Alternative photographic printing techniques:
body, materiality, and learning in the digital age
DOI:
https://doi.org/10.26807/cav.v11i21.669Keywords:
alternative photographic techniques, chlorophyll process, anthotype, cyanotype, pressure transfer tracing, art education, performative bodyAbstract
This article hypothesizes that alternative photographic printing techniques (chlorophyll printing, anthotype, cyanotype, and pressure tracing) constitute hybrid processes that articulate digital inputs (such as negatives or printed images) with manual, tactile, and experimental procedures. This hybridization takes on relevance within art education, as it fosters a formative practice in which the body of the creator (student) actively intervenes in a performative process: manipulating, waiting, deciding, observing, and experimenting. In contrast to the immediacy of digital technology, these techniques promote a critical relationship with the material and recover the value of the body as a sensitive agent in the processes of artistic creation.
Downloads
References
Referencias
Barrett, E., & Bolt, B. (Eds.). (2007). Practice as Research: Approaches to Creative Arts Enquiry. I.B. Tauris.
Bourriaud, N. (2002). Estética relacional. Adriana Hidalgo Editora.
Bhabha, H. K. (2002). El lugar de la cultura (Trad. F. J. Ramos). Manantial.
Brea, J. L. (2002). La era postmedia: Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales. Salamanca: Ediciones Consorcio Salamanca.
Fabbri, M. (2012). Anthotypes, Explore the dark room in your garden and make photographs using plants. Sweden. Ed. Alternative Photography.
Fabbri, M. (2022). Anthotype Emulsions, Volume 1 – The collective research from photographers on World Anthotype Day 2022. Sweden. Ed. Alternative Photography
Garcés, M. (2020). Escuela de aprendices. Galaxia Gutenberg
González, M. (2010). Nuevos procesos de transferencia mediante tóner y su aplicación al grabado calcográfico. Universidad Complutense de Madrid.
Hoyas Frontera, G., & Molina Alarcón, M. (2001). Condicionantes sociales en la experiencia táctil. Revista de Enfermería, (14), 27–30.
In the Eclipse of Angkor, Frances Niederer Artist in Residence Binh Danh (2009) catálogo de la exposición (Virginia, 2009). The Eleanor D. Wilson Museum.
Ingold, T. (2013). Making: Anthropology, Archaeology, Art and Architecture. Routledge.
Jones, A. (1998). Body Art: Performing the Subject. University of Minnesota Press.
Lynn, G. (2012). Fotografía, manual de procesos alternativos. México: UNAM.
Lange-Berndt, P. (Ed.). (2015) Materiality. Whitechapel Gallery; The MIT Press.
Moreno Sáez, M. D. C. (2007). La cianotipia: una propuesta fotográfica alternativa.
Mrhar, P. (2014). Cianotipia, fotografía antigua y alternativa. EU: Editorial Createspace Independent.
Newhall, B. (2002). Historia de la Fotografía. Barcelona: Gustavo Gili.
Pastor, J., & Alcalá Mellado, J. R. (1997). Procedimientos de transferencia en la creación
Pérez, P. (2023, octubre 16) ¿Qué es la cianotipia?: la técnica que está de moda para crear obras de arte. El País. Recuperado el 2 de febrero de 2025 de https://elpais.com/escaparate/estilo-de-vida/2023-10-16/que-es-la-cianotipia.html
Schneider, R. (2011). Performing Remains: Art and War in Times of Theatrical Reenactment. Routledge.
Weibel, P. (2005). The Post-Media Condition. En O. Grau (Ed.), MediaArtHistories (pp. 16–27). MIT Press.
Published
How to Cite
Issue
Section
License
Copyright (c) 2026 MTRO. ORLANDO TORRES CANELA, DRA. NATALIA GURIEVA
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
ÍNDEX, Journal of Contemporary Art, manages its content rights under the Creative Commons Attribution–NonCommercial 4.0 license. In this regard, submissions remain subject to the author’s decision.
