Monthly Archives: March 2012

Rube Goldberg Processor

Digital Rube Goldberg Processor from The Product on Vimeo. The image undergoes a cyclical process of interpretation and modification. Digital mediums extricate information, distort or interpret it and export it as a different image continuously – breaking apart the constructs

Rube Goldberg Processor

Digital Rube Goldberg Processor from The Product on Vimeo. The image undergoes a cyclical process of interpretation and modification. Digital mediums extricate information, distort or interpret it and export it as a different image continuously – breaking apart the constructs

FINAL IDEATION STAGE: SKETCHES

Idea The material/non-material of a digital image is code. Zeroes and ones are the genetic make-up of a digital image. The infallible nature, the impossibility/inability of degradation accords it a kind of antipathetic immortality. This antipathy towards perfection and immortality is exhibited

FINAL IDEATION STAGE: SKETCHES

Idea The material/non-material of a digital image is code. Zeroes and ones are the genetic make-up of a digital image. The infallible nature, the impossibility/inability of degradation accords it a kind of antipathetic immortality. This antipathy towards perfection and immortality is exhibited

Google GIF

A gif exploring the facelessness and authorship of the digital image. Compilation of Google Images. Click on it and let it load for a bit – it’s supposed to alter extremely quickly between each photograph such that you can’t really

Google GIF

A gif exploring the facelessness and authorship of the digital image. Compilation of Google Images. Click on it and let it load for a bit – it’s supposed to alter extremely quickly between each photograph such that you can’t really

Susan Sontag – On Photography

I’m only extracting information and reflecting on ideas from this book that I feel are closely connected to the conversation of analog photography versus digital photography. Regarding still photographs – ‘the image is also an object, lightweight, cheap to produce,

Susan Sontag – On Photography

I’m only extracting information and reflecting on ideas from this book that I feel are closely connected to the conversation of analog photography versus digital photography. Regarding still photographs – ‘the image is also an object, lightweight, cheap to produce,

From Net-Art

Weblinks

http://www.analoguefutures.com/ http://www.net-art.org/ http://www.deathnull.org/ http://www.thedailynice.com/ The Daily Nice is the portfolio of Jason Evans tailored for the web: An image Evans takes is available for viewing for 24 hours, an intentional shortening of their virtual life. The imposition of a life

From Net-Art

Weblinks

http://www.analoguefutures.com/ http://www.net-art.org/ http://www.deathnull.org/ http://www.thedailynice.com/ The Daily Nice is the portfolio of Jason Evans tailored for the web: An image Evans takes is available for viewing for 24 hours, an intentional shortening of their virtual life. The imposition of a life

The Photographic Image in Digital Culture – Edited by Martin Lister

(770.1LIS in CSM Library) This is a brief summary of some of the ideas that I gleaned from the book. It is very useful for the digital perspective in comparison to the analog. It even discusses whether the topic of

The Photographic Image in Digital Culture – Edited by Martin Lister

(770.1LIS in CSM Library) This is a brief summary of some of the ideas that I gleaned from the book. It is very useful for the digital perspective in comparison to the analog. It even discusses whether the topic of

Translation

We had quite an intense discussion about translation at the Royal Festival Hall with Sheena today. There are a few layers of discussion regarding translation and photography: 1) How does the photographer’s intention translate to the viewer? 2) How does

Translation

We had quite an intense discussion about translation at the Royal Festival Hall with Sheena today. There are a few layers of discussion regarding translation and photography: 1) How does the photographer’s intention translate to the viewer? 2) How does