We are moving towards a future where our choices will be modeled – if not entirely determined – by algorithms and artificial intelligence. This approaching period is named "the new dark ages" (James Bridle, 2018).
It remains to wait to see what all this will bring to photography, and vice versa.
One thing is clear, however, that photography, which changed significantly in the 21st century, is strongly influenced by these changes, in some cases even functioning as part of them. This journal Photography the number examines how applications, applications and artificial intelligence technologies shape and change photographic discourse, challenging traditional media boundaries. Various applications and services (Google, Photoshop, Flickr, Snapchat, visual recognition programs, etc.) gives us new tools to make images, think photoatically. Technological interfaces (interfaces) not only serves to create photography, but can also become the logic of photographic projects itself.
The authors presented offer perspectives that allow you to discuss and raise questions about the processes of technological change. From the problem of traumatic events (Indrė Šerpytytė) and the specifics of inaccessible places (James Bridle) through technological mediation, to the game our expectations for the ubiquity Photoshop'o manipulations (Erin O'Keefe). From so-called Smart Monitoring Systems (Esthera Hovers) and censorship of politically sensitive locations (Mishka Henneris) to everyday Glitch(Mantas Grigaitis). From the copyright game on collective platforms such as Flickr (Penelope Umbrico) to a study of general communication from one of the most photographed places on the planet (Thomas Albdorf). And, from Photoshop'o use to create images (Aaron Hegger) to a video that is almost non-photographic (Zachary Dean Norman). Four essays (Kate Palmer Albers, Roksana Filipowska and Marijana Rayl, Ilaria Speri, Alise Tifentale) localizes the works of the authors discussed in a broader social, historical and artistic context.
In short, these works of art face the technologicalization of our world. They talk about changes that few have predicted. Being so deeply immersed, (almost) we can feel the pain of all this.
Paul Paper
