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Goyeneche-Gómez, E. . (2022). A visual literacy program for the use and distribution of photographs: visual epistemology of the core of a private corporation. Kepes, 19(25), 79–105. https://doi.org/10.17151/kepes.2022.19.25.4
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Authors
Edward Goyeneche-Gómez
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Abstract
This article studies, from a historical perspective, the case of a unique visual literacy program developed by the Photographic Section of the Standard Oil Company (New Jersey) between 1943 and 1950. The main objective is to describe and analyze a set of features and characteristics of this epistemic process based on the approach of the techniques, rules, instructions, recommendations and procedures of visual literacy for the use of photographs within the framework of a sophisticated distribution system that was adapted to a visual communication strategy, unprecedented in the history of corporate communication in public relations in the industry. The methodological approach, of a qualitative documentary type supported by primary sources, establishes a relational scheme between two textual and visual metadocuments of training and visual training, The Use of Photographs and Training Program, and a wide corpus of documents that allows understanding, as it is possible to conclude in the article, the epistemic conceptualization of the visual literacy scheme, the features of its institutional functioning, the description and examination of the transformations of the techniques of the visual knowledge device that it was putting to test, and the forms and modes of diffusion and distribution of the results.
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References
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Stigneev, V. (2002). El texto en el espacio fotográfico. En S. Yates (Ed.), Poéticas del espacio (pp. 95-106). Gustavo Gili.
Stryker, R. E. (n.d.). [Manuscrito inédito]. ROY STRYKER (1893-1975) PAPERS. 1912-1972. 78.9 SERIES II. A-C. BOX 6. FOLDER 2. RES PERSONAL. II-B-1. Photographic Archives. Special Collections and Archives. University of Louisville. Louisville, KY.
Stryker, R. E. (1943). MEMORANDUM. TO: MR. EARL NEWSOM. FROM: ROY STRYKER. Attached are a few notes on what I think should be done, and the way it could be accomplished. ROY
STRYKER (1893-1975) PAPERS 1912-1972, 78.9 SERIES I, Correspondence 1942-1948, BOX 4, Folder 5, 1943, JUL-DIC. Photographic Archives. Special Collections and Archives.University of Louisville. Louisville, KY.
Stryker, R. E. (1952). “Documentary Photography to Interpret Social and Economic Problems”. Notes for a talk given at a General Staff Meeting of the Social Security Administration (F.S.A.),
Thursday, May 22nd at 10:30 A.M. 1952. ROY STRYKER (1893-1975) PAPERS. 1912-1972. 78.9 SERIES II. A-C. BOX 6. FOLDER 2. RES PERSONAL. II-B-1. Photographic Archives.
Special Collections and Archives. University of Louisville. Louisville, KY. The-Lamp. (1944, September). Oil Notes. The Lamp [Publicación Interna], 26(5).
Wittgenstein, L. (1999). Investigaciones filosóficas. Altaya.
Audio-Visual Materials Consultation Bureau. (1948). Evaluation of Panels Presenting “The Story of Oil”. Wayne University. ROY STRYKER (1893-1975) PAPERS 1912-1972, 78.9 SERIES II, C-G, BOX 7, FOLDER 4, SONJ-EXHIBITS. II-D.4. Photographic Archives. Special Collections and Archives. University of Louisville. Louisville, KY.
Barthes, R. (1986). Lo obvio y lo obtuso. Paidós.
Becker, H. S. (1982). Art Worlds. University of California Press.
Bourdieu, P. (2003). Un arte medio. Gustavo Gili.
Brea, J. L. (2005). Los estudios visuales: por una epistemología política de la visualidad. En J. L.
Brea (Ed.), Estudios Visuales. La epistemología de la visualidad en la era de la globalización.Akal.
Burke, P. (2005). Visto y no visto. El uso de la imagen como documento histórico. Crítica.
Didi-Huberman, G. (2004). Imágenes pese a todo. Memoria visual del Holocausto. Paidós.
Elkins, J. (2003). Visual Studies. Routledge.
Elkins, J. (2008). Introduction The Concept of Visual Literacy, and Its Limitations. In J. Elkins (Ed.), Visual Literacy (pp. 1-10). Routledge.
Freund, G. (2004). La fotografía como documento social. Gustavo Gili.
Gombrich, E. H. (2002). Arte e ilusión. Estudio sobre la psicología de la representación simbólica. Phaidon.
Gombrich, E. H. (2003). Los usos de las imágenes. Estudios sobre la función social del arte y la comunicación visual. Fondo de Cultura Económica.
Goyeneche-Gómez, E. (2020). El poder del archivo fotográfico “anti-icónico” y su efecto histórico de representación: Sudamérica en el mapa global moderno. Arte, Individuo y Sociedad, 32(2), 345-361. https://doi.org/10.5209/aris.63408
Goyeneche-Gómez, E. (2021). Las relaciones públicas, la comunicación visual y el mito del capitalismo transnacional (1943-1950). Historia Contemporánea, (66), 493-522. https://doi.org/10.1387/hc.21124
Hill, C. A. (2004). The Psychology of Rhetorical Images. In C. Hill & M. Helmers (Eds.), Defining Visual Rhetorics. LEA.
Larson, H., Knowlton, E., & Popple, C. (1971). New Horizons 1927-1950. History of Standard Oil Company (New Jersey). Harper & Row, Publishers.
Mirzoeff, N. (2003). Una introducción a la cultura visual. Paidós.
Mitchell, W. J. T. (2003). Mostrando el ver. Una crítica de la cultura visual. Estudios Visuales, (1).
Mitchell, W. J. T. (2009). Teoría de la imagen. Akal.
Newhall, B. (2002). Historia de la fotografía. Gustavo Gili.
PHOTO-MEMO. (1947, August). Hands. PHOTO MEMO: From the Picture Files of the Standard Oil Co. (N.J.). [Publicación Interna]. 4.
Plattner, S. W. (1983). Roy Stryker: U.S.A., 1943-1950: The Standard Oil (New Jersey) Photography Project. University of Texas Press.
Public Relations Department. Standard Oil Company (N.J.). (n.d.). Photographic Section. [Manuscrito inédito]. ROY STRYKER (1893-1975) PAPERS 1912-1972, 78.9 SERIES II. PART C – G, BOX 7, FOLDER 3, SONJ. II-D.1. Photographic Archives. Special Collections and Archives. University of Louisville. Louisville, KY.
Rosler, M. (2007). Imágenes públicas. La función política de la imagen. Gustavo Gili.
Sekula, A. (2004). Desmantelar la modernidad, reinventar el documental. Notas sobre la política de la representación. En J. Ribalta (Ed.), Efecto real. Gustavo Gili.
Standard Oil Company (New Jersey). (n.d.-a). The Use of Photographs. ROY STRYKER (1893-1975) PAPERS. 1912-1972. 78.9 SERIES II. C-G. BOX 7. FOLDER 5. SONJ-EXHIBITS. IID.4. Photographic Archives. Special Collections and Archives. University of Louisville. Louisville, KY.
Standard Oil Company (New Jersey). (n.d.-b). Training Program. ROY STRYKER (1893-1975) PAPERS 1912-1972, 78.9 SERIES II, C-G, BOX 7, FOLDER 5, SONJ-EXHIBITS. II-D.4. Photographic
Archives. Special Collections and Archives. University of Louisville. Louisville, KY.
Stigneev, V. (2002). El texto en el espacio fotográfico. En S. Yates (Ed.), Poéticas del espacio (pp. 95-106). Gustavo Gili.
Stryker, R. E. (n.d.). [Manuscrito inédito]. ROY STRYKER (1893-1975) PAPERS. 1912-1972. 78.9 SERIES II. A-C. BOX 6. FOLDER 2. RES PERSONAL. II-B-1. Photographic Archives. Special Collections and Archives. University of Louisville. Louisville, KY.
Stryker, R. E. (1943). MEMORANDUM. TO: MR. EARL NEWSOM. FROM: ROY STRYKER. Attached are a few notes on what I think should be done, and the way it could be accomplished. ROY
STRYKER (1893-1975) PAPERS 1912-1972, 78.9 SERIES I, Correspondence 1942-1948, BOX 4, Folder 5, 1943, JUL-DIC. Photographic Archives. Special Collections and Archives.University of Louisville. Louisville, KY.
Stryker, R. E. (1952). “Documentary Photography to Interpret Social and Economic Problems”. Notes for a talk given at a General Staff Meeting of the Social Security Administration (F.S.A.),
Thursday, May 22nd at 10:30 A.M. 1952. ROY STRYKER (1893-1975) PAPERS. 1912-1972. 78.9 SERIES II. A-C. BOX 6. FOLDER 2. RES PERSONAL. II-B-1. Photographic Archives.
Special Collections and Archives. University of Louisville. Louisville, KY. The-Lamp. (1944, September). Oil Notes. The Lamp [Publicación Interna], 26(5).
Wittgenstein, L. (1999). Investigaciones filosóficas. Altaya.
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