by Andrew Dewdney (Editor), Katrina Sluis (Editor)
This
collection examines how the networked image establishes new social
practices for the user and presents new challenges for cultural
practitioners engaged in making, curating, teaching, exhibiting,
archiving and preserving born-digital objects.
The
mode of vision and imaging, established through photography over the
previous two centuries, has and continues to be radically reconfigured
by a hybrid of algorithms, computing, programmed capture and display
devices, and an array of online platforms. The image under these new
conditions is filtered, fluid, fleeting, permeable, mobile and
distributed and is changing our ways of seeing. The chapters in this
volume are the outcome of research conducted at the Centre for the Study
of the Networked Image (CSNI) and its collaboration with The
Photographers’ Gallery over the last ten years. The book's contributors
investigate radical changes in the meanings and values of hybridised
media in socio-technical networks and speak to the creeping automation
of culture through applications of AI, social media platforms and the
financialisation of data.
This interdisciplinary
collection draws upon media and cultural studies, art history, art
practice, photographic theory, user design, animation, museology and
computer science as a way of making sense of the specific cultural
consequences of the rapid succession of changes in image technologies
and to bring the story up to date. It will be of particular interest to
scholars and students of visual culture, media studies and photography.
