with K. Mehmet Kentel, “Burnt Panorama: Forensics, Photography, and the 1870 Pera Fire / Kül Panorama: Adli Pratikler, Fotoğraf ve 1870 Beyoğlu Yangını” (original) (raw)
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during the nineteenth century, the development of photography as a new medium in the world and the construction of dolmabahçe Palace in Istanbul (built 1843Istanbul (built -1856 coincided with each other ( ). from its construction to the early decades of the twentieth century, the palace appeared in the work of both traveller and local photographers. This presence is evidence of the building's significance, not only in the history of ottoman architecture due to its formal and programmatic innovation but also in the history of photography due to the place of this medium in urban and imperial representation. 1 recent scholarship on the relation between architecture and photography has emphasized that architectural representation entered a new, more multifaceted phase with the arrival of photography. not only did photography change the media exposure of buildings; also reciprocal translations between the two media at various stages of design representation, construction, and post-construction had transformative effects on architectural forms. In addition to the multiple ways that architects regulated the public appearances of their buildings through the medium of photography, some also explored architectural analogies of photographic indexicality and spatial ambiguity. 2 Moreover, the orientalist tradition of travel literature, as well as the ottoman use of representation techniques, added further layers of complexity to photographs of Istanbul. early photography in Istanbul was initially practiced by european travellers, local artists, minorities, and Turkish court and military photographers and was overseen by the ottoman sultans who usually supervised the photographers' practices. This puts nineteenth-century photographs from Istanbul at the center of many debates, including the intermedia relationship between architecture and photography, european orientalism, and ethnography, as well as minority politics, state control, and the inner tensions of the ottoman empire. The portrayal of dolmabahçe Palace in nineteenth-century photographs is a case in point. This article will distinguish between three genres of dolmabahçe's photographic visualization: portrayals of its gate; its interior; and its place in the urban context. While the first two contributed to mobilizing photography against orientalist visual culture, the esra aKCan
Applying archaeology to fire investigation techniques: A review
Forensic Science International, 2022
Archaeology and Fire Investigation do not appear to have much in common on the surface. Scratch beneath however, and the similarities begin to reveal themselves. Both disciplines require the investigation of physical remains by employing an analytical approach in order to reconstruct sequences of events. Before recovery employing an archaeological stratigraphic recording method at fire scenes, provides the opportunity for a sequential recording of both debris layers, recording objects and their relationship to the immediate environment. This approach is particularly pertinent in Fire Investigation, as the recovery of evidence can lead to destruction in cases of fragile evidence and remains.
Photography and other Media at the Service of Ottoman Archaeology
DIYÂR, 2020
From its earliest days, photography was linked to material remains of the past. Western pioneers of the medium were attracted to photographing Ottoman lands, especially the land of the Pharaohs, and the Holy Land. The Ottomans also seized upon photography themselves, turning the lens upon monuments and artefacts within their own Empire. The literature on archaeological photography in the region has focused on European travel photography, and on the upper echelons of state officialdom. This article shifts attention to Ottoman bureaucracy, and to the societal level. It discusses the relationship between photography and the daily tasks associated with the Ottoman administration of antiquities. Additionally, it looks at the ways that an important learned society, the Hellenic Literary Society at Constantinople, used photography. The article treats Ottoman archaeological photography in its own right, largely on the basis of primary material in Ottoman Turkish and Greek. The article argues that photography was a new, technologically advanced medium that - in tandem with other visual reproduction techniques - was instrumental in promoting visions of modernisation. Photography, and other visual media, helped the Ottoman state promote state centralisation and modernisation, while enhancing the Hellenic Literary Society’s civilising mission.
Burning Down the House: The Archaeological Manifestation of Fire on Historic Domestic Sites
NorthEast Historical Archaeology, v.30-31, 2001
This paper examines the manifestation of fire as found archaeologically at two historic domestic sit:s in O~~ario. Ea:h site experienced a burning episode of varying significance in the property's history. Sozl deposttwn, debns fields, heat alteration of artifacts, fire intensity, and types of fire debris are discussed.
Recovery and Interpretation of Burned Human Remains
Producing comprehensive guidelines and a user-friendly data collection database for the recovery of human remains from fatal fire scenes. Enhanced fatal fire scene recovery protocols and guidelines are aimed at enhancing the success rates of the location, recovery and preservation of human skeletal elements and tissue at the scene, while maximizing the compatibility of forensic anthropology protocols with those of standard fire investigation. Research Objective 2 Describing basic, meaningful patterns of fire alteration to the human body. This will produce a Daubert-compliant baseline for the recognition and interpretation of forensically significant perimortem trauma to the body or other forms of intentional body manipulation or modification prior or during the fire episode. Research Objective 3 Assessing and validating the applicability of conventional (non-burned) protocols for the analysis of sharp trauma to burned bone. This was accomplished by assessing rates of preservation and patterns of alteration of quantitative and qualitative tool class mark characteristics on bone, both under laboratory and near-real conditions, and with animal and human models. CHAPTER II Research Component 1: Recovery of Burned Human Remains Materials and Methods Research Component 1 had three main objectives: 1) The development and testing of new and efficient fatal fire scene recovery protocols, 2) Provide comparative data relating to contextual information, such as temperature distribution around the body and burn patterns found on human remains from real fires, for use in Research Component 2, and 3) Provide comparative osteological materials for Research Component 3. Archival Research In order to identify key areas that needed improvement in current fatal fire recovery methods, a review and analysis of existing documentation for 93 fatal fire scenes between 2000 and 2006 was conducted. This served to identify: 1) key variables regarding fire and victim investigation, 2) current deficiencies in the recording of variables relating to the fire scene and the victim, and 3) inconsistencies in variable coding affecting data management, sharing, and analysis. A set of 30 qualitative and quantitative variables describing the most relevant parameters of fire scenes was created, based both on anthropological analysis needs and the specifications in current fire investigation protocols (chiefly DeHaan, 2007). Processing Mock Fatal Fire Scenes The comparative (mock) fatal fire scene exercises served to: 1) test and refine the new forensic archaeological protocols in controlled near-actual conditions, and compare them with the current protocols, 2) provide detailed temperature readings from different areas of the fire scene near the body (for comparison with the experimental conditions in Research Component 2), and 3) provide comparative osteological materials for Research Component 3. The proposed recovery protocols represent modifications of conventional forensic archaeological techniques, aimed at non-burned human remains (Dirkmaat 2002, Dirkmaat and Adovasio 1997, and references therein). They include: 1) detailed mapping and excavation of the human remains, using both grid system, electronic total station and GPS data, 2) careful written, photographic and videographic scene documentation of evidence and recovery process, and 3) evidence collection and treatment (Dirkmaat, 2002).
This article is a case study about how object photography was produced and used in 19th century archaeology, revealing its importance in facilitating the dissemination, exchange and publishing of archaeological information. It aims to present eight photographs depicting objects from the archaeological collection of Zsófia Torma (1832-1899), a pioneering Hungarian woman archaeologist of 19th century Transylvania, who had a significant contribution to the development of prehistoric archaeology in Transylvania and researched the settlement of Turdaş-Luncă, one of the most important sites in today’s Romania. These photographs are of an exceptional importance to the history of Romanian and Hungarian archaeology, because they were made during Zsófia Torma’s lifetime. Moreover, until this stage of archival researches, they are the only known surviving photographs of her collection on the territory of Romania and Hungary that date from that time. Based on unpublished archive documents, this paper will trace the history of these photographs and analyse their significance in the cultural context in which they were taken and employed.