urban-archives

This shot was taken on Halloween, October 31, 1977. There appears to be a headless grocery shopper strolling along Wayne Avenue in Germantown.


The Philadelphia Evening Bulletin staff would often manipulate photographs prior to publishing them in the newspaper. The above photograph was featured in an article on Philadelphia houses. A woman blocked their shot, so the Bulletin painted the background over her head and cropped the image just above her shoulders.

The published image.

From the George D. McDowell Philadelphia Evening Bulletin Photograph collection.

URBAN ARCHIVES: THE RITUALS OF CHAOS

July 19, 2012 –

January 6, 2013 

Guest-curator: Monica Espinel

The Bronx Museum

“This group exhibition, named after Carlos Monsivais’ book of the same title, takes the work of Mexico’s renowned photojournalist, Enrique Metinides, as a departure point and complements it with the work of contemporary artists who also capture the human experience in the metropolis. The photographs and video-based works provide a glimpse into the emotions and events that run rampant in cities where massive concentrations of people congregate, including notions of isolation and chaos. ”

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Last week we visited the Temple Urban Archives to review footage for our upcoming screening at the Philadelphia Museum of Art. It was fun to watch John set everything up on the Steenbeck. A true delight to watch the film speed through the reels and hear the gears turn lightly behind the audio of the movies.

They also have a great archive of maps, newspapers, press photographs and other documents. Surely worth the trip for anyone interested in urbanism, cities, films and documentary studies.


We hope you’ll join us for the screening.

A social space cannot be adequately accounted for either by nature (climate, site) or by its previous history…Mediations and mediators have to be taken into consideration: the action of groups, factors within knowledge, within ideology or within the domain of representations. Social space contains a great diversity of objects, both natural and social, including the networks and pathways which facilitate the exchange of material things and information.
— 

Henri Lefebvre

http://urbanarchives.org/

“The Mechanical man. George German, of the Lobster Club, was the human robot in the annual Mummers’ Parade today. He demonstrated the mechanical man of the future.”

1936, Jan. 1.

From the George D. McDowell Philadelphia Evening Bulletin Photograph collection:

http://digital.library.temple.edu/cdm/ref/collection/p15037coll3/id/7523

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It’s a picture of Reading [England] at some stage - post-war, looks to be like Coley Park.

There’s a Winter Garden one but I prefer this one because it’s from Reading and I’m from Reading.

(It is Coley Park, you can view the same street on Google Maps here)

Each week our volunteers Ron & Jan choose their favourite slide of the day. They are currently scanning miscellaneous slides of the Landscape Institute archive.

> Dolný Šianec 1004-2

This is the same building as yesterday, just that this shelter leads outside on small parking lot on the south side, not in the inner yard. I had to pick my time with taking a picture there since this parking space seemed to be occupied all the time. But I was lucky and this is the final, car-less composition. In the background, behind the hedge and across the street you can see the fire station. There is another shelter which I’ll show you tomorrow.

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Notes on Athens.

[Images taken from Google Street View excursions on and around Μαυρομιχάλη, identified by Yannis Kallianos as a demarcation line between the administrative centre of Athens and the openly seditious district of Εξάρχεια. It is clear that that the present crisis has inscribed itself on urban space, but the intention here is to examine how it has also reanimated digital imagery of that space, particularly since the implications of the crisis occur most immediately as fluctuations of markets and currencies within the realm of the virtual.

The archive of images therefore becomes the site of what Walter Benjamin termed a ‘constellation’, in which 'what has been comes together in a flash with the now’. This extends into Benjamin’s concept of Erkennbarkeit, or 'knowability’, likened to the juncture between waking and dreaming, where truth is simultaneously visible yet remote. The mechanisms of global finance cynically attempt to reproduce this process in the form of the transaction; here, the aim is to recalibrate it.]