Softimage

Towards a New Theory of the Digital Image

Häftad, Engelska, 2015

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With today’s digital technology, the image is no longer a stable representation of the world, but a programmable view of a database that is updated in real time. It no longer functions as a political and iconic representation, but plays a vital role in synchronic data-to-data relationships. It is not only part of a program, but it contains its own operating code: the image is a program in itself. Softimage aims to account for that new reality, taking readers on a journey that gradually undoes our unthinking reliance on the apparent solidity of the photographic image and building in its place an original and timely theorization of the digital image in all its complexity, one that promises to spark debate within the evolving fields of image studies and software studies.

Produktinformation

Utgivningsdatum2015-09-30
Mått178 x 229 x 9 mm
Vikt263 g
FormatHäftad
SpråkEngelska
Antal sidor154
FörlagIntellect
ISBN9781783205035

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Fotoböcker inom Kultur
Medievetenskap inom Samhalle och politik

INGRID HOELZL is Assistant Professor in the School of Creative Media at City University of Hong Kong. She is the author of a book on the theory of the photographic self-portrait (Der Autoporträtistische Pakt, 2008) and has published widely on the state of the image in contemporary art and digital culture. RÉMI MARIE is an independent writer who lives and works in Digne-les-Bains, France, and Hong Kong.

List of Illustrations ixAcknowledgements xiiiIntroduction 1 Chapter 1: Moving Stills (The Ken Burns Effect) 9 Chapter 2: Expanded Photography (The Desire for Endlessness) 27 Chapter 3: The Photographic Now (From Sign to Signal) 47 Chapter 4: In the Matrix (From Geometry to Algorithm) 61 Chapter 5: The Operative Image (Google Street View: The World as Database) 81 Chapter 6: In the Urban Data-Space (The Image as Moment of Network Access) 111 Conclusion: Softimage 131 Bibliography 133

'Softimage is a pleasant and engaging journey along the multiple vectors outlining major ontological shifts that the image is undergoing as the digital permeates everyday life. Students and general readers unfamiliar with image theory will find in Hoelzl and Marie’s volume—its first half in particular—an approachable introduction to the major thinkers and concepts in the field, often presented with an innovative twist and in stimulating combinations without unnecessary theoretical convolution.'