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See detailFabricating Modern Societies: Education, Bodies and Minds in the Age of Steel
Priem, Karin UL; Herman, Frederik

Book published by Brill (in press)

Fabricating Modern Societies: Education, Bodies, and Minds in the Age of Steel, edited by Karin Priem and Frederik Herman, offers new interdisciplinary and transnational perspectives on the history of ... [more ▼]

Fabricating Modern Societies: Education, Bodies, and Minds in the Age of Steel, edited by Karin Priem and Frederik Herman, offers new interdisciplinary and transnational perspectives on the history of industrialization and societal transformation in early-twentieth-century Luxembourg. The individual chapters focus on how industrialists addressed a large array of challenges related to industrialization, borrowing and mixing ideas originating in domains such as corporate identity formation, mediatization, scientification, technological innovation, mechanization, capitalism, mass production, medicalization, educationalization, artistic production, and social utopia, while competing with other interest groups who pursued their own goals. The book looks at different focus areas of modernity, and analyzes how humans created, mediated, and interacted with the technospheres of modern societies. [less ▲]

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See detailShifting Epistemologies for Discipline and Rigour in Educational Research: Challenges and Opportunities from Digital Humanities
Priem, Karin UL; Fendler, Lynn

in European Educational Research Journal (in press)

This paper historicizes “rigour”, discipline” and “systematic” as inventions of a certain rational spirit of Enlightenment that was radicalized during the 19th century. These terms acquired temporary ... [more ▼]

This paper historicizes “rigour”, discipline” and “systematic” as inventions of a certain rational spirit of Enlightenment that was radicalized during the 19th century. These terms acquired temporary value in a transition during the 19th century when a culture of research was established within a modern episteme. Beginning in the 20th century, this development was perceived as problematic, triggering criticism from philosophy and the arts, and even within the sciences. “Discipline”, “rigour” and “systematic” have changed meanings over time, and recent contributions from Digital Humanities are promising for a renewed critical debate about rigour in research. Both digital humanities and quantitative research deal with big data sets aimed at providing a large-scale analysis. However, unlike most quantitative research, digital humanities explore uncertainties as their main focus. Attention to the human-machine collaboration has led to more expansive thinking in scientific research. Digital humanities go further by advancing a metaperspective that deals with the material hermeneutics of data accumulation itself. [less ▲]

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See detailKulturgeschichte
Priem, Karin UL

in Kluchert, Gerhard; Horn, Klaus-Peter; Groppe, Carola (Eds.) et al Historische Bildungsforschung. Konzepte, Methoden, Forschungsfelder (in press)

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See detailAn Interactive and Active Collective: Media as Relational and Entangled Objects
Bischof, Marco; Priem, Karin UL

Scientific Conference (2018)

This paper draws upon different media, their contents, close relationships to lived life, and the memories and stories evolving around them. Challenging linear historical time, the paper looks at the ... [more ▼]

This paper draws upon different media, their contents, close relationships to lived life, and the memories and stories evolving around them. Challenging linear historical time, the paper looks at the interconnectedness of different media and how these connections and constellations shape histories. The different media analysed in this paper are perceived as an interactive and active collective of “ongoing moments” (Dyer 2007) and nodes that reinforce each other and relate to different audiences (e.g., Edwards 2009). As both performances of the past and living objects triggering memories and the making of histories, our source materials cover approximately seventy years and refer to a broad array of actors, experiences, relationships, places, and spaces within the wider context of the work of the Swiss Magnum photographer Werner Bischof who was commissioned by Schweizer Spende to travel war-ravaged Europe after the Second World War. More particularly, the paper concentrates on how a photographic portrait of a Dutch boy, Jo Corbey, taken in the town of Roermond in 1945, came to life, why and how it was made, and how it circulated and got entangled with other media in a meshwork of meaning making (e.g., Ingold 2015). Materials and sources discussed include Bischof’s diary entries, drawings, and contact sheets, the May 1946 issue of the Swiss monthly Du dedicated to Schweizer Spende, family photographs and newspaper clippings, as well as a 2010 photography exhibition (plus catalogue) in Helmond, Holland, and a 2011 interview with Corbey’s twin brother and sisters, which was recorded by Marco Bischof, co-presenter of this paper. Thematically, we will focus on the story of Corbey’s identification and the different stories that evolved around his life, and discuss the involvement of different actors as a collective or inter-relational conglomerate of media and humans who added their own stories, rationales, and memories. The image appeared in different print formats, was shown in exhibitions, and inspired TV shows and films while at the same time initiating debates on children and war, promoting humanitarian action, triggering memories of the past, and helping to break silences on war experiences. In sum, the paper will demonstrate how media travel back and forth between the margins and the center of history by virtue of their relational qualities as social objects. [less ▲]

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See detailThe image of Industrial Life and Vocational Training: Scouting as Liminal Learning Space (Luxembourg, 1920s)
Hermann, Frederik; Priem, Karin UL

Scientific Conference (2018)

While there is a large body of research on corporate photography, little has been written about the visualisation of young workers. This paper looks at a specific set of corporate images, namely ... [more ▼]

While there is a large body of research on corporate photography, little has been written about the visualisation of young workers. This paper looks at a specific set of corporate images, namely photographs of apprentices of the Luxembourg steel-manufacturing conglomerate ARBED, and analyses how these young workers were visualised. The paper draws on a collection of approximately 2,250 glass plate negatives of ARBED’s industrial cosmos, originally stored at the company’s vocational school, the Institut Emile Metz, and now archived at Luxembourg’s Centre national de l’audivisuel (CNA). The roughly 160 images of young apprentices contained in the collection put on display the apprentices’ bodies and activities in various contexts and environments – in the classroom, the school yard, and the gym; in workshops and the institute’s psychophysiological laboratory; at the Belgian coast, in Luxembourg’s forests, and in urban spaces like London. A selected number of images were published in promotional brochures, showcasing these places, spaces, and activities and their different levels of “cultured” and “natural” properties. Thematically, the paper concentrates on (1) corporate photography as a means of identity formation by depicting apprentices in various places and spaces; (2) the creation of workers as cultured men and ideally educated workers through a diversity of recreational activities; and, most importantly, (3) the question of how leisure activities served as liminal spaces to stabilise the work sphere and how social and cultural belonging was visually forged between urban and natural landscapes, between industrialisation and ‘nature’ in order to make apprentices fit for Western industrialised societies. The images and their contents testify to a constant mix and re-mix of different learning environments intended to educate the natural, urban, mobile, and communal future worker in order to achieve societal harmony – also by including pre-industrial spaces and open-air activities as liminal spaces for experimentation that were set apart from the profane while mitigating the risks of industrialisation. [less ▲]

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See detail'Rationale Trennung' or 'Marriage d'Amour'? History and Philosophy of Educational Research
Priem, Karin UL; Fendler, Lynn

in Espacio, Tiempo y Educacion (2018), 5(2),

This article focuses on disciplinary interrelationships between philosophy and history within the framework of educational sciences. It deals with the epistemological, material, political, and categorical ... [more ▼]

This article focuses on disciplinary interrelationships between philosophy and history within the framework of educational sciences. It deals with the epistemological, material, political, and categorical conditions of permeability, some of which initiate a separation of historical science from philosophy, whereas others allow, on the one hand, for history to profit from philosophy and, on the other, for philosophy to profit from history. The article illustrates how both history and philosophy benefit through reciprocal openness within education as an academic field. Permeability between history and philosophy in educational research may draw attention to lacunae on both sides and challenge methodological stereotypes and seemingly unavoidable dispositions of reasoning, the recognition of which may contribute to an enrichment of educational research. [less ▲]

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See detailCultivating Children and Youth: Transnational Explorations of the Urban and the Natural
Allender, Tim; Dussel, Inés; Grosvenor, Ian et al

Scientific Conference (2018)

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See detailLauenstein im Bild. Zur Materialität und sozialen Bedeutung von Photographie
Priem, Karin UL

Scientific Conference (2017)

Der Beitrag widmet sich der Analyse eines Photoalbums, das im Rahmen der Debatten auf der Burg Lauenstein über die Neuordnung Deutschlands nach dem Krieg entstanden ist und im Jahre 1917 von dem Verleger ... [more ▼]

Der Beitrag widmet sich der Analyse eines Photoalbums, das im Rahmen der Debatten auf der Burg Lauenstein über die Neuordnung Deutschlands nach dem Krieg entstanden ist und im Jahre 1917 von dem Verleger Eugen Diederichs in Auftrag gegeben wurde. Das Album dokumentiert einen eindrucksvollen Reigen zeitgenössischer Persönlichkeiten wie zum Beispiel Marianne und Max Weber, Ferdinand Tönnies, Gertrud Bäumer, Ernst Toller, Eugen Diederichs, Theodor Heuss und Friedrich Meinecke. [less ▲]

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See detailSpecial Issue: Images and Films as Objects to Think With: A Reappraisal of Visual Studies in Histories of Education
Priem, Karin UL; Dussel, Inés

in Paedagogica Historica (2017), 53(6),

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See detailThe Visual in Histories of Education: A Reappraisal
Dussel, Inés; Priem, Karin UL

in Paedagogica Historica (2017), 53(6),

This introduction to the special issue on Images and Films as Objects to Think With presents a historiographical reflection on how images are being approached in the field of educational history. In ... [more ▼]

This introduction to the special issue on Images and Films as Objects to Think With presents a historiographical reflection on how images are being approached in the field of educational history. In recent years, much of the work has been situated at the intersection of visual and material studies; images are considered objects with which humans interact, carrying affects and particular materialities that condition their experience; they are taken as historical artefacts that bring out a plurality of meanings, which continue to grow with each new reading or approach. This introduction presents the articles that are included in this special issue as well as a final commentary written by Lynn Fendler that engages in a dialogue with them. The articles move away from considering the visual as a transparent source with a stable meaning, and open up different possibilities for working with and through it. They also problematise and expand the archives in which historians work; by looking at various surfaces in which images are exhibited and circulate, such as books, reports, art shows, films, magazines, and collective memories, these studies point to the “affective and effective histories” that images tell, and invite new research agendas for a visual history of education. [less ▲]

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See detailThe Visual and History Practice in the Digital Age
Allender, Tim; Dussel, Inés; Grosvenor, Ian et al

Scientific Conference (2017)

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See detailThe Eye of the Machine: Labour Sciences and the Mechanical Registration of the Human Body
Herman, Frederik; Priem, Karin UL

Scientific Conference (2017)

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See detailLearning How to See and Feel: Alfred Lichtwark and His Concept of Artistic and Aesthetic Education
Priem, Karin UL; Mayer, Christine

in Paedagogica Historica (2017)

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See detailBeyond the collapse of language? Photographs of children in postwar Europe as performances and relational objects
Priem, Karin UL

in Paedagogica Historica (2017), 53(6),

This paper explores photographs of children, taken after 1945 by the Swiss photographer Werner Bischof (1916–1954), as visual objects and social agents. In the summer of 1945, Bischof embarked on his ... [more ▼]

This paper explores photographs of children, taken after 1945 by the Swiss photographer Werner Bischof (1916–1954), as visual objects and social agents. In the summer of 1945, Bischof embarked on his first journey through war-ravaged Western Europe – specifically Germany, France, Belgium, Luxembourg, and the Netherlands – to visually capture the lives of men, women, and children who had experienced the destruction, cruelties and trauma of World War II. Bischof’s photographic mission focused on children in particular. His ambitions drew upon the power of photography to present, represent, and perform, to make and articulate histories, to evoke emotions, and to relate to and resonate with various audiences. This very agency of photography, which has been argued by Bischof and also serves as a central hypothesis of this paper, is intensified when a photographer works with children and thus enhances and more strongly emphasises photography’s inherent and irreducible agency. The paper looks at how Bischof’s photographs, as performances, not only evoked but also disturbed and disrupted narratives of war-ravaged Europe. [less ▲]

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See detailPhotography as humanitarian action: David Seymour’s Children of Europe
Priem, Karin UL; Herman, Frederik

Scientific Conference (2017)

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See detailHumanitarian Photography in Post War Europe
Priem, Karin UL

Scientific Conference (2017)

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See detailLa "Fabrication" du Luxembourg moderne. Technologies visuelles et industries réformatrices come moteurs de transformation sociétale. Fabricating modern Luxembourg. Visual technologies and industries of reform as engines of societal transformation
Priem, Karin UL; Herman, Frederik UL

in Consémius, Marguy; Poos, Françoise; Priem, Karin (Eds.) La Forge d'une société moderne. Photographie et communication d'entreprise à l'ère de l'industrialisation. ARBED 1911-1937. Forging a Modern Society. Photography and Corporate Communication in the Industrial Age. ARBED 1911-1937 (2017)

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See detailHautnah. Materialität der Moderne und sensomotorische Ansätze der Berufsbildung im "Zeitalter des Stahles"
Priem, Karin UL; Herman, Frederik UL

in Thompson, Christiane; Casale, Rita; Ricken, Norbert (Eds.) Die Sache(n) der Bildung (2017)

Introduction: Das “Zeitalter des Stahles” In seinem Passagen-Werk, das der Überlieferung nach zwischen 1927 und 1940 entstanden ist, widmet sich Walter Benjamin den kunstvollen Eisen- und ... [more ▼]

Introduction: Das “Zeitalter des Stahles” In seinem Passagen-Werk, das der Überlieferung nach zwischen 1927 und 1940 entstanden ist, widmet sich Walter Benjamin den kunstvollen Eisen- und Glaskonstruktionen der Pariser Arkaden, die der modernen Großstadt nicht nur eine bisher unbekannte räumliche Atmosphäre gaben, sondern auch einen neuen Lebensstil prägten (Benjamin 1991). In der Tat wurden urbane Räume mehr und mehr durch bauliche und technische Raffinessen bestimmt, die, als Zeugen eines neuen Zeitalters, erst durch Werkstoffe wie Eisen und Stahl entstehen konnten. Im Jahre 1930 wurde vom Deutschen Werkbund, dem unter anderem Künstler, Konstrukteure und Architekten angehörten, der Band „Eisen und Stahl“ herausgegeben. Dieser enthielt 97 Schwarz-Weiß-Photographien von Albert Renger-Patzsch. Der Band machte bereits kurz nach seiner Publikation Furore und dokumentiert die herausragende Rolle der Photographie bei der Propagierung des neuen Zeitalters. Die Einleitung zu „Eisen und Stahl“ wurde vom damaligen Generaldirektor der Vereinigten Stahlwerke Albert Vögler geschrieben. Vögler (Renger-Patzsch 1930, S. 1 ff.) betonte den enormen kulturellen Einfluss von Eisen und Stahl, deren Materialeigenschaften seiner Auffassung nach nicht nur Alltagsdinge, Architektur, Technik und Ökonomie, sondern auch das intellektuelle Leben und die Ökologie ganzer Landschaften gravierend verändert hatten. Konsequenterweise bezeichnete Vögler daher das ausgehende 19. und beginnende 20. Jahrhundert als „Zeitalter des Stahles“ (ebd., S. 1), das er als eine grundlegend neue Welt beschrieb. Auslöser für diese neue Welt waren seiner Meinung nach spezifische Materialien, vor allem aber Eisen und Stahl, die unterschiedliche Härte- und Reinheitsgrade der Eisenerzverarbeitung repräsentierten und die nach und nach neue ästhetische Formen und menschliche Erfahrungen ermöglichten, welche wiederum vor allem von Ingenieuren, Konstrukteuren, Künstlern, Industriearbeitern und Angestellten geplant und ermöglicht wurden. Die rasant verlaufende internationale technische Entwicklung der Eisengewinnung und Stahlproduktion ermöglichte nicht nur die massenhafte Produktion von Waren und Gütern (bei denen Material, Form und Funktion auf neue Weise interagierten), sondern erschloss auch globale Märkte für Konsumenten. (...) [less ▲]

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See detailIntroduction
Priem, Karin UL; te Heesen, Kerstin UL

in Priem, Karin; te Heesen, Kerstin (Eds.) On Display: Visual Poltics, Material Culture, and Education (2016)

Detailed reference viewed: 48 (5 UL)