Daniel Stephen Vaughan Palmer
Datos Biográficos
| ID | 3454638 |
|---|---|
| NOMBRE | Daniel Stephen Vaughan Palmer |
| NOMBRES | Daniel Stephen Vaughan |
| APELLIDO | Palmer |
| FIRMA | PALMER D S V |
| AFILIACIONES | Australian Regenerative Medicine Institute |
| ORCID | 0000-0002-7775-8990 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 15 |
| TOTAL DE CITAS | 16 |
| OBRAS COMO AUTOR | 15 |
| OBRAS COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2010 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2026 |
| ÍNDICE H | 3 |
The fate of the ‘magical substitute
Seeing Photographically
This Introduction to the ‘Seeing photographically’ special issue begins with four vignettes drawn from (nearly) two centuries of photographic history. These examples are leveraged to pose critical questions about photography’s transformation since the 19th century, and especially in the first decades of the 21st century, as trajectories associated with digitization, networked distribution, the widespread integration of cameras into mobile devices…
The Automation of Style
In histories of photography, the notion of ‘seeing photographically’ is associated with so-called ‘straight’ photographers such as Edward Weston. It means to train the human-camera eye – to ‘previsualise’ – by conforming to the conditions of what Vilém Flusser calls the “photographic program”. At the same time, seeing photographically is a constant dynamic between a protean technical practice and aesthetic conventions or styles. This paper revisi…
Asian” photography in Australia
This paper charts a variety of photographic encounters between Asia and Australia, exploring the emergence of Asian-Australian photographers in the context of increasing Asian migration to Australia since the 1970s. It focuses on contemporary photographic artwork produced by Asian migrants to Australia and a recurrent interest in family archives. I argue that the work of Asian-Australian photographers grapples with complex and often difficult his…
Salon Pictures, Museum Records, and Album Snapshots
Among the various new modes for making photographs that were explored by Australian photographers in the first decades of the twentieth century, three in particular – Pictorialist images, authentic records, and personal snapshots – had far-reaching implications for the institutions of Australian photography. Pictorialist photographs are now the foundation of many Australian art museum collections; photographic records produced at the time have be…
Corresponding Associations
Over the past decade, an increasing number of artists have engaged in photographic projects involving image-based dialogue. These invariably take the form of back-and-forth exchanges of photographs, animated over extended periods of time and often across continents. The immediate context for these dialogues is networked photography – photo-messaging and social media – that also enables people to share photographs in a conversational manner. This …
Mobile Media Photography
No description available
Enumerating Photography from Spot Meter to CCD
The transition from analogue to digital photography was not accomplished in a single step. It required a number of feeder technologies which enabled and structured the nature of digital photography. Among those traced in this article, the most important is the genesis of the raster grid, which is now hard-wired into the design of the most widely employed photographic chip, the charge-coupled device (CCD). In tracing this history from origins in h…
A Collaborative Turn in Contemporary Photography
This paper addresses emerging forms of collaborative photographic practice, including those enabled by digital networked technologies and by contemporary artists. I argue that although histories of photography invariably privilege individual figures, contemporary developments should be understood in terms of important precursors such as community photography in the 1970s. The paper concludes with some observations about artists Stephen Willats an…
“In Bed with the iPhone”
Before the launch of Apple’s iPhone in Korea in November 2009, the domestic market share of local handset makers such as Samsung Electronics and LG Electronics had reached almost 90 percent, and the number of smartphone subscribers accounted for merely 2.6 percent of the population between the ages of 12 and 59.1 After its launch, the number of iPhone users reached 500,000 in four months. Korea was the 85th country in the world to introduce the i…
Reflections on medium specificity occasioned by the symposium 'Digital Light
Drawing on discussions at a symposium held in Melbourne in 2011, this article describes the reactions of artists, curators and software engineers to the varied transitions between analogue and digital media. The authors argue that both the 'post-medium condition' mooted by Krauss and the 'Death of Cinema' theses of film scholars like Rodowick and Mulvey miss critical issues in these transitions and over-emphasize others. We make the case that the…
Redundancy in photography
In his text, 'Information strategies', written at the cusp of the emergence of digital photography in 1985, German artist and photography critic Andreas Müller-Pohle predicted that soon 'it will be possible to generate and regenerate literally every conceivable - or inconceivable - picture through a computer terminal'. This realization coincided with Müller-Pohle's critique of conventional photography, which he dubbed 'photographism' drawing on t…
In Naked Repose
This paper examines the role of the face as it is caught suspended in private contemplation in candid photography. It starts with a celebrated lineage of photography of anonymous faces that promise the revelation of a secret, absorbed self: Paul Strand's 1916 portrait of a blind street peddler, made with a special right-angled lens; Walker Evans's New York subway portraits (1938-41), shot clandestinely from under his coat; Luc Delahaye's L'Autre …
Emotional Archives
This paper focuses on the archiving of emotion in online photo sharing, and specifically on biography sites in which we are encouraged to package our lives as a succession of dramatic moments. It considers how social software functions to animate memory and history in ways that extend photography's role as a medium through which individuals confirm and explore their own identity. The paper focuses on thisMoment (www.thismoment.com), which innovat…
No Credible Photographic Interest
This article examines the consequences for the res publica of the simultaneous increase in state surveillance and the restriction of the right to take photographs in public ushered in by the War on Terror. We draw on Ariella Azoulay's theorization of what she terms the civil contract of photography, or the possibility for non-state civic interaction allowed by the invention of the camera. While Michel Foucault's studies of the role of constant su…
Emotional Archives
This paper focuses on the archiving of emotion in online photo sharing, and specifically on biography sites in which we are encouraged to package our lives as a succession of dramatic moments. It considers how social software functions to animate memory and history in ways that extend photography's role as a medium through which individuals confirm and explore their own identity. The paper focuses on thisMoment (www.thismoment.com), which innovat…
A Collaborative Turn in Contemporary Photography
This paper addresses emerging forms of collaborative photographic practice, including those enabled by digital networked technologies and by contemporary artists. I argue that although histories of photography invariably privilege individual figures, contemporary developments should be understood in terms of important precursors such as community photography in the 1970s. The paper concludes with some observations about artists Stephen Willats an…
In Naked Repose
This paper examines the role of the face as it is caught suspended in private contemplation in candid photography. It starts with a celebrated lineage of photography of anonymous faces that promise the revelation of a secret, absorbed self: Paul Strand's 1916 portrait of a blind street peddler, made with a special right-angled lens; Walker Evans's New York subway portraits (1938-41), shot clandestinely from under his coat; Luc Delahaye's L'Autre …
Enumerating Photography from Spot Meter to CCD
The transition from analogue to digital photography was not accomplished in a single step. It required a number of feeder technologies which enabled and structured the nature of digital photography. Among those traced in this article, the most important is the genesis of the raster grid, which is now hard-wired into the design of the most widely employed photographic chip, the charge-coupled device (CCD). In tracing this history from origins in h…
Redundancy in photography
In his text, 'Information strategies', written at the cusp of the emergence of digital photography in 1985, German artist and photography critic Andreas Müller-Pohle predicted that soon 'it will be possible to generate and regenerate literally every conceivable - or inconceivable - picture through a computer terminal'. This realization coincided with Müller-Pohle's critique of conventional photography, which he dubbed 'photographism' drawing on t…
Emotional Archives
This paper focuses on the archiving of emotion in online photo sharing, and specifically on biography sites in which we are encouraged to package our lives as a succession of dramatic moments. It considers how social software functions to animate memory and history in ways that extend photography's role as a medium through which individuals confirm and explore their own identity. The paper focuses on thisMoment (www.thismoment.com), which innovat…
No Credible Photographic Interest
This article examines the consequences for the res publica of the simultaneous increase in state surveillance and the restriction of the right to take photographs in public ushered in by the War on Terror. We draw on Ariella Azoulay's theorization of what she terms the civil contract of photography, or the possibility for non-state civic interaction allowed by the invention of the camera. While Michel Foucault's studies of the role of constant su…
In Naked Repose
This paper examines the role of the face as it is caught suspended in private contemplation in candid photography. It starts with a celebrated lineage of photography of anonymous faces that promise the revelation of a secret, absorbed self: Paul Strand's 1916 portrait of a blind street peddler, made with a special right-angled lens; Walker Evans's New York subway portraits (1938-41), shot clandestinely from under his coat; Luc Delahaye's L'Autre …
“In Bed with the iPhone”
Before the launch of Apple’s iPhone in Korea in November 2009, the domestic market share of local handset makers such as Samsung Electronics and LG Electronics had reached almost 90 percent, and the number of smartphone subscribers accounted for merely 2.6 percent of the population between the ages of 12 and 59.1 After its launch, the number of iPhone users reached 500,000 in four months. Korea was the 85th country in the world to introduce the i…
Reflections on medium specificity occasioned by the symposium 'Digital Light
Drawing on discussions at a symposium held in Melbourne in 2011, this article describes the reactions of artists, curators and software engineers to the varied transitions between analogue and digital media. The authors argue that both the 'post-medium condition' mooted by Krauss and the 'Death of Cinema' theses of film scholars like Rodowick and Mulvey miss critical issues in these transitions and over-emphasize others. We make the case that the…
Redundancy in photography
In his text, 'Information strategies', written at the cusp of the emergence of digital photography in 1985, German artist and photography critic Andreas Müller-Pohle predicted that soon 'it will be possible to generate and regenerate literally every conceivable - or inconceivable - picture through a computer terminal'. This realization coincided with Müller-Pohle's critique of conventional photography, which he dubbed 'photographism' drawing on t…
A Collaborative Turn in Contemporary Photography
This paper addresses emerging forms of collaborative photographic practice, including those enabled by digital networked technologies and by contemporary artists. I argue that although histories of photography invariably privilege individual figures, contemporary developments should be understood in terms of important precursors such as community photography in the 1970s. The paper concludes with some observations about artists Stephen Willats an…
Mobile Media Photography
No description available
Enumerating Photography from Spot Meter to CCD
The transition from analogue to digital photography was not accomplished in a single step. It required a number of feeder technologies which enabled and structured the nature of digital photography. Among those traced in this article, the most important is the genesis of the raster grid, which is now hard-wired into the design of the most widely employed photographic chip, the charge-coupled device (CCD). In tracing this history from origins in h…
Salon Pictures, Museum Records, and Album Snapshots
Among the various new modes for making photographs that were explored by Australian photographers in the first decades of the twentieth century, three in particular – Pictorialist images, authentic records, and personal snapshots – had far-reaching implications for the institutions of Australian photography. Pictorialist photographs are now the foundation of many Australian art museum collections; photographic records produced at the time have be…
Corresponding Associations
Over the past decade, an increasing number of artists have engaged in photographic projects involving image-based dialogue. These invariably take the form of back-and-forth exchanges of photographs, animated over extended periods of time and often across continents. The immediate context for these dialogues is networked photography – photo-messaging and social media – that also enables people to share photographs in a conversational manner. This …
Asian” photography in Australia
This paper charts a variety of photographic encounters between Asia and Australia, exploring the emergence of Asian-Australian photographers in the context of increasing Asian migration to Australia since the 1970s. It focuses on contemporary photographic artwork produced by Asian migrants to Australia and a recurrent interest in family archives. I argue that the work of Asian-Australian photographers grapples with complex and often difficult his…
Seeing Photographically
This Introduction to the ‘Seeing photographically’ special issue begins with four vignettes drawn from (nearly) two centuries of photographic history. These examples are leveraged to pose critical questions about photography’s transformation since the 19th century, and especially in the first decades of the 21st century, as trajectories associated with digitization, networked distribution, the widespread integration of cameras into mobile devices…
The Automation of Style
In histories of photography, the notion of ‘seeing photographically’ is associated with so-called ‘straight’ photographers such as Edward Weston. It means to train the human-camera eye – to ‘previsualise’ – by conforming to the conditions of what Vilém Flusser calls the “photographic program”. At the same time, seeing photographically is a constant dynamic between a protean technical practice and aesthetic conventions or styles. This paper revisi…
The fate of the ‘magical substitute
Art (12 obras) · Photography and Visual Culture (11 obras) · Visual arts (11 obras) · Photography (9 obras) · Computer Science (7 obras) · Sociology (6 obras) · Visual Culture and Art Theory (5 obras) · Archaeology (4 obras) · History (4 obras) · Literature (4 obras)