On the Scale, Quantity, and Measure of Images

February 17, 2021 Leave a comment

Our publisher Edinburgh University Press has kindly put online and as open access the introduction to our book Photography Off the Scale. The co-written article “On the Scale, Quantity, and Measure of Images” gives an insight to many of the key themes of the book and hopefully thus also acts as a “trailer” sample of the book itself. You can find the introduction on the webpage under “Resources“.

For those interested in buying the book, you get 30% off if you use the discount code “new30” when ordering directly through the Press’ site.

Photography Off the Scale is out

January 31, 2021 Leave a comment

Our book Photography Off the Scale is out and available! Edited by myself and my FAMU colleague Tomáš Dvořák it offers an interdisciplinary perspective on the scale and quantity of images in contemporary visual culture. From the mass-image to post-photography, AI to online visual culture, planetary diagrams to LIDAR, the breadth of topics is wide. The book emerges from our Operational Images and Visual Culture project (FAMU, Prague – and funded by the Czech Science Foundation, 2019-2023).

Here are the really nice blurbs from Lev Manovich, Lisa Parks, and Peter Szendy:

“Among the many fundamental changes taking place in contemporary photography and media culture, probably the most important are changes in scale. The new magnitude of image production, the instant global dissemination of billions of new images, and the adoption of AI that turns these images into big data are only some examples of how the visual has been “scaled up” in the 21st century. Now we finally have a first book that rethinks the history and theory of photography through the lens of scale – and connects this concept to a range of others including measure, politics, gender, subjectivity, and aesthetics.”
– Lev Manovich, Presidential Professor, The Graduate Center, City University of New York

“Someone takes a picture somewhere in the world. Such a trivial action is multiplied by a trillion. Or much more, since the majority of pictures today are produced by machines for machines. This collection of essays brilliantly explores the unheard-of effects of scale on the ontology of photography and it touches upon the sublime of the infinity of digital images.”
– Peter Szendy, Brown University

“This book’s refreshing and much needed take on photography cuts through the infoglut and explores the apparatus, infrastructure, and operations of contemporary pictures. Addressing everything from snapshots to machine vision, Photography Off the Scale unfurls a vital field of technology, politics and aesthetics reshaping the world.”
– Lisa Parks, Distinguished Professor of Film & Media Studies, University of California-Santa Barbara

With Tomáš, we wrote a substantial introduction outlining the stakes of the approach – how it relates to scholarship in photography and links it to key questions of digital culture – and we are really pleased with the whole lineup of the book:

Introduction: On the Scale, Quantity and Measure of Images
Jussi Parikka & Tomáš Dvořák

Part I: Scale, Measure, Experience

1. The Mass Image, the Anthropocene Image, the Image Commons
Sean Cubitt
2. Beyond Human Measure: Eccentric Metrics in Visual Culture
Tomáš Dvořák
3. Living with the Excessive Scale of Contemporary Photography
Andrew Fisher
4. Feeling Photos: Photography, Picture Language and Mood Capture
Michelle Henning
5. Online Weak and Poor Images: On Contemporary Feminist Visual Politics
Tereza Stejskalová

Part II: Metapictures and Remediations

6. Photography’s Mise en Abyme: Metapictures of Scale in Repurposed Slide Libraries
Annebella Pollen
7. The Failed Photographs of Photography: On the Analogue and Slow Photography Movement
Michal Šimůnek
8. Strangely Unique: Pictorial Aesthetics in the Age of Image Abundance
Josef Ledvina

Part III: Models, Scans and AI

9. On Seeing Where There’s Nothing to See: Practices of Light Beyond Photography
Jussi Parikka
10. Planetary Diagrams: Towards an Autographic Theory of Climate Emergency
Lukáš Likavčan & Paul Heinicker
11. Undigital Photography: Image-Making Beyond Computation and AI
Joanna Zylinska
12. Coda: Photography in the Age of Massification
Joan Fontcuberta & Geoffrey Batchen

The book is published by Edinburgh University Press and is part of their Technicities book series. A special thanks to Elise Hunchuck for her outstanding expertise in helping us to fine-tune the writing and to Abelardo Gil-Fournier for the cover image that comes from his project Bildung.

For any inquiries about the book, review copy requests, etc, please contact me or Tomáš.

Queuing

January 14, 2021 Leave a comment

This is a chapter from a couple of years back but reading something today on queuing (as ordering, waiting, allocating, as Celia Lury puts it in her wonderful new book Problem Spaces) made me return to it and also post here. The chapter on “Underpinning Time” focuses on questions of microtemporality that creates publics or collectives as being modulated through cultural techniques of of temporality in networks. While the chapter is far from a full-fledged take on queuing, of standing in line and waiting for ones turn, it starts with the core scene that defines also a certain moment of network time/allocation of packets in traffic.

“The Underpinning Time” came out in the collection Digital Memory Studies edited by Andrew Hoskins.

Premio Limina 2020 // book award

November 4, 2020 Leave a comment

I am extremely happy to learn that we won! The Italian translation of What is Media Archaeology? Archeologia dei media – was awarded the XVIII Premio Limina in the category of “Best Italian Translation of an Important Contribution to Film Studies” (Miglior traduzione italiana di un importante contributo agli studi cinematografici). The translators Enrico Campo and Simone Dotto, and the editors and writers of Preface and Postface Simone Venturini and Ruggero Eugeni are the ones to thank and to congratulate for their work.

The book came out last year Autumn just when I was starting my visiting Professorship, Chair of Media Archaeology, at University of Udine; students and colleagues (including at the Gorizia’s La Camera Ottica) provided such a friendly and exciting academic environment in cinema studies where the book’s idea of “traveling media archaeology” was (again) realized in multiple ways: institutional and practice-based contexts, including practice of theory, where media archaeology travels.

All the winning books here alongside justification statements for the awards.

You can find the Italian version on publishing house Carocci’s pages, and the original English on Polity pages.

For Italian speakers, here’s an interview/text in Artribute about the translation.

Images Beyond Control

October 21, 2020 Leave a comment

The next in line of our Operational Images and Visual Culture project’s events at FAMU at the Academy of Performing Arts in Prague takes place on November 6th. After our previous events Photography Off the Scale and Expert-Readable Images, this one is titled Images Beyond Control. Michal Šimůnek and Josef Ledvina from our project team took the lead in developing the theme that makes reference to two key centennials closely related to Prague – the birth of Vilém Flusser, and Čapek brothers’ invention of the word robot.

You can find the program, a longer description, and the instructions on how to join on Zoom or YouTube here!

+ Thanks to Abelardo Gil-Fournier for designing the poster.

Eight Fragments on Eight Stones – CORES

September 27, 2020 Leave a comment

Rick Silva and Nicolas Sassoon’s new art project CORES is launched online. With Elise Hunchuck, we had the pleasure of writing the text, “Eight Fragments on Eight Stones”, to accompany the digital animations based on rock scans. See below an excerpt and check out the whole piece online!

“Here, on the lithosphere, where the earth meets the sky, there exists a long history of how rocks and stones can be seen as images and can be read as texts. A multitude of worlds has been interpreted through surfaces of stones as they depict worlds. Imaginary or not, they reflect historical events — a vertiginous array of scales, landscapes, and — sometimes — ruined cities. But they also include abstract forms and lines that offer geological points of origin for questions, including those of art and aesthetics. From the poetics of stones to the geological, we are nowadays more likely to count, classify, and catalogue than romanticise: geological surfaces and stratifications are measured and mapped such as in the cartographic codes for lithographic patterns. From sandy and silty dolomite to sandstone and shale, quartzite and granite to igneous rock the surface and subsurface are a slowly-unfolding inscription of different minerals.”

Read and see the rest on CORES website.

Touch, Click, and Motion: Archaeologies of Fashion Film After Digital Culture

September 19, 2020 Leave a comment

Submitted! The final version of our introduction article with Caroline Evans for the special issue “Archaeologies of Fashion Film” is now in with the journal. Forthcoming in Journal of Visual Culture, the text – and the issue – emerge from the AHRC project that I posted about earlier (the project ran 2017-2019) – here’s the original (not updated anymore) project website. Below the abstract of our article.

Caroline Evans and Jussi Parikka
Touch, Click, and Motion: Archaeologies of Fashion Film After Digital Culture

This article functions as the introduction to the theme issue on Archaeologies of Fashion Film. The text introduces fashion film as a genre and as a historically dynamic form of audiovisual expression that we approach through fashion history, media archaeology, and new film history. While introducing key concepts and approaches, we propose a form of ‘parallax historiography’, a term emerging from Thomas Elsaesser’s work, that links different time periods from early cinema to recent digital platforms, even ‘post-cinema’. The introduction makes references to the contributions in this issue that address historical conditions of emergence, marginal voices in the historical record, and unexcavated archival materials; and the issue shows how they all contain feedback loops or recursive traits that resonate in contemporary practice where infrastructures of platforms and data frame the moving image. Fashion film is thus seen as both a historical and a constantly practiced audiovisual form of expression that is not contained in its own industry genre, although that industry should not be ignored either. This article then helps to set the stage for acknowledging the current accelerated change in contemporary fashion communications, and offers visual cultural insights in order to rethink new modalities of fashion, film and bodies in motion.

The issue also contains articles by Marketa Uhlirova, Nick Rees-Roberts, Marie-Aude Lous Baronian, Lucy Moyse-Ferreira, and Wanda Strauven.

Seed, Image, Ground

August 25, 2020 Leave a comment

The new video essay Seed, Image, Ground is the most recent example of our collaborative work with Abelardo Gil-Fournier emerging from our project on vegetal surfaces and media aesthetics. Launched today, the video was commissioned by Fotomuseum Winterthur as part of their cluster Situations/Strike. Below the introduction text and the video! Please contact me or Abelardo for any queries related to possible video installation versions of the piece.

***

Seed, Image, Ground (2020)

Seed bombing is a technique used in forestry, agriculture, and environmental restoration where biodegradable containers filled with seeds and soil nutrients are dropped from flying aircrafts to the ground. Conceived after WW2 by an RAF pilot, its use has been fostered during the last decade, linked to the increased deployment of robotic aerial vehicles in environmental monitoring.

Seed, Image, Ground works with selected promotional images and videos related to seed bombing. It combines them with footage showing the movements of seeds and leaves, and the growth of plants. The video essay concerns the link between images, seeds, aerial operations, and transformation of earth surfaces into data. It acknowledges how the history of botanic knowledge and visual surveys of green surfaces is a history of images, and how the latter is also a history of circulation, speed, and motorised aircraft. Such images operate much beyond visuality.

Seed, Image, Ground offers an alternative way of understanding “the strike.” From metaphors of war to guerrilla farming, from agricultural techniques and reforesting to the automation of airspace and environmental management, the observation of growth of vegetal surfaces unveils connections to parallel histories of the logistics of military perception.

Sound design by María Andueza Olmedo. Research for the video essay was supported by the project Operational Images and Visual Culture, situated at the department of Photography at the Academy of Performing Arts, Prague. The project is funded by Czech Science Foundation project 19-26865X.

 

Sensoria by McKenzie Wark

August 17, 2020 Leave a comment

McKenzie Wark’s new book Sensoria: Thinkers for the Twenty-first Century is out and I am chuffed (as the British say) to be included in the fabulous lineup of theorists and writers that she rolls out in this follow-up of the General Intellects volume.

“As we face the compounded crises of late capitalism, environmental catastrophe and technological transformation, who are the thinkers and the ideas who will allow us to understand the world we live in? McKenzie Wark surveys three areas at the cutting edge of current critical thinking: media ecologies, post-colonial ethnographies, and the design of technology, and introduces us to the thinking of seventeen major writers who, combined, contribute to the common task of knowing the world. Each chapter is a concise account of an individual thinker, providing useful context and connections to the work of the others.

The authors include: Sianne Ngai, Kodwo Eshun, Lisa Nakamura, Hito Steyerl, Yves Citton, Randy Martin, Jackie Wang, Wang Hui, Anna Lowenhaupt Tsing, Achille Mbembe, Eyal Weizman, Cory Doctorow, Benjamin Bratton, Tiziana Terranova, Keller Easterling, Jussi Parikka, Deborah Danowich and Eduardo Viveiros de Castro

Wark argues that we are too often told that expertise is obtained by specialisation. Sensoria connects the themes and arguments across intellectual silos. The book is a vital and timely introduction to the future both as a warning but also as a roadmap for how we might find our way out of the current crisis.”

A Recursive Web of Models: Studio Tomás Saraceno’s Working Objects

My article on Studio Tomás Saraceno’s work is now out in the Configurations journal.

Screenshot 2020-07-23 at 14.39.37

The text follows up from the Palais de Tokyo show On Air (curated by Rebecca Lamarche-Vadel) and I’ve tried to articulate these points in the article in a couple of different contexts. While there is clearly lots (more) to be said about questions of artistic practices with animals (including multispecies ethnography), and what that implies for the field of environmental humanities, I am here a tad more focused on the question of the image, the model, and the exchange between art and science. Admittedly, “art and science” is a rather low res description of many of the actual workings of what happens in such practices, which is also why I have mobilised the term working objects (hat tip to Daston and Galison) in this context (while I acknowledge that so much more could be said). And keep your eyes open for Sasha Engelmann’s work on Studio Saraceno’s work btw.

In the meantime, see also the video “Studio Visit with Tomás Saraceno“.