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2017
Book three, in a photographic four-book series, and artists visual diary, documenting a twelve-month period. Features sole use of digital, mobile technology – all images shot and edited on iPhone 7 – furthering specialist expertise in ‘Insta-Generation’, and immediacy of digital tech today.
2024 •
This study explores the intricate dynamics of visual communication in the context of AI generated visuals. The question of picture interpretation, starting with the subjective interpretation of images, contextual constraints, and cultural influences of individuals that may affect the perception of an image, is at the heart of this work. The study examines a range of viewpoints on the perception of pictures from writers including Roland Barthes, John Berger, Susan Sontag, and Jean Baudrillard in order to investigate these concerns. The paper also explores the significance of AI-generated graphics, as well as Jean Baudrillard's simulacra notion. It draws attention to how simulacra, or representations without a true relationship to reality, are embodied by AI-generated visuals. In the context of AI-generated imagery, Baudrillard's phases of the image are analyzed, indicating the separation from reality and the formation of pure simulacra. The importance of critically engaging with images becomes evident, as viewers' personal experiences, cultural backgrounds, and the intricate complexities of visual media intertwine to shape meaning. The insights derived from this study contribute to a deeper understanding of the multi-faceted nature of visual communication in contemporary society, emphasizing the need for a nuanced and critical approach to the interpretation of visual content.
2015 •
The digitization of photography, the introduction of small, affordable photographic devices, and the seamless integration of photography into networked mobile communication have transformed photography into a ubiquitous and vernacular everyday activity (Hand, 2012; Rubinstein & Sluis, 2008). Visual self-representation is an integral and important part of current networked photographic practices (Autenrieth, 2011; Mendelson & Papacharissi, 2011; van Dijck, 2008), producing image types such as “one-arm-length shots,” “selfies,” or “ego shots.” Selfies and self-photographs are important elements with regard to identity work and the construction of authenticity in online environments. However, thus far photographic authenticity has mostly been examined in the journalistic context and thus in the field of professional photography. With this study, we want to address a research gap and focus on the subjective perceptions of authenticity in the field of vernacular photography. We use the c...
Body, space & technology journal
The Theatre of the Selfie: Fictive Practices of the Instagram Artist2019 •
The digitization of photography, the introduction of small, affordable photographic devices, and the seamless integration of photography into networked mobile communication have transformed photography into a ubiquitous and vernacular everyday activity (Hand, 2012; Rubinstein & Sluis, 2008). Visual self-representation is an integral and important part of current networked photographic practices (Autenrieth, 2011; Mendelson & Papacharissi, 2011; van Dijck, 2008), producing image types such as “one-arm-length shots,” “selfies,” or “ego shots.” Selfies and self-photographs are important elements with regard to identity work and the construction of authenticity in online environments. However, thus far photographic authenticity has mostly been examined in the journalistic context and thus in the field of professional photography. With this study, we want to address a research gap and focus on the subjective perceptions of authenticity in the field of vernacular photography. We use the concept of expressive authenticity that relates to the relationship between a person and his or her visual representation. Perceived expressive authenticity is achieved when people evaluate the visual representation as being true to the nature of the depicted person (Banks, 2013; Dutton, 2005). Using Q-methodology, we examine which compositional elements and visual representational strategies enhance or contradict the perceived authenticity of self-photographs and of selfies in particular.
2020 •
We seek to investigate, through the perspective of experiences, how material-discursive relations are developed through the practice of the selfie. For this analysis, we take as starting point images published on Facebook and taken in a square located in the city of Salvador, along with the automatic alternative text metadata-understood here as an algorithmic audience. We argue that the practice of selfie is an experience of account of oneself related to a multiple another-targeting an audience of entangled subjects and algorithms. In this way, we suggest to understand the selfie as an apparatus of material-discursive practices of account of oneself that is formed in the interaction between different digital materiality and relational experiences.
Networking Knowledge, special issue Be Your Selfie: Identity, Aesthetics and Power in Digital Self-Representation
Art of the Masses: From Kodak Brownie to Instagram2015 •
In history of photography, new technological developments often provide a basis for new forms of imagery. These, in turn, are followed by new ways of theorizing the photographic image. For example, the cheapness and ease of use of the Kodak Brownie camera around 1900 gave rise to a massive movement of amateur photography, introduced the snapshot, and established a tradition of family photograph albums. Similarly, around 2010 we saw a rise in popularity of a new kind of image-making, image-sharing, and image-viewing device, which I propose to call the networked camera. This networked camera is a curious hybrid consisting of a smartphone with a built-in camera, wireless internet connection, and online image-sharing platforms and other social media. The availability of such devices have provided the technological basis for the formation of a new sub-genre of amateur photography – selfie. Selfie continues the tradition of photographic self-portraiture yet at the same time presents us with a radically new type of image that demands equally new ways of analyzing it. Arguments put forward in this article are grounded in research project Selfiecity (2013-2014) led by Lev Manovich and his research lab Software Studies Initiative. This project was based on a dataset of 3,200 selfies posted to Instagram during one week from five global cities: New York, Moscow, Berlin, Sao Paulo, and Bangkok. Research methods included computational analysis (such as software-driven face recognition and use of custom-made data visualization tools) as well as formal and content analysis of each individual image. The article reveals some of the inherent complexities of understanding selfie that the methods and findings of Selfiecity have helped to articulate. Seeking for valid methods of theorizing and contextualizing selfie, the article attempts to combine insights from the perspectives of history of photography and art history, digital humanities, and software studies.
Cultural Studies <-> Critical Methodologies
I am what is a photograph: photo-fiction as performative auto-ethnography2018 •
This article is based on one fact about the author’s biography and one retold memory of the author’s mother. Each relates to the conception of the author. It takes the form of a performative auto-ethnography employing photo-fiction. The article specifically interrogates the grounded nature of subject identity in bodily experience and chronology through speculative enquiry, and the inter-subjective relation, as themselves ‘photographic’, mediated through language. However, notions of subject and experience, photograph and academic language are pushed to an extreme position until highly reflexive, and, to a point beyond literary meta-fiction. The article thus elaborates and enacts photo-fiction as auto-ethnography, replacing ‘meta’ thinking and representational thinking about events and memories, with the non-representational, in order to write the real [self] as nondualistic: experiential data as non-photography. The onto-epistemological position of the researcher, author, Subject, in relation to his or her own status is in fact a photo-fiction.
2013 •
This thesis discusses the multifaceted status of the photograph, as a contribution to understanding the mechanics of the production of meaning within the photograph. In order to get a better view of how photographs function, I both revisit discourses that have dealt with medium specificity issues and use my own practice, designing an apprehension model which can assist in the achievement of a more rigorous conception of the photograph. An integrative literature review, based on Photography discourses and debates shaped by both theorists and practitioners, provides the tools needed for defining the medium’s unique and shared properties. Ontological synecdoches of the photograph, issues of representation, time, automatism, agency, the twofold nature –trace and picture- as well as depiction theories of the medium are put into scrutiny towards formulating an apprehension scheme. This body or knowledge, along with my visual practice’s research outcomes, informs the construction of an app...
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Revista De Psiquiatria Clinica
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Syntax Literate ; Jurnal Ilmiah Indonesia
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2015 17th European Conference on Power Electronics and Applications (EPE'15 ECCE-Europe)
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2019 •
Revista Internacional de Investigación e Innovación en Didáctica de las Humanidades y las Ciencias
UNA EXPERIENCIA COMPLEMENTARIA DE COLABORACIÓN, APRENDIZAJES MUTUOS Y CONVIVENCIA ACADÉMICO-UNIVERSITARIA: LAS TUTORÍAS DE PARES EN EL CURSO DE INGRESO EN HISTORIA 2015 (FHAyCS-UADER)2016 •