Warfield, K., 2017. MirrorCameraRoom: the gendered multi-(in)stabilities of the selfie. Feminist Media Studies 17, 77–92. https://doi.org/10.1080/14680777.2017.1261843
Mark Deuze (2012) suggests that in our increasingly mediated lives, perhaps we are the medium. Theorists of Internet and social media studies have tackled similar befuddling questions where we’ve become at once producers and consumers—pro-sumers (Alvin Toffler 1980)—or simultaneously producers and users—produsers (Karl Fahringer and Axel Bruns 2008). Studying audiences at this period in history is like “wrestling with a jellyfish” (Justin Lewis 2013) because, among other things, audiences could be both always and everywhere (Peter Vorderer and Matthias Kohring 2013) or everywhere and nowhere (Elizabeth Bird 2003).
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Jay Bolter and Richard Grusin, ‘Digital Photography’, pp.104-112, in:
Bolter, J.D., Grusin, R., 2003. Remediation: understanding new media. MIT Press, Cambridge, Mass.
Many remediations are reciprocal in the sense that they invite us to imagine each medium as trying to remediate the other. In such cases, deciding which medium is remediating and which is remediated is a matter of interpretation, for it comes down to which medium is regarded as more important for a certain purpose.
Computer photorealism is trying to achieve precisely what digital photography is trying to prevent: the overcoming and replacement of the earlier technology of photography.
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Zahid R Chaudhary, ‘Sensation and Photography’, pp.1-35, in:
Chaudhary, Z.R., 2012. Afterimage of empire: photography in nineteenth-century India. University of Minnesota Press, Minneapolis; London.
How might we reorient our understandings of colonial representations if we shift our focus to that interface between bodies and world that is the precondition for making meaning?
In Afterimage of Empire I argue that, following the well-traveled routes of global capital, photography arrives in India not only as a technology of the colonial state but also as an instrument that extends and transforms sight for photographers and the body politic, British and Indian alike.
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Laura Beloff, ‘From Elephans Photographicus to the Hybronaut: An Artistic Approach to Human Enhancement’, pp.51-66, in:
Elo, M., Luoto, M., 2014. Senses of Embodiment: Art, Technics, Media. Peter Lang.
[Ref Bateson and von Uexküll on environment of the organism]
Uexkull’s research revealed that every species has its own constructed Umwelt because each species reacts in a distinctive way to the same signals it receives from the physical world. What is thus necessary for one’s biological survival, is included within one’s perception of the world; the Umwelt.
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Junko Theresa Mikuriya, ‘Introduction’, pp.1-9, in:
Mikuriya, J.T., 2017. A history of light: the idea of photography. Bloomsbury Academic, London.
Its apparent instability belies its generosity; its hospitality is such that its boundaries are porous and mutable, inviting the encroachment of others. Hence photography is often considered to be overly reliant upon its surroundings; attempts to define and to theorise photography would reduce it to a set of cultural, social, political or technological productions, identifying its history solely as the development of the photographic camera, or the inevitable outcome of a changing aesthetic sensibility.
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Birk, L., Foley, S., 2013. Afghan box camera. Dewi Lewis Publishing, Stockport, England.
Gulbert would recite prayers and verses and blow on the camera, and then take out the photographs announcing, “A MIRACLE!”
In Afghanistan in the 1950s a simple hand-made wooden camera known as the kamra-e-faoree began to be used widely in the country for the first time.
Further afield in industrialised Europe and North America, patented relations had already appeared in the 1910s; whilst the photograph process the camera used was first introduced by William Henry Fox-Talbot in 1840s England.
In contrast […] to photography as a thing of the elite, the kamra-e-faoree brought photography to the common man and quite literally, to the street.
Only a narrow pavement slot was required to fit a camera, a chair and a cloth backdrop. The chair in which the customer posed for the portrait could also serve the photographer as a perch on which to rest or even sleep in quieter times. The camera lid provided a handy platform on which to place a pair of scissors and box of photo paper as well as hold a mug of tea and a saucer of sweets.
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Wolfgang Ernst, ‘Media Archaeography: Method and Machine Versus History and Narrative Of Media’, pp.239-255, in:
Huhtamo, E., Parikka, J. (Eds.), 2011. Media archaeology: approaches, applications, and implications. University of California Press, Berkeley, Calif.
The media-archaeological method as proposed here is meant as an epistemological alternative approach to the supremacy of media-historical narratives. Equally close to disciplines that analyse material (hardware) culture and to the Foucauldian notion of the “archive” as the set of rules governing the range of what can be verbally, audiovisually, or alphanumerically expressed at all, media archaeology is both a method and an aesthetics of practising media criticism, a kind of epistemological reverse engineering, and an awareness of moments when media themselves, not explicitly humans any more, come active “archaeologists” of knowledge.
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Allan Sekula, ‘The Body and the Archive’, pp.3-64, in:
October, Vol. 39 (Winter, 1986). MIT Press.
The sheer range and volume of photographic practice offers ample evidence of the paradoxical status of photography within bourgeois culture. The simultaneous threat and promise of the new medium was recognized at a very early date, even before the daguerreotype process had proliferated.
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John Tagg, ‘The One-Eyed Man and the One-Armed Man: Camera, Culture, and the State’, pp.1-49, in:
Tagg, J., 2009. The disciplinary frame: photographic truths and the capture of meaning. University of Minnesota Press, Minneapolis.
This carefully constructed room has an old name. It is a camera. A room, but a room with a purpose: the training of light, graphing it—quite literally, photo-graphing, subjecting light to the punctual rule of the room’s inbuilt geometrical law.
The camera is, then, a place to isolate and discipline light, like a room in Jeremy Bentham’s Panopticon. And, like that room in the Panopticon, the cell of the camera has its utility both as a training machine and as a device for producing and preserving text.
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Joel Snyder & Neil Walsh Allen, ‘Photography, Vision, and Representation’, pp.143-169 in:
Critical Inquiry, Vol.2, Autumn 1975.
Is there anything peculiarly “photographic” about photography – something which sets it apart from all other ways of making pictures?
[…] for most of this century the majority of critics and laymen alike have tended to answer these questions in the same way: that photographs and paintings differ in an important way and require different methods in interpretation precisely because photographs and paintings come into being in different ways.
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