Lytro laying out its vision for the future of photography with its new Illum camera.
Brilliant prep listening for tomorrows #newfotoscapes launch & discussion with @grainphotohub
Google’s Project Tango: “to give mobile devices a human scale understanding of space and motion” is exploring how future mobile devices could have the ability to sense 3D-motion and geometry, allowing them to capture 3D-scans of their environment and use the data to create 3D-maps or game environments.
David Campbell examines how are most of the world’s pictures captured? What imaging devices are most commonly sold, and how many of them are identified as cameras?
“The long battle between residents of the delta and the major oil companies piqued the interest of Samuel James, a photographer who had documented youth gangs in the slums of Lagos, Nigeria, in 2008. He was awarded a grant through VII Photo Agency to continue his photo series “Area Boys,” which allowed him to develop close relationships with the youths.”
Richardson, Whitney. February 2013. New York Times. Lens. Money for the Taking in the Niger Delta Swamps. [online] Available from:
http://lens.blogs.nytimes.com/2013/02/13/money-for-the-taking-in-niger-delta-swamps/?_php=true&_type=blogs&_r=0 [Accessed 24 March 2014]
‘Jonathan works from London and New York as a freelance commercial photographer. His work has appeared in numerous publications and exhibitions, most recently on permanent collection at the National Portrait Gallery. His work developing new and sustainable working practices has won acclaim from a wide audience, as have his lectures; both on his work, and on levering the social web.’
Jonathan Worth. Worth Jonathan. 2014. Home page. [online] Available from: http://www.jonathanworth.com [Accessed 19 November 2013]
Jonathan Worth’s notes on photography and open teaching.
“Here’s a task: Please sum up Open and Connected Learning in a paragraph for instructors entirely new to the concept.”
Worth, Jonathan. October 2013. New Photographics. Open and Connected Teaching and learning in a paragraph.
[online] Available from: http://newphotographics.org [Accessed 24 March 2014]
Gary Knight is co-founder and principle architect of the VII photo agency and Director of the Program for Narrative and Documentary Practice, Institute for Global Leadership, Tufts University.
Knight, Gary. 2014. Gary Knight Photographer. Home. [online]
Available from: http://www.garyknightphotography.com/home-p_1.html [Accessed 24 March 2014]
‘Everyday Africa is a collection of daily life images from across the continent, focusing on the mundane and the familiar. As journalists who have lived or spent significant amounts of time on the continent, we find the extreme not nearly as prevalent as the everyday.’
Everyday Africa. 01 April 2014 [online] Available from:
http://everydayafrica.tumblr.com/ [Accessed 01 April 2014]
‘This week, the photo collective Everyday Africa, a project focussing on images of daily life in Africa, will be posting to The New Yorker’s Instagram feed. Nine photographers across the continent, from Mali to Kenya, are contributing.’
Lokke, Maria. January 28 2013. The New Yorker. Everyday Africa Takes Over Instagram. [online] Available from:
http://www.newyorker.com/online/blogs/photobooth/2013/01/everyday-africa-takes-over-instagram.html [Accessed 01 April 2014]
The question of why photographers cover war is revisited. Video interviews featuring Gary Knight, Tim Hetherington, and Ashley Gilbertson.
Filmed on 22 May 2009 at VII Gallery, Brooklyn Dispatches. 2009. youtube. Rethink Dispatches. Available from
http://www.youtube.com/user/RethinkDispatches [Accessed 01 April 2014]
RESTREPO is a feature-length documentary that chronicles the deployment of a platoon of U.S. soldiers in Afghanistan’s Korengal Valley Co-directed by Sebastian Junger and Tim Hetherington.
“The war in Afghanistan has become highly politicized, but soldiers rarely take part in that discussion. Our intention was to capture the experience of combat, boredom and fear through the eyes of the soldiers themselves.”
Restrepo (2009).[online] Available at
<http://restrepothemovie.com/video/> [Accessed 09 May 2014]
Curator and artistic director of Hartware MedienKunstVerein (www.hmkv.de) in Dortmund, Germany, since 2005. She has worked internationally as an independent curator, writer and theorist specializing in media art, net cultures, and Eastern Europe since 1993.’
Arns, Inke. 2014 [online] Available from
<http://en.inkearns.de> [Accessed 24 March 2014]
“In a fascinating interview with Image Source Art Director Stephanie Cabrera, Photography expert Stephen Mayes explores the work of photo-journalist Tim Hetherington, the wider impact of stock imagery and the rapidly changing future of Photography”
Image Source. January 2014. Photo Expert Stephen Mayes on the Changing Future of Photography.
[online] Available from
<http://www.imagesource.com/blog/stephen-mayes-on-photography/> [Accessed April 14]
Continue to explore in the Stephen Mayes encounter.
“March 2nd 2014: A reported drone strike killed three in the village of Al-Shabwan, 5km from Marib, while travelling in or sleeping near their vehicle. #drone #drones #yemen (at Erq al-Shabwan, Marib Province)”
Bridle, James. 2013. Dronestagram. [online] Available from
<http://dronestagram.tumblr.com/> [Accessed 11 November 2013.]
“…just as my drone works are not about the objects themselves, but about the systems – technological, spatial, legal and political – which permit, shape and produce them, and about the wider implications of seeing and not seeing such technological, systematic, operations; so the New Aesthetic is concerned with everything that is not visible in these images and quotes, but that is inseparable from them, and without which they would not exist.”
Bridle, J. 2013. The New Aesthetics and its Politics [online] Available from: <http://booktwo.org/notebook/new-aesthetic-politics/> [Accessed 11 November 2013]
“We focus on creating tools to better capture and share visual information. The goal is to create an entirely new class of imaging platforms that have an understanding of the world that far exceeds human ability and produce meaningful abstractions that are well within human comprehensibility.”
Camera Culture. MIT Media Lab. 2014 [online] Available from
<http://cameraculture.media.mit.edu/> [Accessed 05 March 2014]
Jon Thomson and Alison Craighead work across video, sound, sculpture, installation and online space, using technology as a means to reformulate fundamental human questions for contemporary times. Through sensitive appropriation of images, texts, and data from online sources, the artists produce generous, lyrical works that both exercise the dramatic conventions of cinema and examine the changing socio-political structures of the Information Age.
Carroll/Fletcher. 2014. Artists. Thompson & Craighead [online] Available from
<http://www.carrollfletcher.com/artists/27-Thomson-%26-Craighead/biography/> [Accessed 05 March 2014]
Our programs, many of which happen online, include commissions, exhibitions, events, discussion, archives and portfolios. We support artists working at the furthest reaches of technological experimentation as well as those responding to the broader aesthetic and political implications of new tools and media. Our organisational voice draws attention to artists, their work, their perspectives and the complex interrelationships between technology, art and culture.
Rhizome.2014. Programs. [online] available from
<http://rhizome.org/programs/?ref=header> [Accessed 05 March 2014]
JODI has over the years built quite a reputation, especially with their notorious CD-rom OSS/**** (Mediamatic, Amsterdam 1998) which, immediately after installation, executes a takeover of the computer.
V2. 2007. Archive. Organizations. jodi.org. [online] Available from
<http://v2.nl/archive/organizations/jodi.org> [Accessed 05 March 2014]
“The Pepper-Spray Cop gets Photoshop Justice. The casual way a policeman pepper-sprayed protesting students at UC Davis has caused outrage but also a mocking response.”
Jardin, Xeni. 23 November 2011. The Guardian. [online] Available from <http://www.theguardian.com/commentisfree/2011/nov/23/pepper-spraying-cop-photoshop-justice> [Accessed 05 March 2014]
ASCII art is a graphic design technique that uses computers for presentation and consists of pictures pieced together from the 95 printable (from a total of 128) characters defined by the ASCII Standard from 1963 and ASCII compliant character sets with proprietary extended characters (beyond the 128 characters of standard 7-bit ASCII).
ASCII art (from a time before the Internet had pictures)
Wikipedia. 2014. ASCII Art. [online] Available from
<http://en.wikipedia.org/wiki/ASCII_art> [Accessed 05 March 2014]
“We believe that through creative and critical engagement with practices in art and technology people are inspired and enabled to become active co-creators of their cultures and societies.”
Furtherfield. 2013. [online] Available from
<http://www.furtherfield.org/> [Accessed 05 March 2014]
Extending human vision: Interview with Paul Wombell, guest curator for Le Mois de la Photo à Montréal 13
Paul Wombell is an independent UK based writer and curator of photography. Previously directing two of the UK’s top photography institutions as well as curating many photo festivals in Europe, Wombell was invited as guest curator for the 13th edition of Le Mois de la Photo à Montreal.
M-KOS.09.14. 2013.Extending human vision: Interview with Paul Wombell. [online] Available From
<http://www.m-kos.net/archives/16786> [Accessed 05 March 2014]
Annet Dekker is an independent curator and researcher. Subjects of interest are the influence of technology, science and popular culture on art and vice versa.
Monoskop. 2014. Annet Dekker. [online] Available from
<http://monoskop.org/Annet_Dekker> [Accessed 05 March 2014]
Online Project. Aaaan.net
aaaan.net stimulates, initiates and (co)produces work and research at the fringes of art, popular culture and technology. aan focuses on innovative and explorative artistic work that is prompted by social and cultural urgency. aan is not an institute nor does it have its own space, it is a flexible organisation that consists of human hardware. For all its projects aan connects to existing organisations and complements holes in the existing cultural grid. Directors: Annet Dekker and Annette Wolfsberger.
Aaaan.net. 2014. about. [online] Available from
<http://aaaan.net/?p=69> [Accessed 05 March 2014]
“As a label CuratingYouTube.net [CYT s.1997] stands for the exploration of the Web 2.0 phenomena on the example of the online video sharing portal, Youtube. Approaching the phenomena from different angles and views CuratingYoutube.net comprises a variety of projects. Based on the assumption that the fusion of the net and real life has progresses to an extent where there is no difference between the net, that is virtual and real life, one could say, that work in the net is also work on the net and therefore real life
Curating YouTube. 02 September 2013. Author Archives: sakrowski. [online] Available from
<http://www.curatingyoutube.net/author/sakrowski/> [Accessed 11 November 2013.]
Bridle. James 2009. Portfolio/ project/interviews. [online] Available from
<http://shorttermmemoryloss.com/portfolio/project/interviews/> [Accessed 11 November 2013.]
Bucher, Tania. 16 October 2013. Machine visions: James Bridle on drones, bots and the New Aesthetic. Furtherfield.[online] Available from
<http://www.furtherfield.org/features/interviews/machine-visions-james-bridle-drones-bots-and-new-aesthetic> [Accessed 11 November 2013.]
“Humour, fun and nonsense often figure greatly in the current modes of communication on the web, whereby memes and sardonic blog comments are commonplace — if not expected.”
Rhizome. 2010. Editorial. Interview With Olga Goriunova Curator of Fun with Software. [online] Available from
<http://rhizome.org/editorial/2010/nov/3/interview-with-olga-goriunova-curator-of-fun-with-/> [Accessed 05 March 2014]
Image Source. The Art of Retouching 2: Rainer Usselmann,
“From images whose colour palette reflects the glamour of the Kodachrome age, to integrating ‘giant’ women into cityscapes, award-winning retoucher Rainer Usselmann is a master craftsman”
Smith David. 2011. The Art of Retouching 2: Rainer Usselmann. Image Source. com [online] Available from: <http://www.imagesource.com/blog/art-of-retouching-2-rainer-usselmann/> [Accessed 11 November 2013.]
“Wendy McMurdo works with traditional photography and computer technology to produce pictures of children who seem slightly ‘out of this world’.”
Invia. 2005. Dare. Wendy McMurdo. [online] Available from
<http://www.iniva.org/dare/themes/play/mcmurdo.html> [Accessed 05 March 2014]
Wendy McMurdo’s web page with examples of her work and infomation
Wendy McMurdo. 2013. Info. [online] Available from
<http://www.wendymcmurdo.com/> [Accessed 11 November 2013.]
All your Cat MeMes belong to us. The Photographers Gallery.
“Panel discussion Featuring Dr LopLop exploring the image ecologies of the web.”
The Photographers Gallery. 2013. All your Cat MeMes belong to us.[online] Available from
<http://thephotographersgallery.org.uk/all-your-cat-memes-belong-to-us> [Accessed 05 March 2014]
Dr LopLop – Flicker Profile
doc loplop. 2013. (Flicker Profile) [online] Available from
<http://www.flickr.com/people/loplop/> [Accessed 11 November 2013.]
“I’m not interested in irresolvability, because if you’ve decided that something is irresolvable it is really resolved and if I know that I cannot resolve something, if there is no resolution to be found, and that is the point, I lose interest. I’m not sure of the value of continuing in vain. Part of me wants solutions but on the other hand, I know that if there is an end, and that end is in sight and you know where it is and you reach it, then you’re done. It’s finished.”
Conroy, David Raymond. 2009. Proposal.[online] Available From
<http://www.davidraymondconroy.co.uk/proposal.html> [Accessed 05 March 2014]
David Raymond Conroy. 2013. Works. [online] Available from
<http://www.davidraymondconroy.co.uk/index-intro.html> [Accessed 11 November 2013.]
“Photography is as much the subject of my work as it is the medium in which I work. I employ traditional photographic techniques and methods of appropriation, extraction, multiple production, and intervention, to explore how we, as a culture, make and use images.”
Penelope Umbrico. 2013. Words. [online] Available from
<http://www.penelopeumbrico.net/Info/Words.html>[Accessed 11 November 2013.]
“Neural is a printed magazine established in 1993 dealing with new media art, electronic music and hacktivism. It was founded by Alessandro Ludovico and Minus Habens Records label owner Ivan Iusco in Bari (Italy). In its first issue (distributed in November 1993) there was the only translation in Italian of the William Gibson’s Agrippa (a book of the dead) book.”
Neural. 2014. About. [online] Avaliable from
<http://neural.it/about/ > [Accessed 05 March 2014]
Post Digital Print – The Mutation of Publishing Since 1894.
In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of every- day life.
Ludovice, Alessandro. [online pdf ] Avaliable from
<http://monoskop.org/images/a/a6/Ludovico,_Alessandro_-_Post-Digital_Print._The_Mutation_of_Publishing_Since_1894.pdf> [Accessed 05 March 2014]
“David Joselit recently visited the studio of Greg Lindquist, artist and Art Books in Review co-editor, to discuss Joselit’s new book After Art (Princeton, 2012) and ideas about the circulation of images and art within a global network.”
Lindquist, Greg. 2013. In Conversation David Joselit with Greg Lindquist. Interview. Brooklyn Rail. [online] Available From
<http://brooklynrail.org/2013/06/art_books/david-joselit-with-greg-lindquist> [Accessed 30 October 2013]
“Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google.”
Joselit. D. 2012. After Art. New Jersey, Princeton University Press. 2014. After Art. David Joselit. [ online] Available From
<http://press.princeton.edu/titles/9868.html> [Accessed 05 March 2014]
“As artists increasingly produce work on international sites in conjunction with local populations, art historians seek to model these new practices and assess their conceptual and political implications.”
Cole, Lori. 2011. The One and the Many: Contemporary Collaborative art in a Global Context by Grant Kester. Hemispheric Institute E-Misferica. [online] Available From
<http://hemisphericinstitute.org/hemi/en/e-misferica-91/cole> [Accessed 10 October 2013]
Online Archive of Essays from The Courtauld Institute of Art:
The Courtauld Institute of Art. 2013. Dr Julian Stallabrass. Selected Essays. [online] Available From
<http://www.courtauld.ac.uk/people/stallabrass_julian/writings.shtml> [Accessed 06 October 2013]
“I think a lot of critics who are well worth reading combine their interest in art with something else. I did my BA in Philosophy, Politics and Economics so I had that as a background. I got very interested in Marxist political theory when I did that.”
Interview With Richard Marshall:
Marshall, Richard. 2004.The Artist As Marxist. 3am Interview. 3:am Magazine. [online] Available From
<http://www.3ammagazine.com/artarchives/2004/may/interview_julian_stallabrass.html> [Accessed 06 October 2013]
“When the University of Chicago Press published my print book, How We Think: Digital Media and Contemporary Technogenesis in spring 2012, I had in hand certain digital assets that I had developed for the analyses of some of the chapters, yet whose scope far exceeded what could be included in the print book.”
Hayles, N. Katherine. 2013. How we Think – A Digital Compaion. 2013. [online] Available From
<http://howwethink.nkhayles.com/> [Accessed 05 March 2014]
“You are alone in the room, except for two computer terminals flickering in the dim light. You use the terminals to communicate with two entities in another room, whom you cannot see.
“Online paper by N. Katherin Hayles:
Hayles, Katherin.1999. How we became Postmodern. [online pdf] Available From
<http://www9.georgetown.edu/faculty/irvinem/theory/Hayles-Posthuman-excerpts.pdf> [Accessed 10 October 2013]
“The older paradigm for photojournalists was to simply record events, with the hope—and frequently the expectation—that people and their governments would be moved to respond to the injustices pictured, as witnessed by the impact of certain images”
Aperture. 2013. Shop, Books, Bending the Frame. [online] Available From
<http://www.aperture.org/shop/books/bending-the-frame-fred-ritchin-books> [Accessed 05 March 2014]
“Given the emergence of the digital, few appear to be exploring whether more effective and expansive media strategies can now emerge. This site is a forum on possibility, launched in conjunction with the publication of Fred Ritchin’s book After Photography in December of 2008.”
On-line Blog set up to explore after photography subject:
After Photography. 2013. After Photography What is next? [online] Available From
<http://www.pixelpress.org/afterphotography/> [Accessed 10 October 2013]
“Fred Ritchin says that we are obsessed with ourselves and images of the unreal. That we are escaping from very real photos of destruction into visions of idyllic fantasies, and that this escapism is being branded by governments and corporations for their own ends. We are being sold products and social scenarios that appeal to our fantasies but ultimately fail us.”
Short Bio and Interview with Fred Ritchin on digital photography: Brook, Pete. 09 February 2011. Fred Ritchin Redefines Digital Photography. Raw File Wired.com. Available From
<http://www.wired.com/rawfile/2011/09/fred-ritchin/> [Accessed 10 October 2013]