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.
Tanya Sheehan | 06.03. – 30.04.2017
Photography and Migration
The photographic medium has played an important role in the movement of people, objects, identities, and ideas across time and space, especially in the human crossing of geographical and cultural borders. Scholars have shown how cameras documented, enabled, or controlled such forced or voluntary movements, while photographers have attempted to put a face on immigration around the world, making visible its associations with transition, displacement, hardship, and opportunity. In this blog series, Tanya Sheehan reflects on the relationship between photography and migration in the twenty-first century by considering photographs in the global migration crisis as well as within her own local, community interventions. Framing her discussion are keywords in photography and migration studies: diaspora, refugee, (im)mobility, and border.
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.
From the Kino-Eye to the Postimage
Fahim Amir | 16.06. – 31.07.2015
From Cows in French Banlieues to Pigeons in Popular Culture
From June 16 until the end of July, Fahim Amir will write about the photographic depiction of unruly animals in the context of urban panic. He will engage with an exploration of animal spirits in the films La Haine and Ghost Dog: from cows in French banlieues to pigeons in popular culture.
Towards a Theory of the Zoopolitical Unconscious
Trevor Paglen | 01.03. – 15.04.2014
Is Photography Over?
Starting on March 1, 2014, the American artist, Trevor Paglen, will write about the world of “seeing machines” – from iPhones to facial recognition algorithms to automated military targeting systems – and what they mean in terms of 21st century photography.
George Baker | 01.06. – 15.07.2013
George Baker will write around the idea of thinking or theorizing “photographic relationality.” We think of photography, so often, in terms of what Rosalind Krauss called a “theory of gaps”: the photograph as an operation of visual isolation, framing, cropping, freezing an object as a motionless specimen. But the vaunted “doubling” in which photography has been involved is also the creation of a relationship; the photograph’s “indexical” tie to the world a bond or affective tie more than a simple technical effect, and one that still needs further thought and description. Touching upon specific photographs and photographers, pushing forward from the implications of select contemporary artistic practices engaged with photography, I want to think about the relational status and potential of photography over its longer history. I want to write a set of speculative entries on the photograph as an image-couple more than the photograph as image-double – theorizing photographic linkage over technological reproducibility as the central promise of photography today. A set of entries imagining an affective theory of photography, building upon thoughts on photography and love from Roland Barthes to Eduardo Cadava.