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.
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
The Problems of Profiting from Internet Pollution
Robots, Race, and Gender
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?