Twenty two years since the arrival of the first consumer digital camera (Tatsuno 36) Western culture is now characterised by ubiquitous photography. The disappearance of the camera inside the mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new opportunities for the capture and transmission of images, particularly online where (...) snapshot photography is being transformed from an individual to a communal activity. As the digital image proliferates online and becomes increasingly delivered via networks, numerous practices emerge surrounding the image’s transmission, encoding, ordering and reception. Informing these practices is a growing cultural shift towards a conception of the Internet as a platform for sharing and collaboration, supported by a mosaic of technologies termed Web 2.0. (shrink)

Discusses how cultural and economic changes around the world have caused a shift in the concepts that shape modern politics and defined the new global order.

Eight respected ethnographers explore and evoke the ways in which people experience, express, imagine, and know the places in which they live.

How do the organization and presentation of large-scale social media images recondition the process by which visual knowledge, value, and meaning are made in contemporary conditions? Analyzing fundamental elements in the changing syntax of existing visual software ontology—the ways current social media platforms and aggregators organize and categorize social media images—this article relates how visual materials created within social media platforms manifest distinct modes of knowledge production and acquisition. First, I analyze the structure of social media images within data streams (...) as opposed to previous information organization in a structured database. While the database has no pre-defined notions of time and thus challenges traditional linear forms, the data stream re-emphasizes the linearity of a particular data sequence and activates a set of new relations to contemporary temporalities. Next, I show how these visual arrangements and temporal principles are manifested and discussed in three artworks: “Untitled” by Felix Gonzalez-Torres, The Clock by Christian Marclay, and Last Clock by Jussi Ängeslevä and Ross Cooper. By emphasizing the technical and poetic ways in which social media situate the present as a “thick” historical unit that embodies multiple and synchronous temporalities, this article illuminates some of the conditions, challenges, and tensions between former visual structures and current ones, and unfolds the cultural significations of contemporary big visual data. (shrink)