Tag, software
5. The Spectre of the Digital

I finished my last post thinking about shifting notions of ‘importance’ and ‘relevance’. This has, in part, been driven by digital technologies and the financial, socio-political and ethical pressures on institutions to give access to their collections, and in ways that connect to contemporary users. Likewise the massive and ever-increasing swirl of images in circulation is, of course, digitally-based, raising very real questions about the very nature of ‘photography’. more

Published: 20.10.2016
3. Softimage and Hardimage

PS to our previous blog, “On the Invisible (Image and Algorithm)”.  As a friend suggested, we should have imagined Paglen’s photo of a secret military base in the so-called top-secret lab run by Sergey Brin “in an undisclosed Bay Area location”: here is the place for thinking about secrecy. In fact, Google seems intentionally to be creating an atmosphere of mystery around “a pair of otherwise ordinary two-story red-brick buildings about a half-mile from Google’s main campus” 1Brad Stone, “Inside Google’s Secret Lab, Google X’s Silicon Valley Nerd Heaven – America’s Last Great Corporate Research Lab”, Bloomberg.com/news, 29 May 2013, http://www.bloomberg.com/news/articles/2013-05-22/inside-googles-secret-lab. It is impossible to find much information on Google (sic!) apart from two journal articles. In the one published in The New York Times in 2011 we can read: “It’s a place where your refrigerator could be connected to the Internet, so it could order groceries when they ran low. Your dinner plate could post to a social network what you’re eating. Your robot could go to the office while you stay home in your pajamas. And you could, perhaps, take an elevator to outer space.” 2Claire Cain Miller and Nick Biltonnov, “Google’s Lab of Wildest Dreams”, The New York Times, 13 November 2011. more

Published: 04.04.2016
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
3. The Opacity of Photography

One of my students recently declared she believed there was nothing to learn from Flusser’s writings on photography. For her, digital technology expanded the possibilities of photography well beyond what Flusser described as the pre-defined program contained within the camera apparatus. The same went for the idea of the impenetrability of the “black box,” which seemed ludicrous in today’s context of widely shared technical astuteness and the infinite possibilities offered by photo-editing software. If Flusser’s work certainly appears dated in some ways, as Walead Beshty suggested in one of his posts on this blog, discussing the 1986 essay “The Photograph as Post-Industrial Object,” other texts, notably the lectures given in Arles in 1984 that were later re-worked into the book Towards a Philosophy of Photography, are still well worth reading. more

Published: 21.03.2013