Digital Journal

Ozanne, Moscato & Kunkel (2013). Transformative Photography: Evaluation and Best Practices for Eliciting Social and Policy Changes.

“In 1888, police reporter Jacob Riis used the medium to record New York City’s crime-ridden and impoverished slums. His photographs coalesced public opinion and led to greater enforcement of existing laws and the creation of new building codes and apartment regulations. Sociologist Lewis Hine’s photographs of underage workers helped inspire the first federally sanctioned child labor laws in 1916 (Collier and Collier 1986). … Ordinary citizens use digital photographs to record extraordinary sights, such as the catalytic images disseminated during the ‘Arab Spring’ (Howard and Hussain 2011).” (p 45)

Lee (2009). Cultural influences on learning. (The Routledge International Companion to Multicultural Education)


“A focus on cognition within particular ecological niches reveals both how displays of knowledge are situated and the multiple dimensions of learning that go beyond the cognitive structure of domains of knowledge. … These attributions that influence our emotional responses are influenced by the history of our participation in prior cultural practices through experiences in families (including daily routines), peer and other social networks, and institutional practices such as schooling, religion, and macro-level belief systems …” (p 240)

Wright (1992). Photography: Theories of Realism and Convention. (Anthropology and Photography, 1860-1920)


“The criticisms of the eye-camera analogy, the status of illusions in psychological experiments, the consideration of the organism in its environment, and criticisms of the argument from illusion all point to a new theory of perception. In this ecological approach to perception the emphasis moves to investigating the kinds of information available to the moving, actively engaged perceiver: perception not based on a fixed punctuate image.” (p 24)

Sontag (1973). A Brief Anthology of Quotations. (On Photography)


“If I were just curious, it would be very hard to say to someone, ‘I want to come to your house and have you talk to me and tell me the story of your life.’ I mean people are going to say, ‘You’re crazy.’ Plus they’re going to keep mighty guarded. But the camera is a kind of license. A lot of people, they want to be paid that much attention and that’s a reasonable kind of attention to be paid. — Diane Arbus” (p 149)