本プロジェクトは、理論研究と応用研究の中間にある。オートメーションによってもたらされた変化を、写真と視覚文化のより幅広い歴史のなかで文脈に当てはめ、自動的に生成されたイメージについて理論的に省察する必要がある一方、アーティストの技術的、美的な挑戦に対する具体的かつ事実に基づいた理解を生み出すことも不可欠である。 分析的、理論的なアプローチとこのような機械との実践的な対峙を組み合わせることで、本プロジェクトは幅広い分野の交差点を活用することに重きを置いている。


For the past twenty years, photographers have been integrating images produced autonomously by machines into their work. We witness a paradigm shift in the process of creating photography: From photographic capture in the strict sense to appropriation, automated and computational practices, which respond to a conception of space that is less and less built on the equivalence between the human eye and the machine.

The project is in-between theoretical and applied research: while it is necessary to contextualize the changes introduced by automation into a broader history of photography and visual culture, as well as into a theoretical reflection on the automated image, it is also essential to produce a tangible and factual understanding of their technical and aesthetic challenges. By combining an analytical and theoretical approach with a reflection resulting from the practical confrontation with these technical devices, the project aims to take advantage of the crossroads of these different fields. The synthesis is based on a practical approach (by applying these technologies), an aesthetic approach (by analysing the visual qualities of these devices and their creative potential) and a theoretical approach (by placing the practical results in a cultural, social and political context).


343 pages
200 x 250 mm    
color, black and white

published by MÖREL