Stefka Hristova
Datos Biográficos
| ID | 215432 |
|---|---|
| NOMBRE | Stefka Hristova |
| NOMBRES | Stefka |
| APELLIDO | Hristova |
| FIRMA | HRISTOVA S |
| AFILIACIONES | Michigan Technological University |
| ORCID | 0000-0003-3968-6081 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 12 |
| TOTAL DE CITAS | 5 |
| OBRAS COMO AUTOR | 12 |
| OBRAS COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2013 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2022 |
| ÍNDICE H | 1 |
Proto-Algorithmic War
Proto-Algorithmic War
Traces
Machine learning algorithms and artificial intelligence have made photographic manipulation easy and seamless. In thinking about the ways in which artificial intelligence has altered the truth-value of photography, this article explores the importance of situating the current debates over fake news and photographic manipulation in a larger historical context. More specifically, it suggests that it is equally important to understand both the inner…
Training for the Algorithmic Machine
In thinking about the ubiquity of algorithmic surveillance and the ways our presence in front of a camera has become engaged with the algorithmic logics of testing and replicating, this project summons Walter Benjamin’s seminal piece The Work of Art in the Age of Its Technological Reproducibility with its three versions, which was published in the United States under the editorial direction of Theodore Adorno. More specifically, it highlights two…
I can’t breathe’
In the United States, 2020 was defined by mortality: the COVID-19 health pandemic on the one hand and by a racist pandemic (or a lasting endemic) on the other. In both pandemics, the phrase ‘I can’t breathe’ emerged as emblematic of these multifaceted crises. Within the United States, each pandemic was perceived and articulated quite differently by centrist and right-wing political ideologies. This article was stimulated by a political cartoon cr…
Culture in-colour
Culture in-colour is a concept that recognizes that culture is always imbricated in relations of colour as form, structure, or system and in relations of colours. These two regimes – colour and colours – fold back onto and interpenetrate one another to constitute culture in complex, multiple, contradictory, constitutive relations that are potentially open to change. Theorizing culture in-colour draws on and beyond the image of the cyborg to insis…
Blue Screen of Death
This article proposes that the Blue Screen of Death (BSoD), experienced on personal computers when Microsoft Windows crashes materializes technology as monitor, operating system and graphical user interface. The navy blue colour used to signal Windows’ initial interface as well as its most famous error screen points to the affinity between computers and classical Hollywood cinema. Graphic user interface (GUI) borrowed heavily from the conventions…
Notes on the iconography of mediated gestures
© Stefka Hristova. This article argues for the relevance of Erwin Panofsky's twentieth-century art historical three-step method of preiconography, iconography, and iconology to the field of media studies. It illustrates the ways in which genealogies of visual elements spread across a wide range of visual media can illuminate long-standing cultural tropes. More specifically, this project takes up the second step proposed by Panofsky-namely iconogr…
Visual Memes as Neutralizers of Political Dissent
A meme, conceived as the cultural equivalent of the biological gene by Richard Dawkins, spread through culture like a virus – quickly and widely. Its viral power is in turn understood as product of nature, rather than culture – or rather as threatening to subvert culture into a condition of nature. Firing up over night, and disappearing just as quickly, memes are often allowed to run their course and fade into oblivion, only to return again. They…
Recognizing Friend and Foe
In analyzing the deployment of biomertics in Iraq, argue that whereas the body was seen as a site of verification in 20th century surveillance and identification practices, in the ongoing War on Terror, and the Iraq War more specifically, it became a site of veridiction - a site in which the truth about the security of the state can be analyzed (Foucault 2008:32). The body thus became the basis for determining not so much one’s unique identity bu…
Occupy Wall Street Meets Occupy Iraq
The transformation of iconic images of traumatic historical events into everyday humorous practice illuminates the mechanisms of remembering and forgetting that operate in digital popular culture. The image-icon has the power to evoke history, to function in Walter Benjamin's terms as a monad. This power, however, is fleeting as history is yet again rendered latent and forgotten once it is transformed into a gesture or everyday common sense. In t…
Doing a Lynndie
In the fall of 2003, Lynndie England gave thumbs-up with one hand and lock-and-load with the other to a group of naked Iraqi detainees at Abu Ghraib prison, when facing a camera. Soon after the Abu Ghraib tortures became public knowledge, and Lynndie England became an iconic "Hillbilly" who tortures for fun, hundreds of people around the world, prompted by a British blog named Bad Gas, took up Lynndie's gesture and transformed it into a humorous …
Doing a Lynndie
In the fall of 2003, Lynndie England gave thumbs-up with one hand and lock-and-load with the other to a group of naked Iraqi detainees at Abu Ghraib prison, when facing a camera. Soon after the Abu Ghraib tortures became public knowledge, and Lynndie England became an iconic "Hillbilly" who tortures for fun, hundreds of people around the world, prompted by a British blog named Bad Gas, took up Lynndie's gesture and transformed it into a humorous …
Notes on the iconography of mediated gestures
© Stefka Hristova. This article argues for the relevance of Erwin Panofsky's twentieth-century art historical three-step method of preiconography, iconography, and iconology to the field of media studies. It illustrates the ways in which genealogies of visual elements spread across a wide range of visual media can illuminate long-standing cultural tropes. More specifically, this project takes up the second step proposed by Panofsky-namely iconogr…
Occupy Wall Street Meets Occupy Iraq
The transformation of iconic images of traumatic historical events into everyday humorous practice illuminates the mechanisms of remembering and forgetting that operate in digital popular culture. The image-icon has the power to evoke history, to function in Walter Benjamin's terms as a monad. This power, however, is fleeting as history is yet again rendered latent and forgotten once it is transformed into a gesture or everyday common sense. In t…
Occupy Wall Street Meets Occupy Iraq
The transformation of iconic images of traumatic historical events into everyday humorous practice illuminates the mechanisms of remembering and forgetting that operate in digital popular culture. The image-icon has the power to evoke history, to function in Walter Benjamin's terms as a monad. This power, however, is fleeting as history is yet again rendered latent and forgotten once it is transformed into a gesture or everyday common sense. In t…
Doing a Lynndie
In the fall of 2003, Lynndie England gave thumbs-up with one hand and lock-and-load with the other to a group of naked Iraqi detainees at Abu Ghraib prison, when facing a camera. Soon after the Abu Ghraib tortures became public knowledge, and Lynndie England became an iconic "Hillbilly" who tortures for fun, hundreds of people around the world, prompted by a British blog named Bad Gas, took up Lynndie's gesture and transformed it into a humorous …
Visual Memes as Neutralizers of Political Dissent
A meme, conceived as the cultural equivalent of the biological gene by Richard Dawkins, spread through culture like a virus – quickly and widely. Its viral power is in turn understood as product of nature, rather than culture – or rather as threatening to subvert culture into a condition of nature. Firing up over night, and disappearing just as quickly, memes are often allowed to run their course and fade into oblivion, only to return again. They…
Recognizing Friend and Foe
In analyzing the deployment of biomertics in Iraq, argue that whereas the body was seen as a site of verification in 20th century surveillance and identification practices, in the ongoing War on Terror, and the Iraq War more specifically, it became a site of veridiction - a site in which the truth about the security of the state can be analyzed (Foucault 2008:32). The body thus became the basis for determining not so much one’s unique identity bu…
Culture in-colour
Culture in-colour is a concept that recognizes that culture is always imbricated in relations of colour as form, structure, or system and in relations of colours. These two regimes – colour and colours – fold back onto and interpenetrate one another to constitute culture in complex, multiple, contradictory, constitutive relations that are potentially open to change. Theorizing culture in-colour draws on and beyond the image of the cyborg to insis…
Blue Screen of Death
This article proposes that the Blue Screen of Death (BSoD), experienced on personal computers when Microsoft Windows crashes materializes technology as monitor, operating system and graphical user interface. The navy blue colour used to signal Windows’ initial interface as well as its most famous error screen points to the affinity between computers and classical Hollywood cinema. Graphic user interface (GUI) borrowed heavily from the conventions…
Notes on the iconography of mediated gestures
© Stefka Hristova. This article argues for the relevance of Erwin Panofsky's twentieth-century art historical three-step method of preiconography, iconography, and iconology to the field of media studies. It illustrates the ways in which genealogies of visual elements spread across a wide range of visual media can illuminate long-standing cultural tropes. More specifically, this project takes up the second step proposed by Panofsky-namely iconogr…
Traces
Machine learning algorithms and artificial intelligence have made photographic manipulation easy and seamless. In thinking about the ways in which artificial intelligence has altered the truth-value of photography, this article explores the importance of situating the current debates over fake news and photographic manipulation in a larger historical context. More specifically, it suggests that it is equally important to understand both the inner…
Training for the Algorithmic Machine
In thinking about the ubiquity of algorithmic surveillance and the ways our presence in front of a camera has become engaged with the algorithmic logics of testing and replicating, this project summons Walter Benjamin’s seminal piece The Work of Art in the Age of Its Technological Reproducibility with its three versions, which was published in the United States under the editorial direction of Theodore Adorno. More specifically, it highlights two…
I can’t breathe’
In the United States, 2020 was defined by mortality: the COVID-19 health pandemic on the one hand and by a racist pandemic (or a lasting endemic) on the other. In both pandemics, the phrase ‘I can’t breathe’ emerged as emblematic of these multifaceted crises. Within the United States, each pandemic was perceived and articulated quite differently by centrist and right-wing political ideologies. This article was stimulated by a political cartoon cr…
Proto-Algorithmic War
Proto-Algorithmic War
Law (8 obras) · Art (7 obras) · Computer Science (7 obras) · Sociology (7 obras) · Political science (6 obras) · Visual arts (5 obras) · Aesthetics (4 obras) · Law (4 obras) · Philosophy (4 obras) · Politics (4 obras)