I am an artist and PhD candidate. My current practice questions what constitutes the ‘photographic’
within emerging digital ecologies, specifically; how do technologies that
enable three-dimensional imaging, the socially-networked image, and computational
photography affect the processing, practicing, and archiving of individual,
social and cultural memory.
My work attempts to explore the boundaries of what constitutes the photographic by disrupting indexical links between photographic representation and memory. I extract different types of raw ‘image’ data, before it is reconfigured into a format that we might recognise as a ‘photograph’, and then explore and interpret it using hardware/software to create alternative visual topographies that can allow for spatial exploration. I am interested in how this sits within histories of photography, such as the ‘phantasmagorical’[1] in early photography that employed illusion techniques and created images that were ‘virtual’; a history of photography that from its inception has explored the unreliability of perception.
My current practice draws on recent research within the field of digital memory studies[2] which attempts to map the digital remaking of memory that is taking place within digital media archaeology through concepts of time-critical media, microtemporality and the process of temporal folding and layering engendered by digital technology[3]. This presents non-linear, fragmented, and instantaneous time as features of contemporary networked and mobile images. I’m interested in the ‘undecidability’[4] that is characteristic of the algorithmic turn in photography, the move away from traditional forms of tangible materiality (e.g. the family album) to the fluidity of the digital form.
[1] Henning. (2018). Photography : the unfettered image. Routledge.
https://doi.org/10.1177/1461444814532062
[2] Hoskins. (2018). Digital memory studies : media pasts in transition. Routledge.
Keightley, & Pickering, M. (2012). The mnemonic imagination remembering as creative practice. Palgrave Macmillan.
[3] Ernst, & Parikka, J. (2013). Digital memory and the archive. University of Minnesota Press.
Parikka. (2018). The Underpinning Time: From digital memory to network microtemporality. In Digital Memory Studies (1st ed., pp. 156–172). Routledge
Zielinski, & Constance, G. (2008). Deep time of the media : toward an archaeology of hearing and seeing by technical means. MIT.
[4] Rubinstein, Daniel and Sluis, Katrina (2013). The Digital Image in Photographic Culture; Algorithmic Photography and the Crisis of Representation. In: The Photographic Image in Digital Culture. Routledge
My work attempts to explore the boundaries of what constitutes the photographic by disrupting indexical links between photographic representation and memory. I extract different types of raw ‘image’ data, before it is reconfigured into a format that we might recognise as a ‘photograph’, and then explore and interpret it using hardware/software to create alternative visual topographies that can allow for spatial exploration. I am interested in how this sits within histories of photography, such as the ‘phantasmagorical’[1] in early photography that employed illusion techniques and created images that were ‘virtual’; a history of photography that from its inception has explored the unreliability of perception.
My current practice draws on recent research within the field of digital memory studies[2] which attempts to map the digital remaking of memory that is taking place within digital media archaeology through concepts of time-critical media, microtemporality and the process of temporal folding and layering engendered by digital technology[3]. This presents non-linear, fragmented, and instantaneous time as features of contemporary networked and mobile images. I’m interested in the ‘undecidability’[4] that is characteristic of the algorithmic turn in photography, the move away from traditional forms of tangible materiality (e.g. the family album) to the fluidity of the digital form.
[1] Henning. (2018). Photography : the unfettered image. Routledge.
https://doi.org/10.1177/1461444814532062
[2] Hoskins. (2018). Digital memory studies : media pasts in transition. Routledge.
Keightley, & Pickering, M. (2012). The mnemonic imagination remembering as creative practice. Palgrave Macmillan.
[3] Ernst, & Parikka, J. (2013). Digital memory and the archive. University of Minnesota Press.
Parikka. (2018). The Underpinning Time: From digital memory to network microtemporality. In Digital Memory Studies (1st ed., pp. 156–172). Routledge
Zielinski, & Constance, G. (2008). Deep time of the media : toward an archaeology of hearing and seeing by technical means. MIT.
[4] Rubinstein, Daniel and Sluis, Katrina (2013). The Digital Image in Photographic Culture; Algorithmic Photography and the Crisis of Representation. In: The Photographic Image in Digital Culture. Routledge