Still Searching…

From 2012 to 2023, the discursive blog format of Fotomuseum Winterthur subjected all aspects of photography and its role in visual culture to interdisciplinary scrutiny. The approximately 50 bloggers that contributed to Still Searching… discussed photographic media and forms within their complex technological, capitalist and ideological networks and negotiated some of the most pressing and relevant questions surrounding photography.

Blog series: Digital Infrastructures of Race and Gender

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.

The Problems of Profiting from Internet Pollution

Monday, 08.01.2018
<p><!--[if gte mso 9]>--> Normal 0 21 false false false EN-US X-NONE X-NONE <!--[if gte mso 9]>--> <!--[if gte mso 10]>--> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Normale Tabelle"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:Arial; color:black; mso-ansi-language:EN; mso-fareast-language:EN-US;} <!--StartFragment--> <!--EndFragment--></p> <p><span>At the end of 2017, I attended and participated in an international conference on internet content moderation, </span><span><a href="https://atm-ucla2017.net/" target="_blank" rel="noopener"><span>All Things in Moderation</span></a></span><span>, at the University of California, Los Angeles, organized by my long-time research collaborator, </span><span><a href="http://newsroom.ucla.edu/experts/preview/5877c4372cfac202470891d1/" target="_blank" rel="noopener"><span>Dr. Sarah T. Roberts</span></a></span><span>, an authority on commercial content moderation. This conference was the first of its kind, bringing in stakeholders for public conversations that reflected the concerns of industry, activists, content moderation workers, journalists, academics, and policy makers. In today’s blog post, I want to talk about the ethical dimensions of regulating the internet and digital media platforms, whether by content moderation, algorithms and automated decision-making systems, or by public policy. </span></p>
Blog series: The Fire Last Time: Documentary and Politics in 1970s Britain

Steve Edwards | 07.09. – 05.11.2017
The Fire Last Time: Documentary and Politics in 1970s Britain

In a time of crisis and increasing anti-capitalism, Steve Edwards considers the meeting of the political Left with photography in Britain in the 1970s. Edwards insists the fortunes of documentary and the visibility of social class are entwined. Beginning from a discussion of the critical fortunes of documentary over the last 30 years, he looks at the interest in Brecht and the fall out from the so called neo-Brechtian moment. In the process, he re-evaluates theories and practices of documentary, engaging with a range of documentary work; conceptions of skill and collective production and women and labour.

Undocumented: ‘Intensification, Contraction and Localization’

Thursday, 07.09.2017
<p>In the week that President Trump tried to pass off assorted white supremacists and storm troopers as equivalent to anti-fascists, an exhibition of photographs commemorating the ‘Battle of Lewisham’ in 1977 opened in Goldsmith College in the South London borough of Lewisham. In August 1977, massed anti-fascists confronted the far-right National Front. The clash in Lewisham was a decisive moment in halting the rise of the Nazi National Front in the UK.</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.

Excursus: Politics of the Victim

Thursday, 19.06.2014
<div>I mentioned in my first post that the rise of documentary discourses between the World Wars resulted from the political need to visibilize the working class in the new media culture corresponding to the era of mass democracy. Both in its “from above” (state/liberal/Griersonian/FSA) and in its “from below” (social movements/revolutionary/worker-photography) versions, documentary rhetoric contributed to this political need, in part through the dissemination of an iconography of a victimized working class.<br><br><br></div>