I don’t think we are victims of technology, we are agents of technology.

Summary

We meet with David Bate, artist and theorist working in photography in a Portuguese cafe in London the day the United Kingdom is holding what will most probably be its last European Parliamentary elections. The country has been at the forefront of education in photography, offering a record number of university degrees which historically were pioneer in introducing critical theory as part of the curriculum. But today this situation might have changed. The conversation flows freely between Bate’s experience of growing up in a working class area in 1970s UK and the realities of today’s educational and social system, the correlation between theory and practice and the paradoxes of the digital image and our current relation to it, aiming to introduce (or update) our readers to one of the most thought provoking and rigorous critical practitioners (which is to say, thinkers) working in and with the medium today.

Reading time: 5 minutes
The usual practice of portraying the dead before cremation at Manikarnika Ghat becomes an indicator of the unusual and exotic Indian culture, and although taking posthumous portraits has a long and continuous tradition in the Western world, we seemed to have forgotten about this art form.
Time had stopped – everywhere and nowhere.

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Vol. 4, no. 2

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What role do photographs play in the creation, strengthening, or subversion of (the images of) the master? Do the photographs (un)wittingly legitimize the power, or do they recast power within the wider social network of signs?
The belief in some sort of special power of photography persists, our continuous investment with mystical qualities making it one of the most enchanted technologies of present day.
Protest visuals are not simply part of representation of events; they are increasingly becoming tools of political mobilization, resistance and even modes of protesting themselves through image-based activism, documentation and archiving projects and more.
While captivating our sight, animals also look back at us as if questioning our very notion of humanity – as if we instinctively understand that we can only look for human-ness via our engagement with the pet, the wild or tamed animal, the beast.

“Incessantly, what a word.”

— Jacques Derrida

open access

Notes on Preservation, Death and Art

When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangement – composition, sets, props, actors, costumes and lighting.
Reading time: 4 minutes
The Swedish independent photographer Moa Karlberg, who finished her studies of photojournalism at Nordens Fotoskola Biskops-Arnö, in her work focuses on people and their stories, placing special emphasis on authentic human expressions.

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Reading time: 4 minutes
Alia Ali's later work exhibits a gradual shift to the metaphoric and conceptual, and can be seen as a condensation of her visual language. Her orientation is humanistic – multiracialism, gender, identity, the human being as a part of society and the world.

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