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09.01.–05.03.2017
7. What Do Databases Want?

For the last post in this series I have left myself an absurd challenge: to find a way of thinking through the mass image – that single, vast portrait gathered together from every digitised photo (and every mode of image capture) into one monolithic picture of the world in the accumulated databases of social media, surveillance systems, medical and scientific collections and all the other repositories of unregarded photographs. more

Published: 02.03.2017
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5. The Image Withheld

All that distinguishes a photo as image and a photo as component of the mass image is the simple act of attention. Among all the billion images uploaded, stashed or discarded, only a tiny few secure even a few moments of active contemplation. more

Published: 15.02.2017
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2. Image + After 2: From Truth to Ethics

In my last post I argued that the gradual move of photography from random scatters of molecules to formal grids marks its assimilation into formal modernity. Before leaping to this conclusion, it is important as well to reflect on photography’s place among scientific instruments, one of the major ways it was understood in its early period. Peter Galison makes a distinction between image and logic as two principles of scientific observation. more

Published: 18.01.2017
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5. Remnants of the Index: Hanging on to Photographic Values – The Installation Shot

Having reflected on the selfie and how it connects to the canonical qualities attributed to the analogue photograph, in this last blog post, which concludes my series of posts for the “still searching” blog, I will discuss the installation shot as a second example of how traditional values associated with the classic photographic image continue to live on as part of online culture. more

Published: 27.04.2015
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2. What I Talk about When I Talk about Photography

If one thinks about photography in medium-specific terms, digitization actually hasn’t introduced any significant challenges to the essence of the photographic moment. Cameras and iPhones that produce digital photographs still contain optical lenses that record light from which an image is generated.1The lenses of the digital devices presently used may have regressed in terms of quality, as Hito Steyerl argues in her text “Proxy Politics: Signal and Noise,” and consequently the process of creating an image increasingly relies on algorithmic computations based on a network of visually proximate images. Nevertheless, the optical lens continues to be a necessary component in the creation of a photographic image, despite Steyerl’s convincing argument that algorithms co-write the photographic image by comparing it to already existing images. As such, photography becomes speculative and relational. Hito Steyerl, “Proxy Politics: Signal and Noise,” in e-flux journal #60 (December 2014), http://www.e-flux.com/journal/proxy-politics/. What has changed, however, is the process of image creation that directly follows from this moment. Whereas analogue photography registered light on paper and in this way created an image, digital photography translates light into data out of which an image is calculated. more

Published: 30.03.2015
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