Today, we are pleased to present the second interview of the Beyond Theory project in 2024. The interview was offered by Lourdes Roca y Ortíz, researcher at the Mora Institute and the Head of the Audiovisual Laboratory for Social Research, and it was conducted by members of the ICA/PAAG Expert Group.
Beyond Theory is a project of the ICA/PAAG Expert Group, launched in 2022, which aims to provide content related to photographic and audiovisual management, offering operational possibilities through a pragmatic approach. The main objective of this initiative is to interview relevant and highly experienced professionals involved in different aspects of the audiovisual and photographic workflow.
In this last interview, Roca y Ortíz emphasizes the interdisciplinary nature of their work, intersecting History, Anthropology, Communication, and Latin American studies. The recent publication “Tejedores de Imágenes” encapsulates their methodological reflections and pedagogical activities, aiming to address the challenges of researching with images and fostering visual literacy.
Roca y Ortíz challenges the notion of visual illiteracy, acknowledging the overwhelming visual stimuli in contemporary culture while advocating for critical engagement. She underscores the undervaluation of photography within academia and highlights its potential for documenting untold stories and social dynamics inaccessible through traditional records. Discussing challenges researchers face with photographic archives, she emphasizes the importance of accessible documentation and flexible cataloging methodologies.
Moreover, Roca y Ortíz discusses the societal implications of photographic absence, addressing the risk of historical amnesia and the role of images as testimony. She advocates for open information systems and inclusive approaches to heritage, urging dialogue with stakeholders to redefine heritage parameters. Finally, she calls for the preservation and accessibility of invisible photographic archives, emphasizing the importance of ethical stewardship and equitable representation of marginalized groups.
We invite you to scroll down to read this new interview about audiovisual archives and how they intersect with different sectors!
INTERVIEW
1. Firstly, what is the Audiovisual Laboratory for Social Research at the Mora Institute? How did this initiative come about?
It began in the early 90s as a response to the need of transforming the oral history research conducted by the Mora Institute into documentary format. Therefore, it began with the aim of widely disseminating the findings of oral history research, which inadvertently guiding us into a continuous practice of working with images. By the year 2000, after a decade of rigorous work and reflection on oral sources, we asked ourselves, “What about images? How do we work these sources?” In this way, with the intention of working, especially methodologically, with visual sources, the groundwork of the Audiovisual Laboratory for Social Research was established. Therefore, the Laboratory was founded in 2002, and we have been engaged in social research with images for almost 22 years. We purposefully added the term “social” because we firmly believe that image-based research should transcend disciplinary boundaries and embrace interdisciplinarity. Consequently, we don’t confine our endeavors solely within the realms of History, Anthropology, Communication, or Latin American Studies—four disciplines that consistently intersect in our work, both through our academic backgrounds and daily engagement.
2. So, could we say that the book “Tejedores de imágenes. Propuestas metodológicas de investigación y gestión del patrimonio fotográfico audiovisual” is a culmination of these preceding endeavors?
The book emanates from these very concerns. When we started all these reflections years ago, a rich tapestry of research practices unfolded—abundant fieldwork, extensive archival endeavors with imagery. Concurrently, an array of pedagogical activities emerged—conducting workshops, navigating audiovisual equipment—giving rise to a robust theoretical and methodological framework, along with specific propositions. These proposals, while not intended to be “THE” methodology, offer approaches to addressing visual and audiovisual sources. This dynamic is primarily driven by student demand, as they increasingly express interests beyond mere production, prompting the imperative to develop, confront, and disseminate sources and methodologies that enrich understanding. Thus, the title “Tejedores de Imágenes” (“Weavers of Images”) resonates, encapsulating the sensation of intricately weaving with images over time. Despite decades of immersion in this field, theoretical and methodological reflection remains nascent, and we present our ideas in a wholly open and adaptable manner, with the intention of perpetually refining them.
3. Walter Benjamin, echoing Moholy-Nagy’s sentence from 1928, wrote in his “Little History of Photography” (1931) that “the illiteracy of the future will be ignorance not of reading of writing, but of photography”. Do you believe we are afflicted by visual illiteracy?
The incessant deluge of visual and audiovisual stimuli enveloping us is overwhelming. Our interaction with technical images commences with photography but extends to film and television—mediums that have fostered a pervasive passivity before screens, particularly with television. Consequently, we find ourselves engulfed in heightened consumption, devoid of critical reflection. Adding to this routine is the fact that we are not taught to express ourselves visually, despite engaging in such expression daily. This discrepancy doesn’t imply our incapacity to generate images without formal instruction, but rather underscores the notion that vast industries, particularly television and cinema, have elevated these mediums to an unreachable pedestal. It’s as if ordinary individuals lack access to such forms of expression, reserved solely for the elite. While communication has long operated in this manner, our contemporary landscape is saturated with screens, offering unprecedented avenues to connect with wider audiences. This paradigm shift is reshaping practices—nowadays, individuals craft documentaries using nothing more than a mobile phone, demystifying the language of visual media and rendering it accessible to all. When working with children, for instance, it becomes apparent that we possess innate abilities to express ourselves visually; however, if these talents remain undeveloped from a young age, daily routines transform us into passive recipients. Yet, there’s a recent trend towards employing the term “user” instead of “consumer,” signaling a reclaiming of media once deemed exclusive. In conclusion, while our immersion in contemporary culture has rendered us somewhat visually illiterate, it’s essential to recognize that this state is not immutable. We possess the potential to transcend it, notwithstanding the challenges encountered in everyday practice—challenges that are being actively addressed by emerging technologies, heralding promising transformations.
4. Is photography undervalued as a discipline in the realm of education and academia?
Absolutely. It has had this intrinsic problem since its origins. Its artistic character has been a subject of long debate, often conditioned by its connection to the technical apparatus. It has faced considerable opposition, particularly in its endeavor to be recognized within the realm of fine arts. From the beginning, it was vilified, but speaking more about the social sphere, I believe there seems to be a lack of acknowledgment regarding the capacity of the still image to convey ideas and content beyond mere aesthetics. We tend to overlook its potential for documentary expression and fail to adopt a critical stance towards its role in shaping our understanding of the world.
5. In this context, do you believe that an image inherently communicates its message without the need for accompanying words, adhering to the notion that “a picture is worth a thousand words”?
Absolutely not. Through our practice and experience, we are convinced that an image does not inherently encapsulate the essence of a thousand words. Instead, it demands interrogation. Engaging with an image prompts numerous inquiries, serving as a catalyst for research questions when approached thoughtfully. A solitary image alone cannot achieve much; like any document, it requires comparison with others of its kind. Only through such contextualization can its true significance be discerned.
6. Is photography objective?
Like any document, an image is objective in the sense that it conveys something intended by someone within a particular moment, context, and set of concerns. It embodies objectivity through subjectivity, much like any other document.
7. How do you research with images? What unique contributions can images offer that text cannot? What distinguishes research conducted through visual mediums?
Let me share a very clear example: the possibility of researching topics for which there are few written documents. For instance, exploring the lives of women and children, as well as various aspects of social dynamics including class structures, often lacks extensive written records. Official documents predominantly reflect the perspectives of those in positions of power. Photography, however, opens avenues to explore otherwise inaccessible spaces, themes, subjects, and social actors. It allows for nuanced investigations into realms that traditional documentation may fail to reach. Take, for instance, the examination of the role of women in the Russian war—an area enriched by visual sources that shed light on untold stories and hidden spaces beyond the purview of conventional research methods.
8. What challenges might researchers face when opting to base their research on photographs?
To begin, one of the primary challenges lies in the organization of photographic archives. Typically, photographs are stored without detailed cataloging, making it arduous to ascertain the contents without thorough inventory examination. Basic cataloging often fails to provide insight into the production contexts of images, which is fundamental for comprehensive research. Additionally, researchers encounter methodological hurdles, particularly of a theoretical nature. However, the foremost obstacle remains accessing photographic documents, as collections are frequently fragmented across various archives. Fortunately, advancements in technology have somewhat alleviated this issue.
9. Indeed, images possess the dual capacity to reveal and obscure. Susan Sontag has suggested that the prolonged acknowledgment and comprehension of the true extent of the horrors within the Soviet system were hindered by the lack of photographic documentation. Do you believe that the absence of images can breed indifference?
Indeed, it’s not merely indifference but also a profound risk of amnesia that can result from the absence of photographic documentation. The potency of photographic and film images is such that they can contribute to societal forgetfulness. Denial of historical atrocities, like the Armenian genocide and the Rwandan wars, has been fueled in part by the absence of photographic evidence. Here, we revisit the concept of the photographic image as testimony, as a means to provide credibility and prompt belief though this relies on the assurance of authenticity and non-manipulation.
10. You are critical towards certain methodologies employed in managing visual archives and advocate for an open information system concerning photographic archives, alongside more adaptable and flexible cataloging approaches. Can you elaborate on the essence of this proposal?
This proposal stems from encountering rigid practices within the realm of photographic archives. Often, archives operate in isolation, lacking connectivity with others, which hampers access. Furthermore, there’s a pervasive notion that conducting research with photographic documents necessitates hefty financial investment. Some archives maintain stringent policies, particularly concerning rights management, even for images over a century old or orphan works. This practice is unjustifiable, especially when it hinders students’ academic endeavors, as they’re burdened with exorbitant fees for access. This discouragement undermines the pursuit of research with images, leading many students to abandon their use altogether. We’ve been vocal in our criticism of such practices, emphasizing the importance of accessible documentation and flexible cataloging methodologies. Managing photographic archives encompasses multifaceted challenges, with no aspect deserving neglect. While we recognize the complexity of archival work and acknowledge resource limitations, we contend that political will plays a significant role in resource allocation and management.
11. You are also critical of the concept of heritage and the subjectivity surrounding it. Do you believe there are certain objective parameters that can be applied to select and recognize what constitutes heritage, despite the subjectivity surrounding the concept?
Indeed, we have been highly critical of the concept of heritage as a closed system entrenched in power dynamics. We advocate for an open dialogue and consultation with relevant stakeholders to ensure a more inclusive approach. This approach would not only foster objectivity but also pertinence and rigor, addressing the methodological considerations inherent in defining heritage. It’s imperative to engage in discussions about the essence of heritage and concepts like “recovering” especially considering the prevalent discourse from political and governmental bodies. Often, it’s the social actors themselves who have been diligently conserving and preserving heritage within their means, possessing invaluable insights into its significance and content.
12. What should be done with invisible photographic archives? Those documenting disadvantaged groups, the marginalized, or archives beyond administrative control?
First and foremost, it’s essential to acknowledge the existence of these often overlooked photographic archives. Secondly, we must establish mechanisms to preserve, catalog, and, most importantly, foster a renewed attitude towards this heritage. For instance, perpetuating the belief that photography leads to wealth undermines genuine appreciation for its historical and cultural significance. This misconception, deeply rooted in Mexico’s early photographic history, persists today, with private collectors trading these images for profit. Heritage should be preserved, documented, and shared, ensuring accessibility without succumbing to economic exploitation.
About Lourdes Roca y Ortíz
Lourdes Roca y Ortíz holds a Ph.D. in Anthropology from the National Institute of Anthropology and History, a Master’s degree in History (with a focus on History Dissemination) from the Ibero-American University, and a Bachelor’s degree in Communication Sciences. She is a researcher at the Mora Institute and the Head of the Audiovisual Laboratory for Social Research. Her multidisciplinary background in communication, history, and anthropology led her to focus her early research on audiovisual historical dissemination and documentary production. After being awarded a project for young researchers by CONACyT (2001) on “The uses of the visual in social research” she promoted the creation of a collective research space in this field: the Audiovisual Laboratory for Social Research, founded in 2002 at the Institute. She has dedicated herself to social research with images and the development of methodological proposals for their incorporation as research sources. She teaches image studies and qualitative research techniques at the undergraduate and graduate levels at the Mora Institute and has conducted specialization courses on the subject in Mexico, Colombia, Brazil, Chile, and Argentina. She has received support from CONACYT for the establishment of the Audiovisual Laboratory for Social Research (2002-2006) and for the development of an Information System for Image Archives, El Pescador, which has facilitated the online access to several digital photo libraries, promoting free access to images and fostering their knowledge and research (2007-2012). She received the Ducit et Docet Award and the ATENALCYT Award for the best graduate average in 1990, and honorable mention for her doctoral thesis in anthropology in 2000. Among her publications are the documentary that was part of her doctoral thesis “Km. C-62 Un nómada del rilel” (2000), the books “Imágenes e investigación social (2005) and Investigación con imágenes. Usos y retos metodológicos” (2012), the online site “Huellas de luz” (2012), and the recent publication of “Tejedores de imágenes. Propuestas metodológicas de investigación y gestión del patrimonio fotográfico audiovisual” (2014), co-authored with Felipe Morales, Carlos Hernández, and Andrew Green.