{"id":1189,"date":"2012-05-15T00:41:14","date_gmt":"2012-05-15T07:41:14","guid":{"rendered":"http:\/\/blogs.unsw.edu.au\/tiic\/?page_id=1189"},"modified":"2012-05-15T00:41:14","modified_gmt":"2012-05-15T07:41:14","slug":"daniel-palmer","status":"publish","type":"page","link":"https:\/\/blogs.unsw.edu.au\/tiic\/transdisciplinary-imaging-conference-2012-2\/speakers-2012\/daniel-palmer\/","title":{"rendered":"Daniel Palmer"},"content":{"rendered":"<h1><strong>Redundancy in Photography\u00a0<\/strong>\u00a0<\/h1>\n<p>\u00a0<\/p>\n<p style=\"text-align: justify\">In his text, \u2018Information Strategies\u2019, written at the cusp of the emergence of digital photography in 1985,<strong> <\/strong>German artist and photography critic Andreas M\u00fcller-Pohle predicted that soon \u201cit will be possible to generate and regenerate literally <em>every <\/em>conceivable \u2013 or inconceivable \u2013 picture through a computer terminal.\u201d This realization coincided with M\u00fcller-Pohle\u2019s critique of conventional photography, which he dubbed \u2018photographism\u2019 drawing on the philosopher Vil\u00e9m Flusser\u2019s work. For Flusser, photographers are functionaries of an apparatus based on automation, programmed to produce of pictures which correspond to certain general conventions and reconstructing the world as technical information. According to Flusser, the bulk of photography is \u2018redundant\u2019, exhausting itself stylistically and enslaved to apparatuses and programs.<\/p>\n<p style=\"text-align: justify\">\u00a0<\/p>\n<p style=\"text-align: justify\">This paper revisits the ideas of Flusser and M\u00fcller-Pohle in light of developments in digital photography that throw new light on the idea of image saturation and redundant photography. In particular, I address cultures of online photosharing (such as Flickr, Photosynth and Woophy) and stock imagery in light of the actions enabled by the metadata contained within common digital file formats. I propose that the very excess of digital photographic images coincides with the reinvention of the embattled authorial image into an evolving collaboration that aggregates a multiplicity of perspectives. I argue that this shift from individual views to aggregations has potentially important consequences for how we understand acts of resistance, or \u2018interference\u2019.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Redundancy in Photography\u00a0\u00a0 \u00a0 In his text, \u2018Information Strategies\u2019, written at the cusp of the emergence of digital photography in 1985, German artist and photography critic Andreas M\u00fcller-Pohle predicted that soon \u201cit will be possible to generate and regenerate literally every conceivable \u2013&hellip;<\/p>\n","protected":false},"author":538,"featured_media":0,"parent":1081,"menu_order":23,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-1189","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/1189","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/users\/538"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/comments?post=1189"}],"version-history":[{"count":4,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/1189\/revisions"}],"predecessor-version":[{"id":1249,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/1189\/revisions\/1249"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/1081"}],"wp:attachment":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/media?parent=1189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}