Please go to the student website and read:
• Chapter 8 ‘Obedient Numbers, Soft Delight’ from Geoffrey Batchen (2002)
Each Wild Idea, Cambridge, MA: MIT Press. (PH5DIC_Each Wild Idea_Obedient Numbers_Soft Delight)
• Geoffrey Batchen’s essay ‘Ectoplasm: Photography in the Digital Age’ in Squiers, C. (ed.)
(1999) Over Exposed: Essays in Contemporary Photography, New York: The New Press, pp.9– 23. (PH5DIC_Over Exposed_Ectoplasm)
You should also read Joan Fontcuberta’s essay ‘I Knew the Spice Girls’ (pp. 56–63) from the collection Fontcuberta, J. (2014) Pandora’s Camera: Photogr@phy after Photography, London: MACK, provided with your course materials.
Project 1: The Origins of Photomontage
'Obedient Numbers, Soft Delight'
Batchen states that today, there is a concern that computers may impact the existence of photography with advances in computer imagery, manipulation and fabrication.
He goes on to say that the implication that computing will spell the end of photography is untrue, and computing and photography have shared similar cultural and social traits from the beginning of their conception.
Considering this, Batchen gives the example of Charge Babbage (a pioneer of the first computers) and Henry Fox Talbot (inventor of several photographic processes). He examines their friendship and exemplifies this as Babbage displays Fox Talbots prints for guests visiting his home. The suggestion that Babbage used Fox Talbot's images of lace made by Joseph Marie Jacquard as a metaphor as an example of the first binary language seems far-fetched. He implies that this may be the first time a connection between both was made. In fact, Ada Lovelace conventionalised the initial idea of code and suggested it to Babbage.
The only real connection to the development of digital cameras using computer code was in the 1970s, which has continued until today.
‘Ectoplasm: Photography in the Digital Age’
The article introduces questions about theories of painting and photography mediums becoming dead due to technological advances. Starting famously with French painter Paul
quote, "Painting is dead" when first seeing a photograph. Subsequently we more on 150 years with quotes from Tim Druckrey, "very foundation and status of the photographic document is challenged". Fred Ritchin, "Profound undermining of photographic status is an inherently truthful pictorial form". Anne Marie Willis comments on the speculation about the possible disappearance of photography "as a technology and a medium-specific aesthetic".
William J Mitchel elaborated that from 1989, photography was dead or "more precisely, radically and permanently displaced".
Computer technology improvements have allowed the user to manipulate images more than ever. However, advancements in silicon should not be held accountable for over-manipulation to the extent that images become fake or unrealistic.
Pressing the shutter completes the final image appearing in the viewfinder.
Batchen goes on to comment on two relatable anxieties:
The first is the introduction of computer-driven imagery. There is a fine line between the original image and the processed one, which is very difficult to separate. Even in the example of mobile phones today, the subject before the lens or sensor can be considered the only accurate original representation. These 'fake photographs' are difficult to distinguish from the originals.
The second is that we are entering into a time where there is a feeling of deception that no image viewed can be accepted as accurate is put into question. Who can we trust if the companies we rely on to keep records of these images may have other agendas, for example, political or journalistic?
Throughout history, there have been examples of photographic manipulation for the benefit of news or political benefits, to name a few.
Photography faces technological anxiety and cultural aspects associated with death. They have been associating these facets with death since their inception, whether it was their soul taken from them inside an image or some form of magic—Balzac's theory of removing spectral layers from a human into a photograph. In repartition, they are removing the essence of life.
Batches refers to Roland Barthes, who states that photography and reality cannot be linked as a photograph captures a frozen moment in time. Time, however, continuously passes when capturing an image. Batchen suggests photography acts as a memento readily viewed again and again.
Batchen goes on to say that photographs are meta-reality as they are a composition of composited images. An example of this could be how an iPhone creates images by stacked images capturing many levels of exposure, hue saturation, etc, to create the perceived perfect image. Batchen states that these images contain more reality within themselves than reality does. His argument, however, is that in most cases, the person capturing the subject does not care about the process of the final result, just the result.
It is concerning as technology has advanced at an alarming rate, especially with the introduction of AI. Closing his essay, Batchen asks, "Will digitisation kill photography?" The phrase 'kill' is inappropriate as this would infer that photography is dead. It has changed since its inception, and that digitisation has allowed us to capture more. However, we have to be mindful of the repercussions the manipulation can bring. In a positive light, we capture more than ever, but is what we see truly the truth?
‘I knew the Spice Girls’ Joan Fontcuberta
Joan Fontcuberta's chapter "I Knew the Spice Girls" begins with a story of an image taken in a photo booth in 1977. He comments that the image depicting him with the Spice Girls is genuine, quoting, 'I still have the graphic proof to back up my boast' (Page 59).
This premise sets up the reason for Fontcuberta's main point of the piece—the death of photography.He argues that the difference between analogue and digital photography is manipulation. He counters this by stating that digital photography retains the intrinsic values that its predecessor has.
It can no longer be relied on, and as a result, we cannot truly trust what we see before us as reality.
Although written in 2014, this piece seems even more relevant today than it did then.
References:
Conversations | Idris Khan, n.d. . Fraenkel Gallery. URL https://fraenkelgallery.com/tag/idris-khan (accessed 3.16.24).
Helen Sear | CAS [WWW Document], n.d. URL https://contemporaryartsociety.org/artists/helen-sear (accessed 3.16.24).
Idris Khan | every... page of Susan Sontag’s Book “On Photography” (2004) | Artsy [WWW Document], n.d. URL https://www.artsy.net/artwork/idris-khan-every-dot-dot-dot-page-of-susan-sontags-book-on-photography (accessed 2.27.24).
LensCulture, C.V.|, n.d. Photo Opportunities - Photographs by Corinne Vionnet [WWW Document]. LensCulture. URL https://www.lensculture.com/articles/corinne-vionnet-photo-opportunities (accessed 3.16.24).
Project 2: Through a Digital Lens
Read the essay: ‘The Digital Image in Photographic Culture: Algorithmic Photography and the Crisis of Representation’ by Daniel Rubinstein and Katrina Sluis, Chapter 2 in Lister, M. (ed.(2013) Photographic Image in Digital Culture, Abingdon: Routledge (pp.22–40).
In Chapter 2, Rubinstein and Sluis delve into algorithmic photography and its impact on the traditional notions of representation in photography. They explore how algorithms increasingly shape how images are captured, processed, and understood in contemporary photographic culture.
One of the key concepts discussed in this chapter is "computational vision," which refers to using algorithms and machine learning techniques to analyze and interpret visual data. This concept challenges the traditional human-centric approach to photography, where the photographer's eye and perspective play a central role in creating meaning.
The authors also examine the role of algorithms in image creation and manipulation, highlighting how software algorithms are becoming increasingly sophisticated in generating images that mimic or surpass human creativity. This raises questions about authorship, authenticity, and the nature of photographic truth in the digital age.
Furthermore, the chapter explores the implications of algorithmic photography for representation and visual culture. It discusses how algorithms can reinforce and challenge existing power structures, ideologies, and biases embedded in images. The authors critically analyze the potential for algorithmic photography to disrupt traditional hierarchies of image production and consumption.
Overall, Chapter 2 of 'The Digital Image in Photographic Culture' explores algorithmic photography and its implications for the crisis of representation in contemporary visual culture. It invites readers to reconsider established notions of authorship, truth, and meaning in the digital image era.
Project 3: The Found Image in Photomontage
Read ‘Intention and Artifice’ in Mitchell, W.J.T. (1994) The Reconfigured Eye: Visual Truth in the Post-photographic Era, Cambridge, MA: MIT Press (pp.22–57). You’ll find this on the student website (PH5DIC_The Reconfigured Eye_ Intention and Artifice).
Read a review of Hannah Höch’s 2014 exhibition at the Whitechapel Gallery in London at
Link 5
Read Sabine Kreibel’s essay ‘Manufacturing Discontent: John Heartfield’s Mass Medium’ at
Link 6
Intention and Artifice
"Intention and Artifice" is a chapter in W.J.T. Mitchell's book "The Reconfigured Eye: Visual Truth in the Post-photographic Era," published in 1994. In this chapter, Mitchell explores the relationship between intentionality and artifice in visual representation, particularly in photography and other visual media.
Mitchell argues that traditional notions of visual truth, which emphasize the role of the artist's intention in creating a faithful representation of reality, are challenged in the post-photographic era. He suggests that the distinction between intention and artifice becomes blurred with the advent of photography and digital manipulation techniques.
The chapter delves into how photography and digital imaging technologies have altered our perception of reality and truth in visual representation. Mitchell discusses how these technologies allow for the manipulation of images, raising questions about the authenticity and reliability of visual information.
Overall, Mitchell's book "Intention and Artifice" critically examines the shifting patterns of visual truth in the post-photographic era, highlighting the complex interaction between intentionality and artifice in contemporary visual culture.
Hannah Hoch
Hannah Höch's 2014 exhibition at the Whitechapel Gallery in London was a comprehensive exploration of the artist's pioneering work in collage and photomontage. It showcased her significant contributions to the Dada movement and modern art as a whole. The exhibition delved into Höch's artistic evolution, spanning her career and highlighting key themes central to her work.
One of the notable aspects of the exhibition was its focus on Höch's exploration of gender, identity, and societal norms. Höch dissected and reassembled images from popular media through her collage techniques, challenging traditional representations of femininity and masculinity. Her artworks often incorporated diverse visual elements, including photographs, text fragments, and found objects, creating dynamic compositions reflecting the human experience's complexities.
The exhibition also emphasized Höch's critical engagement with politics and culture. She used her art as a form of social commentary, addressing issues such as consumerism, nationalism, and the role of women in society. By juxtaposing and layering disparate images, Höch created thought-provoking pieces that invited viewers to reconsider established narratives and ideologies.
Overall, Hannah Höch's exhibition at the Whitechapel Gallery provided a comprehensive overview of her groundbreaking artistic practice. It celebrated her innovative approach to collage and photomontage, her commitment to challenging norms and conventions, and her enduring influence on the trajectory of modern art.
Sabine Kriebel
In Sabine Kreibel's essay "Manufacturing Discontent: John Heartfield's Mass Medium," the author examines the intricate relationship between art, politics, and mass media through the lens of John Heartfield's work. Kreibel's analysis of Heartfield's pioneering techniques in photomontage challenged the status quo and subverted traditional propaganda during a tumultuous period in history.
One of the critical strengths of Kreibel's essay is her ability to contextualize Heartfield's work within the socio-political climate of early 20th-century Europe. By examining Heartfield's use of imagery and text manipulation, Kreibel highlights how he leveraged the power of mass media to confront and critique authoritarian regimes, particularly the rise of fascism in Germany. Through photomontage, Heartfield dismantled the façade of propaganda, exposing its contradictions and manipulations to reveal underlying truths.
Kreibel also delves into the conceptual framework of "manufactured discontent" as a strategic tool employed by Heartfield. This concept refers to the deliberate creation of mass dissatisfaction to provoke critical thinking and spur social change. Through his provocative imagery and satirical narratives, Heartfield disrupted the passive consumption of propaganda, urging viewers to question authority and engage in active dissent.
Kreibel's essay underscores the enduring relevance of Heartfield's work in contemporary discourse on media manipulation and political messaging. In an era dominated by digital media and viral content, Heartfield's techniques serve as a poignant reminder of the power of visual storytelling to challenge narratives, inspire resistance, and galvanize social movements.
In conclusion, Sabine Kreibel's essay "Manufacturing Discontent: John Heartfield's Mass Medium" offers a comprehensive and insightful analysis of John Heartfield's groundbreaking contributions to the intersection of art, politics, and mass media. Through her scholarly examination, Kreibel sheds light on Heartfield's enduring legacy as a catalyst for critical inquiry and creative resistance against oppressive systems
Project 4: Photomontage and the age of the Internet
Watch Stephen Gill describe his exhibition Best Before End at Foam, Amsterdam, at Link 9
Image Credits - Steven Gill
Steven Gill: 'Best Before End'
Stephen Gill is a British contemporary photographer known for his innovative approaches to photography and his exploration of the relationship between humans and their environment. His exhibition "Best Before End" at Foam, Amsterdam, showcases his unique vision and techniques.
Gill's work often involves experimenting with the photographic process, blurring the lines between traditional and contemporary methods. "Best Before End" continues this exploration, perhaps using unconventional materials or processes to capture images that challenge our perception of reality.
Gill's thematic focus on environmental issues and consumer culture may also be evident in this exhibition. Through his lens, he often highlights the impact of human activity on the natural world, prompting viewers to reflect on their roles in these interconnected systems.
"Best Before End" is a thought-provoking and visually stunning exhibition that pushes the boundaries of photography while inviting viewers to contemplate important societal and environmental themes.
Hear Eva Stenram discuss her Drape series at Link 10
Image Credits - Eva Stenram
Eva Stenram: Drape
Eva Stenram's "Drape" series is a collection of photographic works that explore themes of voyeurism, identity, and perception. The series features images of partially obscured or draped figures, often in domestic settings such as bedrooms or living rooms. Through digital editing techniques, Stenram manipulates and obscures the photographs, creating an eerie and surreal atmosphere.
One of the central themes in the "Drape" series is concealment and revelation. The draped figures evoke a sense of mystery and invite viewers to question what lies beneath the fabric. This ambiguity plays with visibility and invisibility, inviting viewers to contemplate what is seen and hidden.
Stenram's digital manipulation adds another layer of complexity to the series. By digitally altering the images, she challenges traditional notions of photography as a faithful representation of reality. Instead, she creates a hybrid reality where the boundaries between the real and the manipulated become blurred.
Eva Stenram's "Drape" series observes themes of identity, perception, and the gaze. It invites viewers to explore the interplay between visibility and concealment in the digital age.
References:
44 famous Photoshopped and doctored images from across the ages [WWW Document], n.d. URL https://www.pocket-lint.com/apps/news/adobe/140252-30-famous-photoshopped-and-doctored-images-from-across-the-ages/ (accessed 2.17.24).
Ada Lovelace | Babbage Engine | Computer History Museum [WWW Document], n.d. URL https://www.computerhistory.org/babbage/adalovelace/ (accessed 2.4.24).
An Interview with Joachim Schmid - The Open College of the Arts [WWW Document], n.d. URL https://www.oca.ac.uk/weareoca/photography/an-interview-with-joachim-schmid/ (accessed 3.16.24).
Big Brother (Getty Museum) [WWW Document], n.d. . The J. Paul Getty Museum in Los Angeles. URL https://www.getty.edu/art/collection/object/109MTJ (accessed 3.16.24).
Charles Babbage | Babbage Engine | Computer History Museum [WWW Document], n.d. URL https://www.computerhistory.org/babbage/charlesbabbage/ (accessed 2.4.24).
Conversations | Idris Khan, n.d. . Fraenkel Gallery. URL https://fraenkelgallery.com/tag/idris-khan (accessed 3.16.24).
Eva Stenram [WWW Document], n.d. URL https://www.evastenram.net/pages/m-work.htm (accessed 10.27.23).
Helen Sear | CAS [WWW Document], n.d. URL https://contemporaryartsociety.org/artists/helen-sear (accessed 3.16.24).
Idris Khan | every... page of Susan Sontag’s Book “On Photography” (2004) | Artsy [WWW Document], n.d. URL https://www.artsy.net/artwork/idris-khan-every-dot-dot-dot-page-of-susan-sontags-book-on-photography (accessed 2.27.24).
LensCulture, C.V.|, n.d. Photo Opportunities - Photographs by Corinne Vionnet [WWW Document]. LensCulture. URL https://www.lensculture.com/articles/corinne-vionnet-photo-opportunities (accessed 3.16.24).
Opinion | Science Has a Nasty Photoshopping Problem - The New York Times [WWW Document], n.d. URL https://www.nytimes.com/interactive/2022/10/29/opinion/science-fraud-image-manipulation-photoshop.html (accessed 2.11.24).
portfolio » Portfolio, n.d. URL https://www.stephengill.co.uk/portfolio/portfolio (accessed 10.27.23).
Rubinstein, D., Sluis, K., 2013. The Digital Image in Photographic Culture; Algorithmic Photography and the Crisis of Representation. pp. 22–40.
The Most Controversial Magazine Covers - ABC News [WWW Document], n.d. URL https://abcnews.go.com/International/photos/pharrell-cover-controversial-magazine-covers-16328228/image-16328306 (accessed 2.17.24).
Time Responds to Criticism Over Simpson Cover - The New York Times [WWW Document], n.d. URL https://www.nytimes.com/1994/06/25/us/time-responds-to-criticism-over-simpson-cover.html (accessed 2.17.24).
Why a manipulated magazine photo plays a pivotal role in “The People v. OJ Simpson” | LAist [WWW Document], n.d. URL https://www.kpcc.org/show/the-frame/2016-02-03/why-a-manipulated-magazine-photo-plays-a-pivotal-role-in-the-people-v-oj-simpson (accessed 2.17.24).
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