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2. Beyond Newhall?

We don’t have to beat around the bush: the photo historian, curator, and university teacher Beaumont Newhall has not enjoyed an excellent reputation for quite a while now. 1982 seemed to mark a watershed for him. mehr

Veröffentlicht: 06.05.2020
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1. The Bigger Picture

Do you read histories of photography? I am not referring to casual reading – an article here, an essay there. Rather, I mean whole books or even tomes. Perhaps I should ask more precisely: Have you ever read a “History of Photography”? From cover to cover? mehr

Veröffentlicht: 23.04.2020
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Aus der Series
Future Histories
23.04.–30.06.2020

In his blog series “Future Histories,” Steffen Siegel discusses various problems of older and more recent historiographies of photography – and how to go beyond them. Photographic image-production and the medium’s historiography share almost the same age. However, compared to photography’s innovative or even revolutionary visual strategies, the forms of writing about its history have remained surprisingly traditional. Photography Studies always have been a nomadic enterprise within an interdisciplinary environment. Nevertheless, there is a risk of taming these research activities by adopting models and genres from other academic disciplines. This blog series is an invitation to discuss the following questions: How can we arrive at new ways of reflecting on photo history? How can we create a bigger picture without just writing another compendious book? Thus, how can “Future Histories” lead to different ways of representing the medium’s history?

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4. Survival of the Fittest Image

If the contemporary task of the photography curator has been to rescue the photographic image from photographic reproduction, then the task of the computer scientist has been to rescue the photograph from semantic oblivion. Or, as the scholar David Weinberger observes: “When you have ten, twenty, or thirty thousand photos on your computer, storing a photo of Aunt Sally labelled ‘DSC00165.jpg’ is functionally the same as throwing it out, because you’ll never find it again.” mehr

Veröffentlicht: 23.01.2020
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3. Curate or Be Curated: A Visual Interlude

In this post, I wanted to curate a visual essay out of my screenshot collection. A recent infographic claimed that articles that contain images receive 94 percent more views than those without. Visuals are processed 600,000 times faster than text. Audiences can recall 65% of the visual content that they see almost three days later, in comparison to about 10% of written content. Adding an image at the beginning of every article reduces bounce rate; and with more engagement you can generate higher revenue and cultural authority. mehr

Veröffentlicht: 11.12.2019
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2. Post-Photography Should Not Be Curated?

For my second post, I’d like to dwell a little longer on the question of how contemporary photographic practices and technologies are curated institutionally. The issue facing photography curators today is that ‘the digital’ – as it is typically invoked – is not simply a new photographic medium but a hybrid and converged set of socio-technical practices generating alternative image economies, sites of expertise and cultural value. mehr

Veröffentlicht: 29.10.2019
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1. Know Your Bounce Rate

In February 2011, Google released “Panda”, the first of several updates to its PageRank algorithm. The release aimed to discipline rogue webmasters, and prevent sites with poor quality content from polluting Google’s top search results. With it came the imposition of a new metric of value: freshness. Those seeking credibility within Google’s scopic regime were advised by specialists to generate new and dynamic content that’s ‘engaging, entertaining, enlightening and/or inspiring’ across all available media channels. mehr

Veröffentlicht: 16.09.2019
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15.09.–20.12.2019

Katrina Sluis’ blog series “Photography Must Be Curated!” explores the diffusion and intensification of curation in an era of photographic post-scarcity. As curating becomes a practice and process made operational in network culture, and a problem to be solved by the computer sciences, what does this mean for those traditionally charged with the exhibition, collection and interpretation of photography? By focusing on the practices of technologists, digital marketers and platform users, the series aims to create new vectors between the previously separated fields of institutional curating, social media curating and computational curating. In doing so, the series ultimately seeks to explore what a practice of post-photographic curating might look like.

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