Anthony Downey
Biographic Data
| ID | 3989161 |
|---|---|
| NAME | Anthony Downey |
| GIVEN NAMES | Anthony |
| FAMILY NAME | Downey |
| SIGNATURE | DOWNEY A |
| AFFILIATIONS | Birmingham City University |
| VERIFIED | No |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 31 |
| WORKS AS AUTHOR | 17 |
| WORKS AS EDITOR | 2 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
Creative endings
The return of the uncanny
Although often considered to be a fault or a glitch in the system, the event of hallucination is integral to models of image-processing regularly employed by artificial intelligence (AI). Evoking an inhuman logic, the works in Trevor Paglen’s Adversarially Evolved Hallucinations series (2017–ongoing) render this hallucinatory space visible and open it up to investigation from within these systems. Produced by a generative adversarial network (GAN…
The Algorithmic Apparatus of Neocolonialism
The techno-politics of programming vision
Broadening debates about the future of image technologies, this conversation discusses the histories of image-making technologies and how they define post-digital and neo-colonial models of representation. Amin and Downey explore the interdisciplinary relationship that exists between art practices and models of academic and critical research, neo-colonial violence, machinic vision, photography and colonial exploitation, and data extraction
Photography as Apparatus
Photographs are affected by their means of production, reproduction, and distribution. The social and political economy in which they circulate, in turn, imbricates the very fabric and content of a...
Dissonant Archives
The 'archive' is often viewed as a collection of historical documents that records and orders information about people, places and events. This view nevertheless obscures a crucial point: the archive, whilst subject to the vagaries of time and history, can also determine the future. This point has gained urgency in modern-day North Africa and the Middle East where the archive has come to the fore as a site of social, historical, theoretical, and …
Uncommon Grounds
In this groundbreaking book, a range of internationally renowned and emerging academics, writers, artists, curators, activists and filmmakers critically reflect on the ways in which visual culture has appropriated and developed new media across North Africa and the Middle East. Examining the opportunities presented by the real-time generation of new, relatively unregulated content online, Uncommon Grounds evaluates the prominent role that new med…
Zones of Indistinction
The category of ‘bare life’ is used to refer to subjects who are denied both political and legal representation. For Giorgio Agamben, the subject who most immediately exemplifies the plight of ‘bare life’ is the stateless refugee. However, this can be extended, the author would suggest, to include political prisoners, the disappeared, victims of torture, and the dispossessed – all of whom are excluded, to different degrees, from the fraternity of…
An Ethics of Engagement
In the last decade or so we have seen a series of incremental shifts from object‐based to context‐based art practices and, more recently, to artworks that primarily utilise forms of collaboration and participation – or, so‐called socially engaged artworks. A significant factor in the latter practices has been the emergence of the artist as a quasi‐ or pseudo‐ethnographer. Such developments, whilst not necessarily new, have nonetheless further pro…
Towards a Politics of (Relational) Aesthetics
The aesthetic criteria used to interpret art as a practice have changed radically since the 1960s. To note as much is to observe a truism: the idea (or should that be the ideal) of a universalist a
Miniatures
A Life Full of Holes
Critical Imperatives
Grub For Sharks
In 1840 J M W Turner painted Slavers throwing overboard the Dead and Dying – Typhoon Coming on (The Slave Ship). The subject matter concerned the ‘Zong’, a slave ship that had departed from Liverpo
Curating Africa
(2005). Curating Africa: ‘Africa remix’ and the categorical dilemma. Wasafiri: Vol. 20, No. 46, pp. 47-55
Yinka Shonibare in conversation
The Spectacular Difference of Documenta XI
Art
Yinka Shonibare
Zones of Indistinction
The category of ‘bare life’ is used to refer to subjects who are denied both political and legal representation. For Giorgio Agamben, the subject who most immediately exemplifies the plight of ‘bare life’ is the stateless refugee. However, this can be extended, the author would suggest, to include political prisoners, the disappeared, victims of torture, and the dispossessed – all of whom are excluded, to different degrees, from the fraternity of…
An Ethics of Engagement
In the last decade or so we have seen a series of incremental shifts from object‐based to context‐based art practices and, more recently, to artworks that primarily utilise forms of collaboration and participation – or, so‐called socially engaged artworks. A significant factor in the latter practices has been the emergence of the artist as a quasi‐ or pseudo‐ethnographer. Such developments, whilst not necessarily new, have nonetheless further pro…
Towards a Politics of (Relational) Aesthetics
The aesthetic criteria used to interpret art as a practice have changed radically since the 1960s. To note as much is to observe a truism: the idea (or should that be the ideal) of a universalist a
Creative endings
The return of the uncanny
Although often considered to be a fault or a glitch in the system, the event of hallucination is integral to models of image-processing regularly employed by artificial intelligence (AI). Evoking an inhuman logic, the works in Trevor Paglen’s Adversarially Evolved Hallucinations series (2017–ongoing) render this hallucinatory space visible and open it up to investigation from within these systems. Produced by a generative adversarial network (GAN…
Photography as Apparatus
Photographs are affected by their means of production, reproduction, and distribution. The social and political economy in which they circulate, in turn, imbricates the very fabric and content of a...
A Life Full of Holes
Grub For Sharks
In 1840 J M W Turner painted Slavers throwing overboard the Dead and Dying – Typhoon Coming on (The Slave Ship). The subject matter concerned the ‘Zong’, a slave ship that had departed from Liverpo
Yinka Shonibare in conversation
Art
Yinka Shonibare
The Spectacular Difference of Documenta XI
Yinka Shonibare in conversation
Grub For Sharks
In 1840 J M W Turner painted Slavers throwing overboard the Dead and Dying – Typhoon Coming on (The Slave Ship). The subject matter concerned the ‘Zong’, a slave ship that had departed from Liverpo
Curating Africa
(2005). Curating Africa: ‘Africa remix’ and the categorical dilemma. Wasafiri: Vol. 20, No. 46, pp. 47-55
Miniatures
A Life Full of Holes
Critical Imperatives
Towards a Politics of (Relational) Aesthetics
The aesthetic criteria used to interpret art as a practice have changed radically since the 1960s. To note as much is to observe a truism: the idea (or should that be the ideal) of a universalist a
Zones of Indistinction
The category of ‘bare life’ is used to refer to subjects who are denied both political and legal representation. For Giorgio Agamben, the subject who most immediately exemplifies the plight of ‘bare life’ is the stateless refugee. However, this can be extended, the author would suggest, to include political prisoners, the disappeared, victims of torture, and the dispossessed – all of whom are excluded, to different degrees, from the fraternity of…
An Ethics of Engagement
In the last decade or so we have seen a series of incremental shifts from object‐based to context‐based art practices and, more recently, to artworks that primarily utilise forms of collaboration and participation – or, so‐called socially engaged artworks. A significant factor in the latter practices has been the emergence of the artist as a quasi‐ or pseudo‐ethnographer. Such developments, whilst not necessarily new, have nonetheless further pro…
Uncommon Grounds
In this groundbreaking book, a range of internationally renowned and emerging academics, writers, artists, curators, activists and filmmakers critically reflect on the ways in which visual culture has appropriated and developed new media across North Africa and the Middle East. Examining the opportunities presented by the real-time generation of new, relatively unregulated content online, Uncommon Grounds evaluates the prominent role that new med…
Dissonant Archives
The 'archive' is often viewed as a collection of historical documents that records and orders information about people, places and events. This view nevertheless obscures a crucial point: the archive, whilst subject to the vagaries of time and history, can also determine the future. This point has gained urgency in modern-day North Africa and the Middle East where the archive has come to the fore as a site of social, historical, theoretical, and …
Photography as Apparatus
Photographs are affected by their means of production, reproduction, and distribution. The social and political economy in which they circulate, in turn, imbricates the very fabric and content of a...
The Algorithmic Apparatus of Neocolonialism
The techno-politics of programming vision
Broadening debates about the future of image technologies, this conversation discusses the histories of image-making technologies and how they define post-digital and neo-colonial models of representation. Amin and Downey explore the interdisciplinary relationship that exists between art practices and models of academic and critical research, neo-colonial violence, machinic vision, photography and colonial exploitation, and data extraction
The return of the uncanny
Although often considered to be a fault or a glitch in the system, the event of hallucination is integral to models of image-processing regularly employed by artificial intelligence (AI). Evoking an inhuman logic, the works in Trevor Paglen’s Adversarially Evolved Hallucinations series (2017–ongoing) render this hallucinatory space visible and open it up to investigation from within these systems. Produced by a generative adversarial network (GAN…
Creative endings
Art (14 works) · Sociology (10 works) · Political science (9 works) · Law (6 works) · Aesthetics (5 works) · History (5 works) · History (5 works) · Politics (5 works) · Art history (4 works) · Visual arts (4 works)