'Ever since he was a kid watching Doctor Who, Chris Wild had the burning desire to travel back in time. Today, the 43-year-old English museum curator is webmaster of Retronaut.com, a site leading the Internet’s recent obsession for finding, sharing, tweeting, and pinning historic images.
Like Retronaut, @HistoryInPics, Historypin, @History_Pics, andWhatWasThere.com have all enjoyed spikes in popularity in recent years. What makes Retronaut different? Its images are relatively obscure, carefully gathered from museums and archives, and are what Chris Wild dubs “disruptive.”
“As you know, ‘disruptive’ is a big word among startups,” he says. Wild credits disruption to Retronaut’s success. He’s talking about disruption in a temporal sense--meaning, the images on his site are specifically chosen to make the viewer feel like they’re looking not at the past, but rather at a different version of the present.' - Bryan Lufkin
'A new artistic trend has broken out around the world which changes our perception of history dramatically. Colorizing historic photographs from the late 1800′s and early 1900′s changes their appearance from something historic and different, into a scene from today. The colorful image of Albert Einstein sitting beside the water gives us an entire new perspective on the genius. He goes from a brilliant historic relic, into a living brilliance of our era. The colorized photograph of Audrey Hepburn transforms our thoughts of beauty. Her photo goes from an intriguing historic photo to one of a sexy starlet of today. Historic events move forward decades, or even a full century, by the addition of color carefully planned and applied by artists like Jordan Lloyd, Dana Keller, and Sanna Dullaway.'
'What is a ghost? The question has gained a particular value in the last decade or so owing to the influence of Derrida’s concept of hauntology, a pun on ontology referring to the spectre of Marxism. As it is understood in a post-Derridean context, the concept refers to a broad range of cultural phenomenon characterised, above all, by a certain collapse in the spatio-temporal order, signalling the radical collision of old and new. It is a Ballardian vision of time, in which the end has already occurred and we are now – perhaps unknowingly – living in its shadow.' - Dylan Trigg
'In this essay, I hope to show how faux-vintage photography, while seemingly banal, helps illustrate larger trends about social media in general. The faux-vintage photo, while getting a lot of attention in this essay, is merely an illustrative example of a larger trend whereby social media increasingly force us to view our present as always a potential documented past. But we have a ways to go before I can elaborate on that point. Some technological background is in order.' Nathan Jurgenson
'If the term “ruin porn” has any utility, it may lie in the reminder it presents that what we see is only what we see, and what we see is often the construction of a gaze separate from our own. Just as pornography is a mediated creation based on sex without being an actual, unmediated representation of the act itself, we should understand images of anything in the same terms without mistaking them for the “real thing” - if for no other reason than because the “real thing” may prove impossible to pin down, both in terms of time and in terms of space. Images of ruined spaces are like temporal ghost stories: it is difficult to be sure if what we see is truly a fragment of an objective past, an echo of our own future, or simply a shifting chiaroscuro–a play of digital shadow and light.'
The Streetmuseum App 2.0 from the Museum of London gives the user a chance to explore how locations across the capital looked in times gone by. Hundreds of images are visible through the app, from the Museum showcase London's history, from the Great Fire of 1666 through to the Swinging Sixties
'After seeing the work of photographer C.A. Mathew published on Spitalfields Life, Adam Tuck was inspired to revisit the locations of the pictures taken a century ago. Subtly blending his own photographs of Spitalfields 2012 with C.A.Mathew’s photographs of Spitalfields 1912, Adam has initiated an unlikely collaboration with a photographer of a century ago and created a new series of images of compelling resonance.
In these montages, people of today co-exist in the same space with people of the past, manifesting a sensation I have always felt in Spitalfields – that all of history is present here. Yet those of a hundred years ago knew they were being photographed and many are pictured looking at the camera, whereas passsersby in the present day are mostly self-absorbed. The effect is of those from the past wondering at a vision of the future, while those of our own day are entirely unaware of this ghostly audience.' - The Gentle Author
'It is easy to see that we have "all" become poets and scribes, but we share with institutional media the ability to "time-travel", as Wanenchak puts it. That is, in our ability to atemporalise what we insistently refer to as the present.' Chris Baraniuk
'Most of my work is devoted to the period of World War II. The most powerful impression on me personally produces a series of photos about the siege of Leningrad, this is my hometown. In addition, here you will find the defense of Moscow, the liberation of Prague and Vienna, the storming of Berlin, some pages from the life of Paris. D-day collages will be ready soon.
Some pages of my journal will bring you to the streets of the capital of the Russian Empire, St.Petersburg.
Wherever I go, I'm trying to penetrate the layers of time. It does not always do well, but I try.'
'This [Flickr] group is for images you make where some part of a modern day scene is overlapped by an old photograph. For example, you hold up an old photo so that you can see its place in the modern context.'
Not strictly about hauntology in music - but fascinating anyway ...
'I inherited the trunk from my grandmother in 1987, and realised, when I began to unpack its contents, that my grandfather had developed an almost neurotic obsession with images.
He had first witnessed the atmospheric phenomenon he called ‘the disturbances’ in 1944, while stationed in Malaya, and had failed to document what he saw. This was, he told her, not going to happen again.
When the disturbances returned, he would be ready.'
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