order of the text.
3.Reveal the tenor and meaning of the text.
4.Link the text with other existing elements.
5.Induce a state of energetic repose, which is the ideal
condition for reading. (Brinhurst, 1992)
According to Bil’ak, (2005), “Typefaces designed to fulfil
the needs of their times contribute their small part to the
knowledge accumulated across the centuries; not necessarily
by inventing anything revolutionary, but by extending and
adapting collective knowledge to contemporary conditions.
The spirit of continuity is crucial: each new creation is an
answer to what has come before and each typeface contains
accumulated knowledge.” (Biľak, 2005)
Fig 24. Bringhurst cover book. (Meilleur, 2013)

Fig 25. Robert Bringhurst book. (Meilleur, 2013)
In this lecture I have learned about the typography. Typography helps to idealise the
writing. It is important that a typographer read the paragraph before applying the typogra-
phy. The good typography should draw the reader’s attention to the paragraph before it is
being read. In fact, durable typography should always have high legibility. Typography must
give some living energy to the page. This should be applied to all different types of typogra-
phy such as in business cards, postage stamps and instructions sheets. As it is mentioned by
Robert Bringhurst, (1992), Typography is an art of showing human language in a durable
visual form. The grand design. (Brinhurst, p21, 1992)
Robert Kinross: “Reason that is split off from feeling is a distortion of reason. And reason
is an active thing. It connects with the world: reason is critical” Since 1450s until today,
Type foundries have cast fonts in lead alloys. (Kinross, 1993)
History:
. Since 1450s until today, Type foundries have cast fonts in lead alloys.
. Wood Type, About 19th century people used wood material for large fonts which it called
Wood Type particularly in the United State.
. Machine, In the 1890s the mechanisation of typesetting came to be automate casting of
fonts and types in different size and length needed. Linotype machine was the first machine
of this type.
. during 1950s – 1990s, started to use typography in film.
. Digital type, became the dominant form of type in the late 1980s and early 1990s.
Gutenberg Bible 1450s. (Patrick Hartnett, 2014)

Fig 26. Gutenberg Bible – 1450s vs. Posterwall for the 21st Century – Lust 2011.
(Patrick Hartnett, 2014)
Extra Reading Resources
Experimental Typography – Whatever That Means by Peter
Bil’ak
More Light! For a typography that knows what it’s doing by
Robin Kincross (1993)
David Carson – Opposite of what Bringhurst said
Other Relevant Works
Blast Journal Cover – Whyndham Lewis (1914)
Workshop – Wyndham Lewis (1915)
Ways of Seeing – John Berger (1972)
Jewish Museum, Berlin – Daniel Libeskind (2001)
Die Frau Ohne Namen Film Poster – Jan Tschichold (Yan
Chickhold) (1927) – He practiced a style called New Typog-
raphy
Hiroshima Poster – Wim Crouwel (1957).
Graphic Object by Mira Schendel (1967). (Patrick Hartnett,
2014)

STYLE AND
POPULAR TASTE(BY Dene October)

Fig 27. Photo of music band. (Berger, 1992)
This, we ask where fashion comes from, consider the current
V&A exhibition ‘Club to Catwalk’ and examine debates about taste.
John Berger analyzed people background by looking at their suits in
different photographs. Formal dark suits have become so rare today
even in the villages, but for most of the past century, dark three pieces
suits are used by young peasants in different occasions. (Berger, 1992)
Berger, first describes the photo of the music band. In order to analyze
this photo, he offered to cover the face of the band members with piece
of papers and only observe their clothes. He concluded that the suits
do not disguise the social class of the people who wear them and some-
times even emphasize it. He mentions that suit deforming the band
member and they look as if they are physically mis-shapen. It was not
about the clothes, it was about the bodies who wore them. They look
uncoordinated, barell-chested, bandy-legged, twisted, low-arsed and
scalene. The abnormalities are not extreme but enough to undermine
physical dignity. In second experiment he offered to cover the clothes
and just observe the faces of the band members. By taking the first
glance on their faces, it is easy to guess that they are country people.
Nobody can claim that they are lawyers or managers. (Berger, 1992)

Berger then describes the second photo which shows three young men on the road to
go for dancing. He mentioned that their hand look too big and their body look too thin and
their legs are too short. If the last two experiments are run for this photo, the same results
will be obtained. (Berger, 1992)
Finally, Berger described the last photo which shows four protestant missionaries in 1931.
Without running the experiments of covering the face and the suits, it is clear that here suits
confirm and enhance the physical presence of those wearing them. The clothes give the same
information as the faces and both related to the history of bodies which are wearing them.
(Berger, 1992)
Fig 28. Photo of 3 young men
(Berger, 1992)
Fig 29. Photo of four protestant
missionaries. (Berger, 1992)

Tom Purvis was British painter and commercial poster artist. He was born in Bris-
tol and studied at Camberwell School of Art. e worked for six years at the advertising firm
of Mather and Crowther before becoming freelance designer. He developed his own style,
which is characterized by bold, two-dimensional style using large blocks of vivid flat colour.
His work suited the “Art Deco” vogue of the 30’s. (Retero, 2013)
He is most famous for his collaboration with Austin Reed during the 20’s and 30’s. He pro-
duced posters for Austin Reed that defined their corporate sense of style and client they wish
to entertain and cater for, which were the upperclass. His superb use of bold, flat, colour
and sense of British culture and fashion became a success. His work for Austin reed forms
a significant part of the rich legacy he left to inspire and influence generations of designers.
(Retero, 2013)
In this lecture, I have learned how it is possible to capture the people background and social
classes by looking at their suits in the photograph. It taught me to observe the photos more
elaborately and analyze them more carefully. I have learned that media and publicity can be
that strong to make a new culture for the society. As it was mentioned by Berger, the main
reason peasants are wearing suits even though it was not belonged to their class was that
they are being persuaded by media that can be the same as upper class by wearing the same
clothes. However, as Berger mentioned, the important point here is the existence of class he-
gemony which means the domination of the society by the ruling class who manipulates the
culture of the society including the dress code. (October, 2014)
Fig 30. Purvis Poster(
Retero, 2013)
Fig 31. Purvie Poster.
(Retero, 2013)

Post Modernism – No progress – modernists have lost faith in progress because fash-
ion keeps on recycling and mixing trends without inventing new trends.
The emphasis is on choice – now there are multiple trends – you can CHOOSE the consumer
is important – how they use the product is important – customization I-D magazine: runa-
way from the fashion dictators. (october,2014)
The V&A Exhibition: Club
to Catwalk displays fashion
that has circulated from bot-
tom to top. (October, 2014)
Fashion Theory: Bubble Up
Street style inspires the Top
Brand fashion designers and
they create fashion with that
essence. (October, 2014)
Night Clubbing in London,
1980s. (October, 2014)
Fig 32 Fig 33 Fig 34

THE EVERY DAY
MODERNITY(By Adriana Eysler)

Fig 35. Charles Marville, First Picture: Building Of Avenue del’Opera butte des Moulins Rue Saint Roch, 1858-
78. Secound picture:Rue Souflot, The Pantheon, 1858-78. (Eyster 2014)
Fig 36. The modernity in London in 2 pictures. (Eyster 2014)
In this seminar we looked at and experience the modern everyday through the eyes of
such figures as the Flaneur, the Ragpicker and the Situationist drifter. (Eysler, 2014)
Modernity is short term for modern society or industrial civilisation.In other words, moder-
nity is happened due to different factors such as human intervention, industrial production,
market economy, the nation state and mass democracy. Modernity is periodised into three
conventional parts; Early modernity: 1500-1789, classical modernity: 1789-1900, late mo-
dernity: 1900-1989. (Giddens,1993, p.94)
“At its simplest, modernity is shorthand for modern society or industrial civilization…it is
associated with…[1] the idea of the world as an open transformation by human interven-
tion…[2] industrial production and a market economy…[3] the nationstate and mass de-
mocracy.” Giddens, A ed (1998). Conversations with Anthony Giddens: Making Sense of
Modernity. (Giddens,1993, p.94)
Modernity brought changes into the society. The transition to modern society can be seen
easily by comparing the old time and current time pictures. The pictures are indicates that
how the streets, buildings and means of transportation are changed while the society was
moving towards modernity. To be modern is to be part of universe
Marx said, ” all that is solid melts into air.” (Berman,1988 p.15)

Urban modernisation
eg Haussman’s remodeling of Paris (1853 - 1870)
- ‘Creative destruction’
- Slum clearance and the opening up of the city
- Commercial streets, zoning for cafés
- Macadam streets, faster tra”c
- Parks, public squares, uniform buildings
- Ease of movement for military
Experiencing the modern everyday
The 19th century poet, writer and critic Charles
Baudelaire had his essay ‘The Painter
of Modern Life’ published in 1863, in the midst of
these huge social changes.
Paris between the years 1853 to 1870: the teacher
showed us a picture from Paris from early and now.
it was so amazing. the city came to be more modern
and nicer with enough space for cars, Parks and the
other things. it changed a lot. (Eysler, 2014)
Fig 37. 2 pictures Modernity in Paris.
(Eyster 2014)
The Flâneur: ‘By ‘modernity’ I mean the
ephemeral, the fugitive, the contingent…’ (Eysler,
2014)
Experiencing the modern everyday: The 19th cen-
tury poet, writer and critic Charles Baudelaire had
his essay ‘The Painter of Modern Life’ published
in 1863, in the midst of these huge social changes.
(Eysler, 2014)
“In all that is solid melts into air, I define modern-
ism as any attempt by modern men and women to
become subject as well as objects of modernization,
to get a grrip on the modern world and make them-
selves at home in it. This is a broader and more inclu-
sive idea of modernism than those generally found
in scholarlybooks. It implies an open and expansive
way of undrestanding culture; very different from
the curatorial approach that breaks up human activ-
ity into fragments and locks the fragments into sep-
arate cases, labeled by time, place, language, genre
and academic disciline.” (Berman, M. 1940,p.5)
Fig 38. photo of Flaneur.
(Eyster 2014)

Fig 39. A picture from “Nada” short film. (Sinclair,M. (2013)
During the lecture watched a short snippet of the 1988 American science fiction
film 1988 written and directed by John Carpenter. The film stars Roddy Piper, Keith David,
and Meg Foster. It follows a nameless drifter referred to as “Nada”, who discovers the ruling
class are in fact aliens concealing their appearance and manipulating people to spend money,
breed and accept the status quo with subliminal messages in mass media.
Nada, a down-on-his-luck construction worker, discovers a pair of special sunglasses. Wear-
ing them, he is able to see the world as it really is: people being bombarded by media and
government with messages like “Stay Asleep”, “No Imagination”, “Submit to Authority”. Even
scarier is that he is able to see that some usually normal-looking people are in fact ugly aliens
in charge of the massive campaign to keep humans subdued. (Eysler, 2014)

Fig 40. A picture from “Nada” short film. (Sinclair, 2013) Fig 41. A picture from “Nada” short film. (Sinclair, (2013)

AUDIENCE &
INTERPRETATION(By Dr.Mark Ingham)

Fig 42. Golden Record
How many ways can an alien analyse an animated robot?
or… How Many Ways Can An Articulate Alien Analyse an Animated Robot?
Imagine you have just landed on Earth. You have come from a distant planet…
…in a galaxy far, far away. (Ingham, 2014)
you are a very curios and highly observant species. you are always meticulously externally
recording what you, see, hear, touch, taste, feel and think. your internal memory systems are
used in more imaginative ways. you only know the history of earth from Voyager 1, a space
craft sent into outer space on September 5, 1977. (Ingham, 2014)
What is the Golden Record?
“ Pioneers 10 and 11, which preceded voyager, both carried small metal plaques identifying
time and place of origin for the benefit of any other space fares that might find them in the
distant future. With this example before them, NASA placed a more ambitious message
aboard voyager 1 and 2 a kind of time capsule, intended to communicate a story of our
world to extraterrestrials. The Voyager message is carried by a photography record-a 12-inch
gold-platedcopper disk containing sounds and images selected to portray the diversity of life
and culture on earth.” (Ingham, 2014)

Fig 43. “Robots Of Brixton“. short film Kibwe Tavares. (youtube 2012)
We watched a short Film about Robots of brixton made by Kibwe Tavares. The
movie was like showing past and feature because of the robots and some picture from the
past. Always music can make the feeling of a film much more better and I admit that the mu-
sic which they chose is good and it had a great effect. The Robot walked in a dark and cold
city. It went to a room and had shisa to. I remember in the city was human and Robots. I do
not undrestood why? Every things like buildings fast foods were like now but I think not
in the nice way. After having shisha, he imagined that he is in a green and nice place like a
garden, then he imagine war and policemans.
I thought when the Robot start to imagine after using the shisha why the window was like a
window in church. May be he liked to death.
After watching the short film we look at different types of research.
Descriptive Research: What you actually Seen or heard?
The the face of the Robot his feet, eyes, music, the fast foods, stores, camera in the street, the
special building, chair, shish, Garden, humans, wars, guns.
Through some waves that you find out are called W.i.F.i ( you understand on earth). (Ing-

Fig 43. some picture, step by step from “ Robots Of Brixton which I took from the film. (youtube 2012)
We whached the film step by step and it helped us to remember each part of the
movie.
“you want to know more about the film which you just seen. through THE WIFI you come
across a way of possibly looking at this film more closely.” (Ingham 2014)
You may have gained some more information from looking back at the images you have re-
corded. BUT not enough to satisfy your insatiable… (Ingham, 2014)
Reflection-in-Action: “Is concerned with practicing critically.
Reflection-on-action: On the other hand, occurs after the activity has taken place when you
are thinking about what you and others did, judging how successful you were and whether
any changes to what you did could have resulted in different outcomes.” (Ingham, 2014)
Shot by shot analysis:
•Look at the reputation of the area
•Look at the relevance between the story and previous historical events
•Look at why robots are used to represent humans
•Look at why it is shown in this particular POV

Fig 44. Action Research. From the Lecture. (Ingham, 2014)
Describe Analyse Situate (D.A.S) - How many ways can you analyse a film?
There are many ways to Analayse the film such as:
•History (Similar historical Events, Unemployment statistics, Income Statiestics).
•Psychological (why they made this film? what kind of reaction they anticipated?)
•Political (Status, The tension between the policemen and the citizens, race, Social class).
(Ingham, 2014)
In this lecture I have learnd how to Analyes a movie and there are many different ways for
analyes it.

this film was interesting too. I thought the story
is the subject which it make you famous one day
drowning in it and in the end death.
Kibwe was in Sundance Film Festival 2013 with a new film
entitled Jonah. The film tells the story of when two young men
who photograph a gigantic fish leaping from the sea, their
small town in Zanzibar becomes a tourist attraction. You can
see the trailer and a small review of the film below.
“FACTORY FIFTEEN” entitled Jonah. The film tells the sto-
ry of when two young men who photograph a gigantic fish
leaping from the sea, their small town in Zanzibar becomes a
tourist attraction. You can see the trailer and a small review
of the film below. (Hangingout, 2013)
Fig 45. Factory Fifteen. (Hangingout,
2013)
“FACTORY FIFTEEN” entitled Jonah. The film tells the sto-
ry of when two young men who photograph a gigantic fish
leaping from the sea, their small town in Zanzibar becomes a
tourist attraction. You can see the trailer and a small review
of the film below. (Hangingout, 2013)

SYSTEM GRID( By Monika Parrinder)

Fig 46. System Grid in different places.(Urban Fabric & Form Comparison, 2008)
This Lecture was interesting like the other lectures too. We compared different types
of grids. We began by discussing some key terms, such as rational versus irrational, mecha-
nisation versus digital, homogeneous versus heterogeneous and modern versus postmodern.
We compared different types of grids.
Many years ago the shape of streets was so different and this difference can still be observed
by comparing the cities like Rome with New York. The Rome grid system is very organic
which reflects the rich history, the age of the city and the society characteristics. The grid
system in New York on the other hand is rigid which is compatible with its young and cos-
mopolitan nature. The different grid system can affect the society living within that grid. This
can be observed by comparing the attitude of people living in some city like New York with
the people of some old structured city like Rome. New York living is more busy and detached
in compared with more organic feel of living in Rome. This can be explained as attribute of
the grid system used in each city. (Parrinder, 2014)
“Grids have a long genealogy in design – from the city footprint, to the device used to shape
the layout of magazine pages. They have also been the underlying theme of much modernist
art since the 1920s. Grids might be seen to direct the messy, ordinariness of life. This was the
view of Michel de Certeau, the French social theorist.” David Crowley, Royal College of Art,
2001. (Parrinder, 2014)

Fig 47. a city map, (THE CITY OF LONDON, UK 2012)
We looked at the use of grids within Renaissance artwork and how the artists
used the grids to gain a depth of perspective. This gives a homogenized view of the world.
(Parrinder, 2014)
Grid system is a symbol of civilization and has a long genealogy. Since the Greek golden sec-
tion, the Renaissance perspective drawing and Gutenberg printing of Bible till the city grids
and the typographic grids or even the underground diagrams and Isotypes we can see every-
day, grid system is structural thinking for better reading and understanding. It standardizes
the design format for higher accessibility in the world. (Parrinder, 2014)
According to Michael de Certeau “Grids might be seen to direct the messy, ordinariness of
life.” (Parrinder, 2014)
Andy Warhol in 1960: “A Coke is a Coke and no amount of money can get you a better Coke
than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes
are good. Liz Taylor knows it, the President knows
it, the bum knows it, and you know it” (Parrinder,
2014)
How grids and systems can affect homogeneity and
standardisation?
London Underground tube map that was created
by the UERL but then simplified and standardised
by Harry Beck. which it is easy fo every one to find
their Destination. (Parrinder, 2014)
Fig 48 . Under ground map (Mikey, 2010)

SUBCULTURE(BY Adriana Eysler 2014)

Defining ‘Culture’ The critic Roymond Williams sees the term culture as ‘one of the
two or tree most complicated words in the English language’ because it is ‘ used for important
concepts in several distinct intellectual disciplines and in several disciplines and in several
distinct and incompatible systems of thought’. (Williams 1983 p.87)
Belifes, customs, ways of life, ways of thinking, be-
having or working that exists in a place of organisa-
tion.
The set of valaus, conventions, or social practices
that characterists am institution or organisation.
(Eysler, 2014)
‘Culture’ combined thought, experiences, values and
behaviours, concepts, and the developed assump-
tions regarding life which affect our behavior (Jandt,
2012)- sets of charactristics that unify a group of
people.
Fig 49. subculture(Eysler, 2014)
Proffessor Geert Hofstede categorized these aspects into four categories (1994):
•Symbols, Verbal and non-verbal language
• Rituals, Collective Activities
•Values, Feelings not open for discussion within a
culture about what is good or bad
•Heroes, Fictional people who serve as behaviour
models. (Eysler, 2014)
Subculture/ Co-Culture
Subculture – a cultural group within a larger culture,
often having beliefs or interests at variance with
those ofd the larger culture (Eysler, 2014)
Fig 50. English rude boy, 1970s (Eysler, 2014)

Culture to subculture
Fig 51. 1960s hippie culture (Eysler, 2014)
According to Sociologist Paul Hodkinson a subculture can be defined by four ele-
ments:
•Commitment: Members must be committed to a degree that influences the pattern of
everyday life for the participant involved, accounting for free time, friendship patterns,
shopping routines, going out habits and etc.
•Identity: Members must share a sense of affiliation with group insiders, giving feelings of
distinction from outsiders. Creating a different perspective from those outside the group.
•Distinctiveness: A set of shared tastes, ideals, and values which is distinctive from those of
other groups and reasonably consistent within the group.
•Autonomy: Independent and self-governing, not relying on mainstream culture. Hodkin-
son, Paul (2007). Youth Cultures: Secenes, Subcultures and Tribes’. NY: Taylor and francis
Group LLC. (Hodkinson, 2007)
Subcultural Capital: Judgement in a form of subcultural reading which determine involve-
ment. (Insider Knowledge)
Elements differing from mainstream culture:
. Fashion, Cloting style, Fabrics-Brands . Mannerisms and language
( and recognition of their status) . Symbols
. Hair, Makeup, Jewelley, Accessories . Aesthetic values
. Music . Activities
. Aesthenticity (“Scene”-definingboundaries of in/out). (Eysler, 2014)

Fig 52. Urban Graffiti
Subcultural Territories–Refus-
ing through creating spaces.
(Urban graffiti, urban skateboard-
ing) Hacienda nightclub, Manches-
ter,1980s. (Eysler, 2014)
Fig 53. Urban skateboarding ( Eysler, 2014)

Subcultural Cultural Production - Not always, come together around ‘culture’ like mu-
sic, clothing, cars, and through these artefacts construct a ‘culture’ of their own. Subcultures
grant their constituents the power of creation and then a sense of ownership over what they
have created. (Eysler, 2014)
Theorist, Dick Hebdige argues that a subculture…
•is a subversion to normalcy
•can at times be perceived as negative due to their criticism of the dominant standard
•brings together like-minded individual who feel neglected by societal standards and allow
them to develop a sense of identity. (Hebdige, D. 1979)
Subculture style/ Differentiation
“Style in subculture is pregrant with significance. Its transformations go ‘against nature’,
interrupting the process of ‘normalization’. As such, they are getures, movements towards
aspeech which offends the ‘silent majority’, which challenges the principle of unity and cohe-
sion, which contradicts the myth of consensus.” Dick Hebdige, Subculture: The Meaning of
Style. (Hebdige, D. 1979)
Fig 54. The Development of Subcultures (Eysler, 2014)

Hippie subculture counter culture !
Fig 55. Riot Garrl, 1990s. (Eysler,2014)
Fig 56. Television brought the brutality of war into comfort of the living room. (Eysler, 2014)
Fig 57. First Jefferson Airplane poster,1960, 2 Concert, 3 Milton Glaser,1966 Bob Dylan. (Eysler, 2014)
Fig 58. Drop city, 1965- 68, rural commune in southern colorado, USA. (Eysler, 2014)

Heartfield to
Metahaven – the
intersection(BY Dr.MARK INGHAM)

This seminar was about the ways that graphic designers have worked with political
themes in their visual practice and writings.
Research & Destroy
Graphic Design as Investigation
‘Since the production of services results in no material and durable good, we define the labor
involved in this production immaterial labor – that is, labor that produces an immaterial
good, such as a service, a cultural product, knowledge, or communication.’ - Toni Negri &
Michael Hardt, Empire (2000). (Ingham, 2014)
“Counter propaganda to the hegemonic media apparatus of the thirties,the only voice in the
visual avant-garde to oppose the rise of fascism as a late form of imperialist capitalism.”
Johne Heartfield was the fist man to use art as a political weapon. Heartfield was truly ag-
gressive in his attack of the Nazi party – in 1934 he made a poster which mocked the ‘Blood
and Iron’ motto of the Reich by tying four bloody axes together to form a swastika. In the
first quarter of the 20th Century he worked with many dramatists, including the enormously
influential Bertolt Brecht and Erwin Piscator. (Ingham, 2014)
Fig 59. (Vietnam Mickey mouse, 2013)

The role of designer is in danger. The designers these days implement whatever the
clients ordered and in other words are the proletariat of the creative industry. According to
Daniël van der Velden the only solution for this problem is research and development. De-
signer should add his personal and independent production of knowledge. Today, if there is
something that must be designed, is designer himself. (Ingham, 2014)
What has historically been referred to as “Important Graphic Design” was usually created by
designers whose clients considered them as equals. The design that is created by the designer
himself. Otherwise, the design is only an isolated, individual act for which the designer mo-
bilised the facilities at his disposal. (Ingham, 2014) According to Rick Poynor, the problem
with design is that it doesn’t dare to realise its own complicity and failure to face up to its re-
sponsibility. Designer must be able to argue persuasively that design might be anything other
than servant of commercial interest. ( Ingham, 2014)
Otl Aicher – A German graphic designer and typogra-
pher. He is best known for having designed pictograms
for the 1972 Summer Olympics in Munich that proved
influential on the use of stick figures for public signage.
(Ingham, 2014)
Fig 60. Otl Aicher (Ingham, 2014)

Ludwig Hohlwein
was a German poster artist.
His early works were very
commercial but became po-
litical at the end targeting
deep political subjects such
as Nazi propaganda’s.He
turned his expertise to mak-
ing billboards for the war ef-
fort, accepting commissions
from the Nazi regime. He de-
signed posters for t the Nazi
People’s Welfare, the Winter
Relief Fund, the air raid, and
for the 1936 Olympic Games.
(Ingham, 2014)
Fig 61. Hohlwein poster
(Art Contrarian 2013)
Bob Dylan poster,1967, Milton Glaser. (Popova, 2013)
Fig 62. Bob Dylan poster. (Popova, 2013)

First Workshop:
or the workshop, we were divided in several groups. First, we wrote some sentences and we
threw them in the bin to make the writing easier. Then, we created some sentences from
memory to show these words: Sight, Sound, Taste, Touch and Smell.
Our tutor introduced a book, which the writer wrote all the sentences beginning with I re-
member. We also wrote our sentences and we used “I remember”. We had to improve our
sentences about 5 times. In the end, our friend in the group read our sentences. I personally
liked the steps we took to improve our writing. I realised that every time I came back to my
sentences, I could write them better and better.
This this my friend’s note which I read it in the class.
First Workshop:
For the workshop, we were divided in several groups. First, we wrote some sentences and
we threw them in the bin to make the writing easier. Then, we created some sentences from
memory to show these words: Sight, Sound, Taste, Touch and Smell. Our tutor introduced
a book, which the writer wrote all the sentences beginning with I remember. We also wrote
our sentences and we used “I remember”. We had to improve our sentences about 5 times.
In the end, our friend in the group read our sentences. I personally liked the steps we took
to improve our writing. I realised that every time I came back to my sentences, I could write
them better and better.
First Workshop:
Fig 63. My writing in the workshop.
First Workshop:

Fig 64. our work in theworkshops.
Secound Workshop:
IMAGE & WORD: In this work shop, we learned how to write and explain a picture or an
idea in our mind easier. Writing from Drawing, Imaginative
First, Drawing exercise… Then, What’s come up?
Experience/Identity/Memory/association/voice/Senses
We divided in two groups. In group B, we were asked to draw a hand while in another group
they were asked to draw a brain.
We looked at each other works.
My friends’ drawings were amazing as they draw hands and brains in different ways.
In the end, we are asked to add some sentences about in our drawings.
This is a picture from the class board including the important points that teachers made in
this workshop.

Third Workshop:
In this workshop, we were asked to write a letter in different groups. The lecture was with
Dene October and we decided to write a letter for him in the shape of twitter message. We
came up with something like that:
#greatfashionlecture Thank you Dene for the lecture. It was clear and useful and we could
hear you even without using the microphone. We learnt a lot about the circulation of fashion
in society.
the video from you tube which they recommend us:
HaikuJAM – http://tinyurl.com/n4yb8fe
The letter Which we wrote at first:
Dear Dene,
Thank you so much for the great lecture. It was clear and useful and we could hear you I
think you did not need the microphone. I learnt a lot about the circulation of fashion in so-
ciety.
Best Regards,
Paria
Changed to:
Hi, Thank you for the lecture, You do not need microphone

KINO/FILM: SOVIET POSTERS OF THE SILENT SCREEN :
This exhibition is a display of film posters from 1920s USSR, including works from Mikhail
Dlugach, Georgii , Aleksandr Naumov and Vladimir Stenberg. The innovative use of bold
blocks of colour and violent upward diagonals became a staple of Soviet art and design, from
El Lissitzky to Wassily Kandinsky, and would prove highly influential in the Abstract Expres-
sionism of the 1950s.
As I find out The director of the exhibition is Elena Sudakova and this exhibition is about the
golden age of Soviet film posters.
This exhibition was amazing. The space of the exhibition was not big but I liked the colour
which they used for walls. I could not believe that many years ago some people made these
amazing posters. There were some Black and white silent films playing in the exhibition.
“The 1920s saw the advent of new and radical graphic design created to advertise silent films
across the Soviet Union.”
I can not say which poster was my favourite. I liked all of them and they were amazing. the
intresting thing was the way of using colour in each poster.
sionism of the 1950s. As I find out The director of the exhibition is Elena Sudakova and this
exhibition is about the golden age of Soviet film posters.
amazing posters.
I can not say which poster was my favourite one. The intresting thing in these poster was
about the way of using colours.
sionism of the 1950s. As I find out The director of the exhibition is Elena Sudakova and this
exhibition is about the golden age of Soviet film posters.
amazing posters.
blocks of colour and violent upward diagonals became a staple of Soviet art and design,
from El Lissitzky to Wassily Kandinsky, and would prove highly influential in the Abstract
Expressionism of the 1950s. As I find out The director of the exhibition is Elena Sudakova
and this exhibition is about the golden age of Soviet film posters. ( Gallery for Russan Arts
and Design, 2014)
across the Soviet Union.” ( Gallery for Russan Arts and Design, 2014)
amazing posters.
Fig 65. Posters on the Exhibition
blocks of colour and violent upward diagonals became a staple of Soviet art and design,
from El Lissitzky to Wassily Kandinsky, and would prove highly influential in the Abstract
Expressionism of the 1950s. As I find out The director of the exhibition is Elena Sudakova
and this exhibition is about the golden age of Soviet film posters. ( Gallery for Russan Arts
and Design, 2014)
across the Soviet Union.” ( Gallery for Russan Arts and Design, 2014)
amazing posters.

The Photographers’ Gallery was the first independ-
ent gallery in Britain devoted to photography. It was founded
by Sue Davies OBE at 8 Great Newport Street in a converted
Lyon’s Tea Bar, and opened its doors on 14 January 1971.
Nine years later in 1980, The Photographers’ Gallery expand-
ed to include an additional gallery space at 5 Great Newport
Street, thus occupying two separate sites on the same street.
I really enjoyed the Gallery. The photographs were amazing.
The Interior Design of the Gallery was not bad but It was
so similar to me. It was like the design of photograph stu-
dent in LCC for their exhibition. I thought in gallery every
things should be much more artistic than the other places
but they are all same. It would be quit creative if they change
it. They use same colour on the walls and writing on the
walls. I through, it is nice and good things which they used
in the Gallery but the Galleries, Museum and other places
like this should be different and more creative. they should
change their style at last every year. We should creative and
we have to improve Art. In my opinion, the Gallery was quit
boring so quiet and using every thing same in all floors and
it was boring.
Fig 66. the Photographers Gallery.

The comment on
the wall: Burroughs took
many photographs of his
friends, colleagues, and lov-
ers. He recorded the var-
ious group with whom he
associated-from the Beats
to thhe No Wave scene of
1970s New York. Some of
Burroughs’ portraits are
memento shots. The por-
trait of Jhon Giornois, in
contrast, a studied, carefully
posted shot, deliberately in-
corporating the photogra-
pher himself.In In present
Time Burroughs analysed
his portraiture. (The Pho-
tographer’s Gallery 2014)
Fig 67. A photograph by Burroughs.
“…Oh yes i found out how
to get my good pictures and
made a lot of money as a
portrait photographer all i
had to do was find out what
words music picture odour
brought out in my subject the
face i wanted them i took the
picture … the face moves in
time you never photograph
the present but always the fu-
ture … i was photographing
the so called future this could
only mean that the future is
already photographed and
prerecorded.” (The Photogra-
pher’s Gallery 2014)
Fig 68. the Burroughs Gallery.

Fig 69. In side the Photographers Gallery. Fig 70. In side the Photographers Gallery.

WHAT I HAVE LEARND SO FAR?
In each lecture I lernt some thing amazing which I had know idea about. for example I did
not know that many years ago taking a photograph took 30 mins or they used clump. It was
really intresting. I did not know these much things about selfie photography.
On theother hand, System Gide lecture I had know idea about it too. It made me realise that
everything around us is made with grids, not just buildings and streets.
I learnt how to Analys, learnt nazi affect in Art like the mickey mouse, Hippi style and etc.
Workshopes helped me to write better and easyer. Exhibitions wre emazing too. I really en-
joyed every things.
HOW DO I LEARN?
The 3 best way to learn which I blieve is Listen, do and develop. I personaly after each lecture
went to library and had research because it helped me to fine my essay subject.

Essay Reference:
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March 2014].
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Linkman, A. (2011) Photography and Death. London: Reaktion Books Ltd.
Norfleet, B. (1993) Looking at Death. Boston: David R. Godine.
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Schels, W. & Lakotta, B. (2004) Life before Death, Available at:< https://www.lensculture.com/
articles/walter-schels-life-before-death-noch-mal-leben-portraits-of-the-dying#slide-5>
[Accessed 15 April 2014]
Scheps, M. (1996) 20th Century Photography: Museum Ludwig Cologne. Koln: Taschen.
Townsend, C. (1998) Vile Bodies: Photography and the crisis of looking. Munich: Prestel in
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