Hito Steyerl - Defense of the Poor Image: Difference between revisions
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== Hito Steyerl - In Defense of the Poor Image == | == Hito Steyerl - In Defense of the Poor Image == | ||
The poor image is a visual communication once held privately and pristinely in the cinema has now become public, distorted, compressed, uncertain (quality becomes accesibility) | |||
It contains both the promise of digital technology and the failings | |||
The content of poor images is secondary to the message they convey, where they imply how the image has been consumed and re-gurgitated | |||
Within the image, a class system hierarchy exists – where the sharpest, highest resolution and image purity are seen as primary. The hegemony of 35mm film dominates as the supreme format. | |||
Revision as of 18:49, 10 October 2016
Hito Steyerl - In Defense of the Poor Image
The poor image is a visual communication once held privately and pristinely in the cinema has now become public, distorted, compressed, uncertain (quality becomes accesibility)
It contains both the promise of digital technology and the failings
The content of poor images is secondary to the message they convey, where they imply how the image has been consumed and re-gurgitated
Within the image, a class system hierarchy exists – where the sharpest, highest resolution and image purity are seen as primary. The hegemony of 35mm film dominates as the supreme format.