The conditions governing the digital world have led to a radical diversification not only in photography but also in the theory that underpins it and the history that is written about it. Photographic media and forms are incorporated into complex tech technological, capitalist and ideological networks; the experts who are conducting scholarly research into the role of photographic images thus come from very different disciplines. The expansion of the discourse surrounding these images is also reflected in Still Searching…, the blog on photographic theory that was initiated by Fotomuseum Winterthur in 2012 and which subjects all aspects of photography and its role in visual culture to interdisciplinary scrutiny. The bloggers invited to the online format operate at the forefront of research and enhance our awareness of current issues that are relevant to photography.
Sean Cubitt | 05.03.2017 – 02.10.2023
The photographic image introduced a radical new proposition about representation. Drawing, painting and printmaking required prolonged contemplation of subjects. The long exposures of early photography seemed to parallel that durational encounter. But the appearance of the snapshot changed that. The photogram was an isolated moment singled out that provided a new aesthetic and a new ethical quandary about the instant seized abruptly from the flow of time. The moving image may be seen as an attempt to heal this trauma in the flux of time, but one that created new modes of temporal alienation. Digital imaging, still and moving, alters the conditions of the photogram, bringing it closer to the processing of scientific instruments. In his blog series, thinking ahead of a proposed new avenue of research into the aesthetic politics of truth, Sean Cubitt draws on thinkers from Flusser to Badiou to consider the changing nature and function of time from the decisive moment to data visualisation.
Problems of Happy Images
Elizabeth Edwards | 15.09. – 31.10.2016
Institutions and the Production of ‘Photographs’
In her blog series, visual and historical anthropologist Elizabeth Edwards will scrutinize the processes and mechanisms of institutional collecting. Why and how are photographs acquired by institutions and what are the implications for the photographs that get curated? And what happens when non-collections are brought into the remit of ‘history of photography’? Edwards will discuss assumptions, categories of description and hierarchies of values that shape the management of collections and look at how the new historiography of photography is being articulated in museums and galleries. Finally, she will consider the impact of digital technologies on the way in which photographs are constituted as both historical objects and ‘collections’. What are the effects on institutional assumptions and practices, and what does this do to a history of photography and its articulation in public space?
Exhibiting the New Historiographies
Jodi Dean | 05.01. – 29.02.2016
Images without Viewers
2016 kicks off with a new blog series by political theorist Jodi Dean, “Images without viewers“. Until the end of February, Dean will reflect on the repetition and circulation of images in communicative capitalism. In today’s digitally networked communication practices, photographs and images are incorporated and blended together with speech and writing, a process designated by Dean as “secondary visuality” (akin to Walter Ong’s “secondary orality”). How do mass personalized media involve “secondary visuality,” and what are the political repercussions? What does it mean when images are less for view than they are for circulation?
Images without Viewers
Images without Viewers: Emoji
Walead Beshty | 15.04. – 31.05.2012
Exceptional Position of Photography within the (Art) World
Walead Beshty, the internationally known photographer, professor and writer who lives and works in Los Angeles, will be blogging for us until the end of May 2012. Beshty’s concern is the exceptional position of photography within the (art) world today. Why is it “that a medium that was born less than two hundred years ago, in the midst of the industrial revolution, would be the primary contemporary vehicle of the western pictorial tradition?” In his blog series Beshty will “sketch out this theoretical problem, and reexamine the assumptions associated with that loose collection of practices and theories that we call the photographic, and attempt to propose broader, and perhaps more dynamic tools through which to understand it. This process seems best begun with a discussion of the functional construction of the category of photography.”