1. Tour
T itle:
Materializing
Memories
Name
and
ID
of
Curators:
THE
LIGHT
WRITERS
(in
order
of
stories
within
the
tour)
1.
David
E.
Dass
-‐
0767570
2.
Eva
Palaiologk
-‐
0775179
3.
Manuel
Suarez
Prat
-‐
0791194
4.
Gilles
Spierings
-‐
0743533
Tour
Introductory
Summary:
Cameras
have
been
built
by
the
people
for
the
people,
as
service
devices
to
share
memories.
This
device
is
made
up
of
pieces
engineered
evolving
in
various
European
countries.
At
the
same
time,
the
camera
has
provided
an
opportunity
for
its
users
to
collect
pieces
of
activities
and
use
them
as
a
medium
to
connect
and
share
cultures
and
information
within
European
countries
in
an
international
context.
2. STORY
1
STORY
TITLE:
SENT
VIA
THE
TELEGRAPH
CURATOR:
David
E.
Dass
BIOGRAPHY:
David
is
an
Industrial
Design
Bachelor
student
at
the
Technical
University
of
Eindhoven.
He
is
from
a
mixed
background
having
roots
from
India,
Kenya
and
Portugal.
Born
and
raised
in
Kenya,
David
has
an
outsider’s
perspective
of
the
EU.
However
working
also
in
a
European
country
for
design
exhibitions
and
projects
he
has
needed
to
study
the
evolution
of
technology
and
products
as
well
as
their
effects
today.
STORY:
The
telegraph
was
the
spark
to
spreading
cultural
connecting
points
within
Europe
and
eventually
the
globe.
The
first
photo
sent
was
of
Prince
Luitpold
in
a
loop
from
Munich–
Nuremberg,
taking
42
minutes.
It
did
not
stop
there:
scientists
cut
it
down.
This
got
press
agencies
interested.
With
the
French
newspaper
L’
Illustration
as
the
pioneer,
the
service
became
popular
across
Europe
when
a
picture
taken
in
Paris,
transmitted
by
telegraph
to
the
UK,
and
published
in
the
Daily
Mirror
was
used
to
identify
and
arrest
a
thief
in
London.
During
the
WW1
the
image
of
pope
Pius
X1,
who
at
that
time
was
passionately
against
the
rise
of
communism
and
Nazism,
was
sent
from
Rome
to
Berlin.
This
entailed
further
connection
of
two
European
countries,
which
generated
talking
points.
The
common
question,
“Did
you
see
this?”
involved
different
backgrounds
of
different
cultures.
The
uprising
in
communication
across
boundaries
led
to
people
being
aware
of
both
destruction
and
constructivism,
within
Europe.
The
awareness
of
European
well-‐being
became
more
evident
and
whether
from
this
came
growth
or
downfall
is
questionable.
But
without
this
cross-‐border
communication,
these
questions
would
never
be
formed.
3. REFERENCES:
Huurdeman,
A.
A.
(2003).
Phototelegraphy.
In
A.
A.
Huurdeman,
The
World
Wide
History
of
Telecommunication
(pp.
294
-‐
295).
New
Jersey:
John
Wiley
&
Sons
Inc.
Lommers,
S.
(n.d.).
More
than
a
thousand
words?
Retrieved
November
21,
2012,
from
Inventing
Europe:
http://www.inventingeurope.eu/exhibit4tour2item1/
5. METADATA:
Dublin
Core
Meta
Data
with
regards
to
the
Image:
Title
Telegraph
transmission
of
a
photograph
via
looped
line
Berlin
–
Munich
–
Berlin.
Creator
Artur
Fürst
Description
After
a
drawing
by
A.
Dressel.
From
Artur
Fürst,
Das
Weltreich
der
Technik
Berlin
1923.
Publisher
Deutsches
Museum,
Munich
Contributor
Deutsches
Museum
Identifier
BN-‐41603
Rights
Deutsches
Museum
6. STORY
2
STORY
TITLE:
THE
TRANSNATIONAL
COMMUNITY
OF
PHOTOGRAPHY
ENTHOUSIASTS.
CURATOR:
Eva
Palaiologk
BIOGRAPHY:
Eva
Palaiologk
is
a
25year
old
Greek
student
of
Industrial
Design,
born
in
Yerevan,
Armenia.
After
obtaining
her
BSc
in
Physics
she
continued
her
studies
in
Industrial
Design.
Her
challenge
currently
is
to
combine
her
knowledge
in
applied
science
with
art
in
a
professional
way.
STORY:
In
the
early
1850s,
photography
had
slowly
started
gaining
trust
and
ground
in
the
everyday
life
in
Western
Europe,
where
Industrial
revolution,
led
to
the
fast
growth
of
the
cities
and
played
a
major
role
in
its
spread.
People
-‐mostly
of
the
middle
class-‐
who
moved
from
the
countryside
to
the
cities
trying
to
find
a
better
job,
wanted
to
portray
both
themselves
and
their
new
environment.
Cities
rapidly
became
a
main
theme
in
photographs,
which
portrayed
them
in
different
ways.
Fresh
views
were
captured.
Photographs
created
the
desire
for
traveling
and
adventurism.
People
started
to
travel
more;
sharing
ideas
and
memories
was
easier
than
ever
before.
A
transnational
community
of
photography
enthusiasts
developed.
As
urban
populations
grew,
traditional
jobs,
and
unpolluted
countryside
landscapes
appeared
as
romantic
and
nostalgic
objects
in
the
visual
arts.
Photography
was
not
an
exception.
Moreover,
with
time,
the
community
of
photography
enthusiasts
brought
the
meaning
of
the
word
photography
-‐
derived
from
the
Greek
words
photos
("light")
and
graphein
("to
draw"):
draw
with
light-‐
to
life
by
shading
light
and
capturing
in
their
pictures
every
possible
aspect
and
moment
of
people's
lives.
As
a
result
photography
managed
not
only
to
build
a
transnational
community
of
photography
enthusiasts,
but
also
built
new
connections
between
the
nations
of
Western
Europe.
7. REFERENCES:
Codruta
JALIU,
Mircea
NEAGOE,
Daniela
CIOBANU.
"PRASIC
'02."
FROM
CAMERA
OBSCURA
TO
THE
DIGITAL
PHOTO
CAMERA,
no.
ISBN
973-‐635-‐076-‐2
(2002):
1.
Marien,
Mary
Warner.
“Photography:
A
Cultural
History.”
In
Photography:
A
Cultural
History,
by
Mary
Warner
Marien,
28-‐30.
Laurence
King
Publishing,
2006.
OBJECT:
BP364
Mannen
achter
cameras
Url
to
video:
http://www.beeldengeluid.nl/media/5624/bp364-‐mannen-‐
achter-‐cameras
8. METADATA
Dublin
Core
Meta
Data
with
regards
to
the
Image:
Title
BP364
Mannen
achter
cameras
Creator
eye
film
instituut
nederland
Publisher
BEELD
EN
GELUID
Contributor
BEELD
EN
GELUID
Date
20
december
2011
Format
video
Source
Open
Images
Language
Dutch
http://www.openbeelden.nl/media/104922
Rights
http://creativecommons.org/publicdomain/mark/1.0/
deed.nl
9. STORY
3
STORY
TITLE:
PHOTOGRAPHY
IS
BULLETPROOF.
CURATOR:
Manuel
Suarez
Prat
BIOGRAPHY:
I
am
a
Spanish
student
who
previously
studied
Textile
Design
in
Madrid
and
I
am
now
pursuing
my
dream
to
become
a
footwear
designer
for
one
of
the
mayor
companies
in
the
sport
world.
STORY:
By
sending
photographer
Roger
Fenton
to
the
Crimean
War
(1854-‐1856),
a
Manchester
publisher
essentially
invented
the
job
of
a
war
photograph
reporter.
He
was
sent
by
Thomas
Agnew
to
balance
the
critical
accounts
that
“The
Times”
reporters
where
publishing
about
the
Crimean
war.
The
Crimean
War
was
fought
in
the
Crimean
Peninsula
between
the
Russians
and
the
British
as
well
as
the
French
and
Ottoman
Turkish.
Roger
Fenton.
An
official
photographer
for
the
British
museum
was
sent
to
the
Crimean
War
in
1855
by
art
dealer
and
print
publisher
Thomas
Agnew.
Fenton’s
goal
was
to
get
positive
images
and
change
the
public
opinion
about
the
war
and
also
to
calm
down
the
families
of
British
and
French
soldiers
Fenton
photographed
officials
as
well
as
soldiers
sitting
down
in
relaxed
positions.
He
made
positive
impressions
of
the
atmosphere
of
war
camps.
In
the
battlefield,
he
could
only
make
photographs
when
the
fight
was
over,
thus
showing
a
view
that
the
end
is
near.
This
acted
as
a
source
of
inspiration
for
a
new
generation
of
artists
and
illustrators.
Through
his
photographs,
Roger
Fenton
not
only
helped
to
create
a
positive
image
of
the
war
with
the
British
and
French
people
that
where
worried
about
the
war.
11. OBJECT:
Harbour
of
Balaclava,
the
Cattle
Pier,
c
1855
Image
URL:
http://www.inventingeurope.eu/object_4_2_2/?magnify=1
Description
of
the
Object
in
the
Image:
Photograph
by
Roger
Fenton
(1819-‐1869).
During
the
Crimean
War
(1853-‐
1856),
the
British
army
used
the
inlet
of
Balaclava
as
its
supply
harbour.
In
1855,
Fenton
was
commissioned
(with
royal
sanction)
by
the
publisher
Thomas
Agnew
to
photograph
the
Crimean
War.
This
was
the
first
extensive
documentation
of
a
war,
with
over
350
images
produced.
However,
some
do
not
see
Fenton
as
a
true
war
photographer
as
he
only
took
positive
images
of
the
war.
12. METADATA:
Dublin
Core
Meta
Data
with
regards
to
the
Image:
Title
Harbour of Balaclava
Creator
Roger Fenton
Subject
Photography
Description
Publisher
Science & Society Picture Library
Contributor
Date
1855
Type
Photograph
Format
Identifier
10311401
Source
http://www.inventingeurope.eu/object_4_2_2/?magnif
y=1
Language
English
Rights
National Media Museum / Science & Society Picture
Library — All rights reserved.
13. STORY
4
STORY
TITLE:
TO
INFINITY
AND
BEYOND!
CURATOR:
Gilles
Emanuel
Spierings
BIOGRAPHY:
Gilles
is
a
student
of
Industrial
Design
at
the
TU/e.
He
is
born
and
raised
in
the
city
of
Eindhoven
and
has
through
that
a
strong
bonding
with
the
city
and
the
province.
Besides
that
Gilles
has
lived
a
year
in
Firenze
to
study
the
language
and
the
history
of
Art.
His
biggest
passion
is
sports,
in
particular
cycling,
and
everything
that
comes
with
the
sport,
like
the
technology,
the
training
part
and
the
mental
side.
Gilles’s
dream
is
to
become
a
sports
designer
on
a
high
end
level,
preferably
in
racing
bikes.
STORY:
Soon
after
the
release
of
the
first
project
planetarium
cities
wanted
to
apply
for
such
an
instrument,
since
it
was
popular
for
entertainment
but
also
in
educational
ways.
The
Great
Depression
stimulated
that
international
cities,
like
Stockholm
and
Milan,
wanted
to
present
something
positive
and
interesting
in
regards
to
their
citizens.
The
second
version
of
Carl
Zeiss
was
the
first
planetarium
projector
to
be
widely
distributed
throughout
Europe
and
contributed
to
the
ascent
from
the
Great
Depression
A
planetarium
was
donated
by
Germany
to
Italy
as
part
of
World
War
One
damages,
but
also
other
big
European
cities
had
a
planetarium
van
Carl
Zeiss,
just
before
World
War
Two
in
1939,
like
Vienna,
Rome,
Moscow,
Stockholm,
Milan,
Paris,
The
Hague
and
Brussels.
The
planetarium
was
technically
complex,
lights,
lenses,
fibre
optics
and
micro
controllers
controlled
by
computers,
designed
to
put
the
celestial
bodies
in
the
right
place.
The
first
planetarium
projector
was
built
by
Carl
Zeiss
in
1923
for
the
Deutches
Museum.
During
the
period
before
World
War
Two,
Carl
Zeiss
dominated
and
pioneered
the
development
of
planetarium
projectors
and
its
parts.
The
planetarium
production
did
never
lead
to
a
real
profit
product,
there
were
built
for
social
responsibility
and
corporate
pride.
14. REFERENCES:
“Buhl
Planetarium”,
Glenn
A.
Walsh,
December
2008,
http://buhlplanetarium2.tripod.com/,
Accessed
on
14
January
2013.
"Planetarium",
23
April
2009,
HowStuffWorks.com,
http://science.howstuffworks.com/dictionary/astronomy-‐terms/planetarium-‐
info.htm,
Accessed
on
14
January
2013.
“Zeiss
Planetaria”,
7
February
1928,
Rotterdamsch
Nieuwsblad,
A.W.
Sijthof,
http://kranten.kb.nl/view/text/id/ddd%3A010514214%3Ampeg21%3Ap001
%3Aa0277,
Accessed
on
14
January
2013
OBJECT:
Image
Title:
Das
Projektionsplanetarium
von
Carl
Zeiss
Image
URL:
http://www.deutsches-‐museum.de/sammlungen/ausgewaehlte-‐
objekte/meisterwerke-‐i/planetarium/
15. METADATA:
Dublin
Core
Meta
Data
with
regards
to
the
Image:
Title
Projektionsplanetarium
Creator
Carl
Zeiss
Subject
Camera
Description
See
above
Publisher
Deutches
Museum
Contributor
Date
1925
Type
Format
Identifier
Source
http://www.deutsches-‐
museum.de/sammlungen/ausgewaehlte-‐
objekte/meisterwerke-‐i/planetarium/
Language
German
Rights
Deutches
Museum
