Still Searching…

Von 2012 bis 2023 beschäftigte sich der Diskurs-Blog des Fotomuseum Winterthur interdisziplinär mit allen Aspekten der Fotografie und ihrer Rolle in der visuellen Kultur. Die insgesamt fast 50 eingeladenen Blogger_innen von Still Searching…  diskutierten fotografische Medien und Formen als Bestandteil komplexer technologischer, kapitalistischer und ideologischer Netzwerke und verhandelten aktuellste und relevante Fragestellungen rund um die Fotografie.

Blog series: The Status of the Image in Digital Culture

Ingrid Hoelzl, Rémi Marie | 01.03. – 30.04.2016
The Status of the Image in Digital Culture

The current blog series are co-written by image theorists Ingrid Hoelzl and Rémi Marie. Until the end of April, they will reflect on the status of the image in digital culture. They will examine the shift from the humanist to the posthumanist programme of the image, in line with the shift from the geometric paradigm of the image (based on the linear perspective) to the algorithmic paradigm (introduced with digitalization). Hoelzl and Marie will discuss the central idea of their book Softimage (2015), the image as a software, and reflect on the status of the image in the age of autonomous machines – the postimage.

Image and Programme

Freitag, 04.03.2016
<p>As an attentive reader has pointed out to us, the word ‛programme’ appears in our book <a href="http://www.academia.edu/13578665/SOFTIMAGE_Towards_a_New_Theory_of_the_Digital_Image">Softimage</a> within a family of terms: algorithm, software, computation, processing, programming. If these terms, all gravitating around digitalization, seem almost interchangeable, we are in fact using the term ‛programme’ in a larger yet very specific sense, that of the programme of the image, or the image as a programme, which is not a condition that emerged with digitalization, but one that dates back to the Renaissance. Our first blog will explore the way the programme of the image develops in the 15th century in an intricate relation with the political programme of the time and the birth of the humanist episteme.</p>
Blog series: Centrist Liberalism Triumphant: Postwar Humanist Reframing of Documentary

Jorge Ribalta | 01.06. – 15.07.2014
Centrist Liberalism Triumphant: Postwar Humanist Reframing of Documentary

Jorge Ribalta’s blog series draws inspiration from the title of the fourth volume of Immanuel Wallerstein’s landmark series on the modern world-system. Rather than a theoretical or philosophical discussion on the nature of documentary photography, the blog series proposes a historical understanding of documentary practices in photography, and specifically during the Cold War. Ribalta’s point is that the rise of documentary rhetoric and discourses in the prewar era reflected the need to provide a visual tool for the representation of the working class and its new agency in mass democracy. But histories of photographic modernism, mostly a postwar construction largely determined by Newhall’s contribution, offered specific “liberal” versions of the emergence of the documentary discourse that had long-lasting effects. For example, the hegemony of the FSA documentary overshadowed the rest of the 1930s documentary experiences, particularly that of the Worker Photography Movement. In the 1950s, the large shadow of the monumental The Family of Man invisibilized or re-signified other documentary experiments, like Italian Neorealism or Paul Strand’s photo book projects, just to mention two examples. In both cases, prewar and postwar, centrist liberalism is triumphant. In other words, liberal humanism seemed to be an unsurpassable discursive and ideological horizon in postwar photographic avant-gardes and its historical narratives. The blog series brings to discussion some ideas and intuitions dealing with the humanist condition of postwar documentary photography and its problems.

After Liberalism

Dienstag, 08.07.2014
<p>One of the most idiosyncratic yet unrecognized trends of the 1970s is how it was precisely then, when the prewar documentary culture from the 1920s-30s began to appear in a new light. Besides the Walker Evans retrospective at MOMA in 1971, which I mentioned in the previous post, the decade started with a series of seminal monographs on the FSA and the 1930s documentary, including Jack Hurley’s <i>Portrait of a Decade</i> (1972), Roy Stryker and Nancy Wood’s <i>In this Proud Land</i> (1973), and William Stott’s <i>Documentary Expression and Thirties America</i> (1973).</p>
Blog series: Abigail Solomon-Godeau

Abigail Solomon-Godeau | 16.04. – 31.05.2014
Abigail Solomon-Godeau

Starting on April 15, 2014, the American art critic and professor emerita Abigail Solomon-Godea, will reflect on a selection of the exhibitions (i.e., the particular) viewed in the past couple of weeks and try to distill, or extract, something that might count as some valid generalities about photographic practice and photographic discourse in their current manifestations.

Two Radically Disjunct Approaches

Dienstag, 15.04.2014
<div>This is the first of five blogs I will be writing for the Fotomuseum Winterthur and, as it happens, the first I have ever written. But because almost everything I write is done on commission, the daunting freedom provided by this kind of blog (“write anything on photography”) is more intimidating than exhilarating. Given such freewheeling editorial liberty, I had to decide whether to orient this first blog to the “general,” or to the “particular.” <br><br></div>