Katrina Sluis
Biographic Data
| ID | 1666523 |
|---|---|
| NAME | Katrina Sluis |
| GIVEN NAMES | Katrina |
| FAMILY NAME | Sluis |
| SIGNATURE | SLUIS K |
| AFFILIATIONS | London South Bank University |
| ORCID | 0000-0002-4005-5642 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 31 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
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 Networked Image in Post-Digital Culture
Networked Image in Post-Digital Culture
Concerning the undecidability of the digital image
This paper considers the significance of metadata in relation to the image economy of the web. Social practices such as keywording, tagging, rating and viewing increasingly influence the modes of navigation and hence the utility of images in online environments. To a user faced with an avalanche of images, metadata promises to make photographs machine-readable in order to mobilize new knowledge, in a continuation of the archival paradigm. At the …
A Life More Photographic
Twenty-two years since the arrival of the first consumer digital camera, Western culture is now characterized by ubiquitous photography. The disappearance of the camera inside the mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new…
A Life More Photographic
Twenty-two years since the arrival of the first consumer digital camera, Western culture is now characterized by ubiquitous photography. The disappearance of the camera inside the mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new…
Concerning the undecidability of the digital image
This paper considers the significance of metadata in relation to the image economy of the web. Social practices such as keywording, tagging, rating and viewing increasingly influence the modes of navigation and hence the utility of images in online environments. To a user faced with an avalanche of images, metadata promises to make photographs machine-readable in order to mobilize new knowledge, in a continuation of the archival paradigm. At the …
A Life More Photographic
Twenty-two years since the arrival of the first consumer digital camera, Western culture is now characterized by ubiquitous photography. The disappearance of the camera inside the mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new…
Concerning the undecidability of the digital image
This paper considers the significance of metadata in relation to the image economy of the web. Social practices such as keywording, tagging, rating and viewing increasingly influence the modes of navigation and hence the utility of images in online environments. To a user faced with an avalanche of images, metadata promises to make photographs machine-readable in order to mobilize new knowledge, in a continuation of the archival paradigm. At the …
The Networked Image in Post-Digital Culture
Networked Image in Post-Digital Culture
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…
Computer Science (4 works) · Art (3 works) · Computer vision (3 works) · Culture populaire (2 works) · Digital images (2 works) · Digital media (2 works) · Engineering (2 works) · Images numériques (2 works) · Mass media and the arts (2 works) · Media Studies (2 works)