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.
Safiya Umoja Noble | 06.12.2017 – 31.01.2018
Digital Infrastructures of Race and Gender
Till the end of January, Safiya U. Noble explores the intersectional ways race and gender are embedded in digital infrastructures. Noble suggests that logics and structures of race are a matter of network and platform design, which encode values that cannot be divorced from the digital. To open, she investigates the erosion of humanities and social science courses from the education of engineers, and suggests that the erasure of sociality impacts conceptions of technology’s promise. Later in the series, she explores other dimensions of the social stack and how race and gender are embedded in contemporary conceptions of the digital.
Engineering Beyond Bias: It’s Time To Call the Experts
Robots, Race, and Gender
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.