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{"id":14962,"date":"2022-11-09T20:55:21","date_gmt":"2022-11-10T01:55:21","guid":{"rendered":"https:\/\/imaginations.space\/?p=14962"},"modified":"2022-11-21T21:13:00","modified_gmt":"2022-11-22T02:13:00","slug":"contributors-3","status":"publish","type":"post","link":"https:\/\/imaginations.space\/?p=14962","title":{"rendered":"Contributors"},"content":{"rendered":"

Table of Contents<\/a> <\/p>\n

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Cambre, Carolina<\/strong> is an associate professor at Concordia University and Associate Researcher at IRCAV-Paris 2020-2025. Her work explores vernacular visual expression asking: How do people produce and direct the visual space? How is the image a doing? What are the social and cultural work\/ings of images? She works through visual sociology, sociology of information, image studies, and politics of representation. She has projects on visual processes of legitimation, representation of online sharing, and polymedia literacies. She is the author of The Semiotics of Che Guevara: Affective Gateways<\/em> (Bloomsbury 2015\/16); co-author of the forthcoming Toward a Sociology of Selfies<\/em> (Routledge); and co-edited Mediated Interfaces: The Body on Social Media<\/em> (Bloomsbury, UK) with Katie Warfield and Crystal Abidin, as well as Visual Pedagogies: Concepts, Cases & Practices<\/em> (Brill | Sense Publishers, NL) with Edna Barromi-Perlman and David Herman, Jr.\u00a0(forthcoming).<\/p>\n

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Cambre, Carolina<\/strong> est professeure associ\u00e9e \u00e0 l\u2019Universit\u00e9 Concordia et chercheuse associ\u00e9e \u00e0 l\u2019IRCAV-Paris 2020-2025. Son travail explore l\u2019expression visuelle vernaculaire en posant les questions suivantes : Comment les gens produisent-ils et dirigent-ils l\u2019espace visuel ? Comment l\u2019image se fait-elle ? Quels sont les rouages sociaux et culturels des images ? Elle travaille \u00e0 travers la sociologie visuelle, la sociologie de l\u2019information, l\u2019\u00e9tude des images et la politique de la repr\u00e9sentation. Elle a des projets sur les processus visuels de l\u00e9gitimation, la repr\u00e9sentation du partage en ligne et les litt\u00e9raties polym\u00e9dias. Elle est l\u2019auteur de : The Semiotics of Che Guevara : Affective Gateways<\/em> (Bloomsbury 2015\/16), co-auteur du prochain ouvrage Toward a Sociology of Selfies<\/em> (Routledge) et co-\u00e9diteur de Mediated Interfaces : The Body on Social Media<\/em> (Bloomsbury, UK) avec Katie Warfield et Crystal Abidin, ainsi que Visual Pedagogies : Concepts, Cases & Practices<\/em> (Brill | Sense Publishers, NL) avec Edna Barromi-Perlman et David. Herman Jr. (\u00e0 para\u00eetre).<\/p>\n<\/p><\/div>\n

Ciccaglione, Adriana<\/strong> is a journalist with a bachelor\u2019s degree in social communication from the Universidad Cat\u00f3lica Cecilio Acosta (Maracaibo-Venezuela). With more than fifteen years of experience as a journalist, she founded the magazine Estampas Larense<\/em> of the newspaper El Informador<\/em> (2005), among others. She has been awarded the Order Jacinto Lara (2012) and the National Prize for Cultural Journalism (2009). She currently lives in Seville, Spain, where she works as a freelance journalist and manages her blog, Lipsticks in Quarantine<\/em>.<\/p>\n

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Ciccaglione, Adriana<\/strong> est une journaliste titulaire d\u2019une licence en communication sociale de l\u2019Universidad Cat\u00f3lica Cecilio Acosta (Maracaibo-Venezuela). Avec plus de quinze ans d\u2019exp\u00e9rience en tant que journaliste, elle a notamment fond\u00e9 le magazine Estampas Larense du journal El Informador (2005). Elle a re\u00e7u l\u2019Ordre Jacinto Lara (2012) et le Prix national du journalisme culturel (2009). Elle vit actuellement \u00e0 S\u00e9ville, en Espagne, o\u00f9 elle travaille comme journaliste ind\u00e9pendante et g\u00e8re son blog, Lipsticks in Quarantine<\/em>.<\/p>\n<\/p><\/div>\n

Hern\u00e1ndez-Alb\u00fajar, Yolanda<\/strong> is a professor at the University of Loyola Andaluc\u00eda, Spain, where she teaches courses on Migration and Anthropology. She holds a Ph.D.\u00a0in Sociology from the University of Pittsburgh and a Master\u2019s from the University of Florida. Her main interests move around issues of gender and migration, identity, and culture. She incorporates visual methodologies into her research and has conducted numerous workshops with refugees and migrant women on photovoice.<\/p>\n

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Hern\u00e1ndez-Alb\u00fajar, Yolanda<\/strong> est professeure \u00e0 l\u2019Universit\u00e9 de Loyola Andaluc\u00eda, en Espagne, o\u00f9 elle donne des cours sur la migration et l\u2019anthropologie. Elle est titulaire d\u2019un doctorat en sociologie de l\u2019universit\u00e9 de Pittsburgh et d\u2019un master de l\u2019universit\u00e9 de Floride. Ses principaux int\u00e9r\u00eats tournent autour des questions de genre et de migration, d\u2019identit\u00e9 et de culture. Elle int\u00e8gre des m\u00e9thodologies visuelles dans ses recherches et a dirig\u00e9 de nombreux ateliers sur le photovoice avec des r\u00e9fugi\u00e9es et des migrantes.<\/p>\n<\/p><\/div>\n

Hingley, Liz<\/strong> is a photographer, curator and anthropologist. She is currently Artist in Residence at Kings College London (Digital Humanities) and an Honorary Research Fellow at the University of Birmingham. Liz\u2019s work explores the systems of belonging and belief that shape cities around the world. Her practice is inherently collaborative and seeks to create connections between disciplines, geographies and generations. Liz\u2019s projects have received numerous awards, including the Lens Culture portrait prize, PhotoPhilanthropy Award, Prix Virginia and Getty Editorial Grant. Her work reaches international audiences through publications, workshops and exhibitions, from galleries to gardens, from hospitals to streets. The book\u00a0Under Gods<\/em>\u00a0(Dewi Lewis publishing, 2010), supported by a scholarship from Italian research and communication institute FABRICA, became an international touring exhibition. As a Visiting Scholar at the Shanghai Academy of Social Sciences Liz published\u00a0End Of Lines<\/em> (2013), Sacred Shanghai<\/em> (Washington University Press 2019) and Shanghai Sacred<\/em>\u00a0(GOST books 2020). She has previously\u00a0held positions within SOAS University, The Migration Research Centre, University College London, and the University of Austin, Texas (Art History). As curatorial advisor to Side Gallery, UK, Liz curated exhibitions with a focus on eco feminism, environmental justice and\u00a0migration. She is a trustee of the AmberSide UNESCO world heritage collection of photography and film.<\/p>\n

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Hingley, Liz<\/strong> est photographe, conservatrice et anthropologue. Elle est actuellement artiste en r\u00e9sidence au Kings College de Londres (Digital Humanities) et chercheuse honoraire \u00e0 l\u2019universit\u00e9 de Birmingham. Le travail de Liz explore les syst\u00e8mes d\u2019appartenance et de croyance qui fa\u00e7onnent les villes du monde entier. Sa pratique est intrins\u00e8quement collaborative et cherche \u00e0 cr\u00e9er des liens entre les disciplines, les g\u00e9ographies et les g\u00e9n\u00e9rations. Les projets de Liz ont re\u00e7u de nombreux prix, notamment le prix du portrait Lens Culture, le prix PhotoPhilanthropy, le prix Virginia et le Getty Editorial Grant. Son travail touche un public international par le biais de publications, d\u2019ateliers et d\u2019expositions, des galeries aux jardins, des h\u00f4pitaux aux rues. Le livre Under Gods<\/em> (Dewi Lewis publishing, 2010), soutenu par une bourse de l\u2019institut italien de recherche et de communication FABRICA, est devenu une exposition itin\u00e9rante internationale. En tant que chercheuse invit\u00e9e \u00e0 l\u2019Acad\u00e9mie des sciences sociales de Shanghai, Liz a publi\u00e9 End Of Lines<\/em> (2013), Sacred Shanghai<\/em> (Washington University Press 2019) et Shanghai Sacred<\/em> (GOST books 2020). Elle a pr\u00e9c\u00e9demment occup\u00e9 des postes au sein de l\u2019universit\u00e9 SOAS, du Centre de recherche sur la migration, de l\u2019University College London et de l\u2019universit\u00e9 d\u2019Austin, au Texas (histoire de l\u2019art). En tant que conseill\u00e8re en conservation pour la Side Gallery, au Royaume-Uni, Liz a organis\u00e9 de nombreuses expositions ax\u00e9es sur l\u2019\u00e9co-f\u00e9minisme et la justice environnementale. Elle est membre du conseil d\u2019administration de la collection de photographies et de films AmberSide, inscrite au patrimoine mondial de l\u2019UNESCO.<\/p>\n<\/p><\/div>\n

Lehmuskallio, Asko<\/strong> is a Full Professor in the New Social Research program, and focuses in his work on the intersection between visual studies and media studies, with a special interest in media anthropology and digital cultures. He leads a research project on Banal Surveillance funded by the Academy of Finland, and is a co-founder of the Visual Studies Lab. Lehmuskallio has held several positions abroad, including Visiting Scholar at UC Berkeley, United States, and the Sussex Humanities Lab, United Kingdom, and as Rudolf Arnheim Guest Professor at Humboldt-Universit\u00e4t zu Berlin, Germany.\u00a0Among his publications are the co-edited works Digital Photography and Everyday Life<\/em> (2016) and Mobile Digital Practices<\/em> (2017) and the Finnish-language Entanglements between Bodies and Documents: A History of the Finnish Passport<\/em> (2020), co-authored with Paula Haara. In addition, he has co-curated two well-received exhibitions at the Finnish Museum of Photography, #snapshot<\/em> (2014-15) and Documenting the Body: A History of the Finnish Passport<\/em> (2020).<\/p>\n

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Lehmuskallio, Asko<\/strong> est professeur titulaire au sein du programme New Social Research, et concentre son travail sur l\u2019intersection entre les \u00e9tudes visuelles et les \u00e9tudes sur les m\u00e9dias, avec un int\u00e9r\u00eat particulier pour l\u2019anthropologie des m\u00e9dias et les cultures num\u00e9riques. Il dirige un projet de recherche sur la surveillance banale financ\u00e9 par l\u2019Acad\u00e9mie de Finlande et est cofondateur du laboratoire d\u2019\u00e9tudes visuelles. M. Lehmuskallio a occup\u00e9 plusieurs postes \u00e0 l\u2019\u00e9tranger, notamment en tant que chercheur invit\u00e9 \u00e0 l\u2019UC Berkeley, aux \u00c9tats-Unis, et au Sussex Humanities Lab, au Royaume-Uni, et en tant que professeur invit\u00e9 Rudolf Arnheim \u00e0 la Humboldt-Universit\u00e4t zu Berlin, en Allemagne. Parmi ses publications figurent les ouvrages co\u00e9dit\u00e9s Digital Photography and Everyday Life<\/em> (2016) et Mobile Digital Practices<\/em> (2017), ainsi que l\u2019ouvrage en finnois Entanglements between Bodies and Documents : A History of the Finnish Passport<\/em> (2020), co\u00e9crit avec Paula Haara. En outre, il a co-commandit\u00e9 deux expositions bien accueillies au Mus\u00e9e finlandais de la photographie, #snapshot<\/em> (2014-15) et Documenting the Body : Une histoire du passeport<\/em> finlandais (2020).<\/p>\n<\/p><\/div>\n

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Mersmann, Birgit<\/strong> est professeure titulaire d\u2019art moderne et contemporain \u00e0 l\u2019Universit\u00e9 de Duisburg-Essen. Elle est historienne de l\u2019art, sp\u00e9cialiste de litt\u00e9rature et th\u00e9oricienne de l\u2019image avec un profil de recherche et d’enseignement profond\u00e9ment transculturel. En compagnie de Burcu Dogramci, elle a cofond\u00e9 le groupe de recherche \u201cArt Production and Art Theory in Times of Global Migration\u201d en 2013 (https:\/\/www.ag-kunst-migration.de\/<\/a>). Elle a fait partie du groupe de recherche \u201cEntangled Histories of Art and Migration. Forms, Visibilities, Agents\u201d (2018-2022) financ\u00e9 par la DFG (foundation allemande de recherche). Elle est co-\u00e9ditrice de la premi\u00e8re \u00e9dition internationale du Handbook of Art and Global Migration. Theories, Practices and Challenges<\/em> (\u00e9d. avec B. Dogramaci, Berlin\/Boston 2019). Sa recherche interdisciplinaire couvre les domaines de la th\u00e9orie de l\u2019image et des m\u00e9dias, de la photographie contemporaine, de l\u2019art moderne et contemporain occidental et extr\u00eame-oriental, de l\u2019art et de la migration, de l\u2019art mondial et de l\u2019histoire de l\u2019art, des \u00e9tudes mus\u00e9ales, des \u00e9tudes transculturelles et translationnelles et des interrelations entre l\u2019\u00e9crit et l\u2019image. Parmi ses monographies et ouvrages r\u00e9cents, on peut noter Okzidentalismen. Projektionen und Reflexionen des Westens in Kunst, \u00c4sthetik und Kultur<\/em> (\u00e9d. avec Hauke Ohls, Bielefeld 2022); \u00dcber die Grenzen des Bildes. Kulturelle Differenz und transkulturelle Dynamik im globalen Feld der Kunst<\/em> (Bielefeld 2021); Bildagenten. Historische und zeitgen\u00f6ssische Bildpraxen in globalen Kulturen<\/em> (\u00e9d. avec Christiane Kruse, Paderborn 2021); The Humanities between Global Integration and Cultural Diversity<\/em> (\u00e9d. avec Hans G. Kippenberg, Berlin\/Boston 2016); Schriftikonik. Bildph\u00e4nomene der Schrift in kultur- und medienkomparativer Perspektive<\/em> (M\u00fcnchen 2015).<\/p>\n<\/p><\/div>\n

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Ortiz, Angel Iglesias<\/strong> is a Post-Doctoral Researcher at the Tampere Peace Research Institute, Finland, in the field of Peace and Conflict Research. His dissertation was on Exploring Social Objectivity through Hegemony, Antagonism and Heterogeneity. Outlining a Conceptual Approximation.<\/p>\n<\/p><\/div>\n

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Ortiz, Angel Iglesias<\/strong> est un chercheur post-doctoral \u00e0 l\u2019Institut de recherche sur la paix de Tampere, en Finlande, dans le domaine de la recherche sur la paix et les conflits. Sa th\u00e8se portait sur l\u2019exploration de l\u2019objectivit\u00e9 sociale \u00e0 travers l\u2019h\u00e9g\u00e9monie, l\u2019antagonisme et l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9. Esquisse d\u2019une approximation conceptuelle.<\/p>\n<\/p><\/div>\n

Prieto-Blanco, Patricia<\/strong> lectures in Digital Media Practice in the Sociology Department at Lancaster, United Kingdom. Her areas of expertise are visual methods of research and photographic practices. For her PhD, she worked with transnational families and looked at how they incorporate photography in everyday routines, addressing media practices in the contexts of migration, kinship and intimacy. She serves as Technology Advisor in the board of IVSA (International Visual Sociology Association), and is the Vice-Chair of ECREA Visual Cultures Section. She is an advocate of interdisciplinary, participatory, and practice-based research.<\/p>\n

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Prieto-Blanco, Patricia<\/strong> enseigne la pratique des m\u00e9dias num\u00e9riques au d\u00e9partement de sociologie de Lancaster, au Royaume-Uni. Ses domaines d\u2019expertise sont les m\u00e9thodes visuelles de recherche et les pratiques photographiques. Dans le cadre de son doctorat, elle a travaill\u00e9 avec des familles transnationales et a \u00e9tudi\u00e9 la mani\u00e8re dont elles int\u00e8grent la photographie dans leurs habitudes quotidiennes, abordant les pratiques m\u00e9diatiques dans les contextes de la migration, de la parent\u00e9 et de l\u2019intimit\u00e9. Elle est conseill\u00e8re en technologie au sein du conseil d\u2019administration de l\u2019IVSA (Association internationale de sociologie visuelle) et vice-pr\u00e9sidente de la section Cultures visuelles de l\u2019ECREA. Elle est partisane d\u2019une recherche interdisciplinaire, participative et bas\u00e9e sur la pratique.<\/p>\n<\/p><\/div>\n

Ross, Reuben<\/strong> has a background in Film Studies and Visual Anthropology. His work explores diverse issues of urban and visual culture, with a particular focus on the consequences of transnational migration and the challenges of living in a global capitalist economy. He is also a doctoral student at The Lisbon Consortium, part of Universidade Cat\u00f3lica Portuguesa, where his research examines the histories of super-diverse streets in selected global cities; visual research methods are central to his work.<\/p>\n

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Ross, Reuben<\/strong> a une formation en \u00e9tudes cin\u00e9matographiques et en anthropologie visuelle. Son travail explore diverses questions relatives \u00e0 la culture urbaine et visuelle, avec un accent particulier sur les cons\u00e9quences de la migration transnationale et les d\u00e9fis de la vie dans une \u00e9conomie capitaliste mondiale. Il est \u00e9galement doctorant au Consortium de Lisbonne, qui fait partie de l\u2019Universidade Cat\u00f3lica Portuguesa, o\u00f9 ses recherches portent sur l\u2019histoire des rues super-diverses de certaines villes du monde ; les m\u00e9thodes de recherche visuelle sont au c\u0153ur de son travail.<\/p>\n<\/p><\/div>\n

Van der Maarel, Shirley<\/strong> is a Visual Anthropology PhD candidate at the University of Manchester with a background in Philosophy, Human Rights, and Social Design. Using creative and collaborative research methods, she tries to understand\u2014with all the senses\u2014how people experience sociopolitical issues. Her work has led her to create film, photography, and research projects across the world, including in Italy, China, Lebanon, Uganda, Kenya, and Nigeria. Currently she works in depopulating villages in Italy to explore how life, place, and community is reimagined and remade at the edge of the world.<\/p>\n

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Van der Maarel, Shirley<\/strong> est une candidate au doctorat en anthropologie visuelle \u00e0 l\u2019universit\u00e9 de Manchester, avec une formation en philosophie, en droits de l\u2019homme et en design social. \u00c0 l\u2019aide de m\u00e9thodes de recherche cr\u00e9atives et collaboratives, elle tente de comprendre (avec tous les sens) comment les gens vivent les questions sociopolitiques. Son travail l\u2019a amen\u00e9e \u00e0 cr\u00e9er des films, des photographies et des projets de recherche \u00e0 travers le monde, notamment en Italie, en Chine, au Liban, en Ouganda, au Kenya et au Nigeria. Actuellement, elle travaille dans des villages en d\u00e9peuplement en Italie pour explorer comment la vie, le lieu et la communaut\u00e9 sont r\u00e9imagin\u00e9s et refaits au bord du monde.<\/p>\n<\/p><\/div>\n<\/article>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Cambre, Carolina is an associate professor at Concordia University and Associate Researcher at IRCAV-Paris 2020-2025. Her work explores vernacular visual expression asking: How do people produce and direct the visual space? How is the image a doing? What are the social and cultural work\/ings of images? She works through visual sociology, sociology […]<\/p>\n","protected":false},"author":7987,"featured_media":14756,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":true,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[147,4],"tags":[],"class_list":["post-14962","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-13-2-travelling-by-photograph","category-article","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/imaginations.space\/wp-content\/uploads\/Imaginations-stand-in-1.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-3Tk","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/14962","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/7987"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=14962"}],"version-history":[{"count":13,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/14962\/revisions"}],"predecessor-version":[{"id":15161,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/14962\/revisions\/15161"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/media\/14756"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=14962"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=14962"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=14962"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

Mersmann, Birgit<\/strong> is a full professor of modern and contemporary art at the University of Duisburg-Essen. She is an art historian, literary scholar and image theorist with a profoundly transcultural research and teaching profile. With Burcu Dogramci, she co-founded the research group \u201cArt Production and Art Theory in Times of Global Migration\u201d in 2013 (https:\/\/www.ag-kunst-migration.de\/<\/a>). She participated in the research group \u201cEntangled Histories of Art and Migration. Forms, Visibilities, Agents\u201d (2018-2022), funded by the DFG (German Research Foundation). She is the co-editor of the first international edition of the Handbook of Art and Global Migration. Theories, Practices and Challenges<\/em> (ed. with B. Dogramaci, Berlin\/Boston 2019). Her interdisciplinary research spans the fields of image and media theory, contemporary photography, modern and contemporary Western and Far Eastern art, art and migration, global art and art history, museum studies, transcultural and translational studies, and the interrelationships between the written word and the image. Her recent monographs and edited books include Okzidentalismen. Projektionen und Reflexionen des Westens in Kunst, \u00c4sthetik und Kultur<\/em> (ed. with Hauke Ohls, Bielefeld 2022); \u00dcber die Grenzen des Bildes. Kulturelle Differenz und transkulturelle Dynamik im globalen Feld der Kunst<\/em> (Bielefeld 2021); Bildagenten. Historische und zeitgen\u00f6ssische Bildpraxen in globalen Kulturen<\/em> (ed. with Christiane Kruse, Paderborn 2021); The Humanities between Global Integration and Cultural Diversity<\/em> (ed. with Hans G. Kippenberg, Berlin\/Boston 2016); Schriftikonik. Bildph\u00e4nomene der Schrift in kultur- und medienkomparativer Perspektive<\/em> (M\u00fcnchen 2015).<\/p>\n