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| =[[Bojan Salaj/Methods 1st year|Methods 1st year]]=
| | [[Bojan Salaj/Methods 1st year|Methods 1st year]] |
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| The(re)(s)is | | hi, again... it's 2023... |
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| I will try to produce an essay about the status of photography today, how it correlates in our living time
| | ==Methods== |
| and how it is positioned within Contemporary art.
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| Writers/Authors to whom I refer: W. Benjamin, B. Groys, W.Fluser, J. Tagg, M. Foucault, S. Zuboff, H.
| | [[Bojan Salaj]] |
| Steyerl, J. Bridle,…
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| Key themes: Photography/Information/Economy, Surveillance, ...
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| Incomprehensible or Inscrutable are the words we are using quite often when trying to reflect the time
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| and the world we are living in. But let´s try with the notion of Economy that is, at least I think so, the
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| structuring principle of the entire social totality. Thus, when trying to reflect Photography(is) today,
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| it is much more suitable to think about Economy of information than about an image expression.
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| My interest is primarily focused on the changing modality of the medium and apparatus of
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| photography today, as well as theirs interconnections with institutional and power relations
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| that retroactively operate on them through new knowledge and technology. Photography and its
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| contemporary proliferation or multi-productive nature is the leading actor in creation the continuously
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| “flowing” process in all streams of mutual social and technological relations. Consequently, it
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| determines and establishes specific relationships of (ab)use and power relations and is proactively
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| integrated into control systems. …
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| The “essay” will refer on my previous project realized in 2014 in National Gallery in Ljubljana. The
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| Exhibition/Project was named: “Interiors/Correspondences”. I can say that as a practitioner (an artist)
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| I had no need or enough time to rethink my past work accurately. Therefore I´ll take this opportunity
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| as a privilege.
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| About criteria, I think I am aware that theme or topics are wide (maybe too wide), but still, I hope
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| there will be an outcome which won´t just explain the complexity of the project, but will open the
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| horizon for further investigation. Thus, I am excited about the process itself and convinced the time
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| won´t be wasted.
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| For next session, 22nd February:
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| -reading some parts of (mentioned) books, articles
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| -structure of text
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| Supplement:
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| Computer generated photography…
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| …is an image that serves a machine as its own result, and the final outcome-an image, if we can even call it (perhaps a diagram would be a more appropriate term), could also be of a different form. The machine does not care about formal solutions, it acts as its program requires it to be triggered when it detects a "malfunction" based on the program, regardless of its shape or mode in which it appears as (perhaps) an image. This Machine is a Tool-Weapon that in the process of several thousand years of physiological and historical evolution of the arm extension serves like terribly self-sufficient and totally de-subjectivized and as such drives into dystopian threat; IT is something between Blade Runner and Terminator. Consequently, one can assume that the meaning of an image (a photograph) is drawn by a spineless centrifugal force-power, sucking in towards an indeterminate, incomprehensible and undefined center. From the Dark Chamber to the Black Hole. From Camera Obscura to Cavum Nigrum.
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| =[[Bojan_Salaj/Focal_Camera|Focal Camera]]=
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| ==testni podnaslov==
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| vsebina tega poglavja
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