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Jungle Check is a journey into the jungle guided by Cristina de Middel and Kalev Erickson, two adventurers of the still image who have set out to discover and reinterpret the remains of a past dissolved in the emulsion of a group of Polaroid photos salvaged from a flea market.
Cristina de Middel and Kalev Erickson use a group of anonymous images, discolored with age, of the jungle surrounding the Mexican town of Tulum in order to explore notions of reconstruction and reinterpretation, enriching the images with a visual interplay and a plausible narrative structure that make this archival photography and its potential the starting point of a story and not the final end of photography itself.
This image has been assessed under the valued image criteria and is considered the most valued image on Commons within the scope: EML Kalev ship (minesweeper). You can see its nomination here.
A century and a half ago few books contained illustrations due to the enormous cost of printing images and those that did were almost exclusively monochrome. To the average person strange lands or world changing events were understood primarily through words or at best in black and white. Fast forward to today and by 2013 Facebook was home to more than a quarter trillion photographs with over 350 million more added each day. Cell phones have largely replaced standalone cameras and power the photographic engine that saturates our modern world with imagery. How is this visual revolution changing how we understand the world around us
Simply cataloging that many images was an endeavor in itself. GPS tagging of photographs existed at the time, but only the most expensive professional cameras supported such tagging, while indoor imagery was entirely beyond any locative technology of the day to tag with high precision. Instead, I had to develop workflows that allowed me to photograph 50 or more buildings in a single day, then return to my desk and manually catalog thousands upon thousands of photographs, trying to recall whether a given brick wall belonged to building A or building B. I took so many photographs that I burned out the shutter on two different DSLR cameras (at the time a prosumer DSLR shutter was rated for around 125,000 photographs before failing). I had to develop all of the workflow management software from scratch that allowed me to ingest and tag so many images and instantly publish them to the world, as well as build the website infrastructure to make the images available for download, while recording where the images were being used.
Fast forward to today and the majority of the student body at Illinois carries with them 24/7 a cell phone equipped with a camera orders of magnitude more powerful than the devices I used and which automatically tags each image with the precise GPS coordinates where it was taken. Many likely have their phones set to automatically publish the image directly to Facebook, Twitter, Instagram, Flickr or any other of a myriad publishing platforms. Within seconds their friends have likely tagged each person in the image with their name and potentially even typed up a description of the events depicted in the image and their significance and shared it onward with thousands of other friends who might find it of interest.
Last year I wrote for The Atlantic tracing out how the geographic footprint of Twitter had largely frozen in place, meaning that the view we see of the world through Twitter is an incredibly skewed one. Eric Fischer has written extensively on the biases and limitations of social media, famously mapping in 2011 the very different footprints of Twitter and Flickr. As one might expect, at the time Flickr images tended to congregate around photogenic tourist hotspots, capturing an incredibly skewed geography of the cityscape.
Today the millions of images that emerge each Friday night from American college campuses tend to center on the social life of campus, capturing bars, dormitories, apartments, Greek houses, theaters and the like. How many of those images document classrooms, faculty offices, research laboratories, loading docks and the myriad other more mundane elements of campus life Images today are more likely to feature the campus bar than the engineering library loading dock, showcase the main quad rather than a remote storage shed deep in the south farms. Images of beautiful sunny days far outnumber those of torrential downpours capturing areas of poor drainage or puddles. Few are likely to trek deep into the campus farms in -10F air temperature with 30MPH winds at sunset to capture the last rays of a winter day setting over the round barns. This means that our view of modern campus life is likely to be heavily skewed.
At Illinois I was once contacted by the alumni magazine because it turns out the university could not locate a single usable image of a prominent dormitory building they had just demolished that had been a big part of student life for decades. Despite being the central hub for one of the larger dormitory complexes on campus, the building was so non-photogenic that neither campus nor student photographers had ever thought to extensively document it until after it had been torn down.
More critically, the majority of the imagery taken today by students and others is likely to be published to private social media profiles, accessible only to friends and followers. While Facebook might have held more than a quarter trillion photographs in early 2013, it is likely that most will never be made available to historians. Even when publicly published such images rarely come with licensing terms or contact information to facilitate realtime licensing for news reporting or historical preservation.
Putting this all together, we live in a world today saturated by photographs where every person with a phone can be a photographer live documenting the world around them. Yet, the biases of the online world mean that while offering an exquisitely high resolution view of parts of the world, we end up being blind to the rest of it. Most importantly, the notion of how to archive and preserve all of this imagery for future generations has received precious little attention, meaning it is unclear how much of this incredible view of society will persevere for future historians.
This image is furthered buttressed by the Talmud (Sotah 34b) which famously states that Kalev left the other spies to go pray in Hebron, by the burial site of our forefathers and mothers (Avraham, Sarah, Yitzhak, Rivkah, Yaakov and Leah), for the strength to overcome the great challenge of returning with a positive report about Israel.
Most art research involves finding images to inspire your own work or to illustrate your arguments in a paper. Images can be appended to the end of your paper and also used for in-class presentations. Finding high-quality images can be difficult when using a simple Google image search, and the use of some images may violate copyright laws.
The resources on this page provide access to high-quality images available specifically for research and instructional use. Many of these collections allow you to browse by medium, genre, or subject, which will lead you to discover works of art that are new to you.
Remember: if you cannot find an image you need online, you may find it in a related monograph or exhibition catalogue in the library. Use the in-house scanner to make a digital reproduction for your paper or presentation.
The principle of Fair Use, a part of US copyright law, allows students, scholars, educators, librarians, and archivists to use reproductions (analog slides or digital images) of copyrighted works for academic purposes, including analytical writing and teaching about art, as well as making art; however, some limitations do apply. For example:
Born Digital records and Digital Surrogates from the Kalev Leetaru Papers/ UIHistories Project File, includes a MySQL database, JPG image files, and perl scripts which generate the UIHistories website. Materials also include digitized Board of Trustees reports, used for the UIHistories website (Access available at the link provided above).
Kalev's latest 45-minute keynote takes a pragmatic look at the evolving world of \"deep fakes\" and tracing responses to other falsehoods from Soviet airbrushing to scientific image fraud, offering insights and paths forward for the communications and journalistic communities. Kalev presented the keynote today to a gathering of senior communicators in the DC area. Please contact Kalev directly at kalev.leetaru5@gmail.com for details.
The Workshop will bring together multi-disciplinary stakeholders in the burgeoning field of imaging and image analysis to offer a unique opportunity for cross-collaboration and information-exchange by using computational inquiries to bridge humanities, arts, and social science research.
Graton & Knight Flickr Internet ArchiveMany of these books in the Internet Archive include photographs, pictures, maps and other images but since the books are treated primarily as text, there has never been an easy way to find them.
Captain George M. Whipple Flickr Internet ArchiveKalev H. Leetaru researches the ways big data can be used in the study of human society. While serving as Yahoo! Fellow in Residence at Georgetown University, Leetaru came up with a way to liberate these images from the pages of the books, and post them as a searchable image collection.
When books are scanned for the Internet Archive, they are run through an Optical Character Recognition (OCR) program to make the text searchable. The software identifies and skips over the parts of page that are not text. Leetaru was able to go back to the original scans, capture those skipped areas, convert them into image files, and upload them to Flickr along with the bibliographic information about the book and the text surrounding the image, along with a link to the page on the Internet Archive site to present the image in context. 59ce067264
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