“The origins of interpreting technical images not only as two-dimensional projections but also as geometrical descriptions of objects and scenes dates back to the invention of modern photography itself.”
Editorial
Articles
The essay provides an introspection into the relationship between our identities and technology. It aims to show how our identities are affected by new modes of operation that were less accessible before the emergence of social networks. Through an observation of popular media (i.e. TV shows) and social media, it reveals how the self is convoluted, resulting into a variety of performed identities. It explores how through social media, individuals are able to create perceived identities, which are to various degrees lived or completely fabricated. The essay uses iZombie and Orphan Black as case studies to showcase how life and the media are intertwined, resulting in the latter holding a mirror to the former. With a distinction between the online and offline personality, it presents the augmentation of identity with the aid of new interfaces, online intermediaries that add to the interpersonal contact; from the initial landline phone to more current modes of communication (Facebook, Tinder…) the essay points out how levels of anonymity aid the emergence of new identities. It provides a mirror of contemporary life and the ways the augmented self-influences the ways we understand and view our identities.
- Keywords: context collapse, identity, performing the self, social media, TV shows
Wild Life is a series of augmented photographs of animals and insects placed in vacant, overgrown spaces in suburban Bangalore. Taken through mobile AR apps like Holo and Augment, these photographs (or screenshots) situate virtual bodies within the frame of the mobile camera – creating something in between a document and fiction. The work investigates these processes of augmentation, which enable 3D representations of things in the real/physical world to be projected back into physical space that are then photographed. The larger phenomenon of AR photography also complicates traditional notions of “immersive” media – forcing one to interact with their environments. This essay reflects on the implications of mobile AR photography on the image and the referent. Through a phenomenological reading of and immersion into popular uses of mobile AR (like the game Pokémon Go), the essay is an observation of the convoluted relationships evoked between augmented bodies, their environments and the screens on which they manifest.
- Keywords: digital image, documentary, mobile AR, photography, Pokémon Go
Interviews
- Lenart J. Kučić, Nicholas Mirzoeff
Optical and mechanical tools were the first major “augmentation” of human senses. The microscope approached the worlds that were too small for the optical performance of the eye. The telescope touched the too far-off space; X-rays radiated the inaccessible interior of the body. Such augmentations were not innocent, as they demanded a different interpretation of the world, which would correspond to images of infinitely small, remote or hidden. Similar augmentation is now happening with cloud computing, machine vision and artificial intelligence. With these tools, it may be possible to compile and analyze billions of digital images created daily by people and machines. But who will analyze these images and for what purpose? Will they help us to better understand society and learn from past mistakes? Or have they already been hijacked by attention-merchants and political demagogues who are effectively spreading old ideologies with new communication technologies?
- Keywords: augmented photography, communication technologies, machine learning, machine vision, reality
Reviews
Miha Colner (born 1978) has graduated from Art History and works as a freelance curator and art critic. Colner works as a curator and programme coordinator at the International Centre of Graphic Arts / Svicarija Creative Centre in Ljubljana. He is also active as a publicist, specialised in photography, printmaking, artists’ moving image and various forms of (new) media art. In the period 2006-2016 he was a curator at Photon – Centre for Contemporary Photography, Ljubljana. Since 2005 he has been a contributor of newspapers, magazines, specialist publications, and his personal blog, as well as part-time lecturer. In 2006, he became a member of the project group Station DIVA at the SCCA Institute in Ljubljana, which is creating an archive and conducts research on Slovenian video art. In 2007, he co-curated and co-organized Break 2.4 festival, held biannually by K6/4 Institute. Since 2005, he has also worked as an art critic and a regular member of the cultural department at Radio Študent – he is an editor of the show on contemporary art Art-Area. He is also a regular external contributor to the daily newspaper Dnevnik and to the magazines Fotografija and Art-Words. He occasionally contributes to other specialist magazines on fine art and music, such as Maska, Forum, Časopis za kritiko znanosti, Flash, Folio, Zarez, Art Kontura, Frakcija (Croatia), Foto dokumenti (Serbia), Flaneur, Cluster (Great Britain), and Sculpture Network (USA).
He lives and works in Ljubljana, Slovenia.
Miha Colner (born 1978) has graduated from Art History and works as a freelance curator and art critic. Colner works as a curator and programme coordinator at the International Centre of Graphic Arts / Svicarija Creative Centre in Ljubljana. He is also active as a publicist, specialised in photography, printmaking, artists’ moving image and various forms of (new) media art. In the period 2006-2016 he was a curator at Photon – Centre for Contemporary Photography, Ljubljana. Since 2005 he has been a contributor of newspapers, magazines, specialist publications, and his personal blog, as well as part-time lecturer. In 2006, he became a member of the project group Station DIVA at the SCCA Institute in Ljubljana, which is creating an archive and conducts research on Slovenian video art. In 2007, he co-curated and co-organized Break 2.4 festival, held biannually by K6/4 Institute. Since 2005, he has also worked as an art critic and a regular member of the cultural department at Radio Študent – he is an editor of the show on contemporary art Art-Area. He is also a regular external contributor to the daily newspaper Dnevnik and to the magazines Fotografija and Art-Words. He occasionally contributes to other specialist magazines on fine art and music, such as Maska, Forum, Časopis za kritiko znanosti, Flash, Folio, Zarez, Art Kontura, Frakcija (Croatia), Foto dokumenti (Serbia), Flaneur, Cluster (Great Britain), and Sculpture Network (USA).
He lives and works in Ljubljana, Slovenia.
Essays
- Louise M. Hisayasu
A critical gaze and an investigative guise are necessary in a time where the uneven boundaries between “the real” and the phantasmagoric are blurred into our conceptions of reality. We are surrounded by interfaces, screens, virtual spaces and infinite networks. Technologic advancements departing from the photographic medium have the potential to change our relations to our surroundings and our conceptions of ourselves through images. We are no longer merely receivers of images, we are active producers of them; In the 1980’s, philosopher Vilém Flusser and filmmaker Harun Farocki were already engaged in questions aimed at understanding our relationship to images and our responsibility towards the production images. Both urged their readers and spectators to engage in dialogue, to understand the phenomenon of photography and its direct correlations to mass communication structures.
- Keywords: codes, communication theory, reality, responsibility, technical image
Featured
Impressum
MEMBRANA 4 / 2018 • ISSN 2463-8501 • https://doi.org/10.47659/m4
publisher: Membrana, Maurerjeva 8, 1000 Ljubljana • tel.: +386 (0) 31 777 959 • email: info@membrana.org
editors: Jan Babnik (editor-in-chief), Ilija T. Tomanić • guest editor: Devon Schiller
editorial board: Mark Curran (Dublin Institute of Technology, Ireland; Freie Universität Berlin, Germany), Ana Peraica (independent researcher, educator, Croatia), Witold Kanicki (UAP Poznań, Poland), Miha Colner (International Centre for Graphic Arts, MGLC, Ljubljana, Slovenia), Lenart Kučić (independent journalist, Pod črto, Slovenia), Emina Djukić (University of Ljubljana, Slovenia), Jasna Jernejšek (independent researcher, curator, Slovenia), Asko Lehmuskallio (University of Tampere, Finland), Devon Schiller (independent researcher, USA), Robert Hariman (Northwestern University, USA) • advisory board: Alisha Sett, Andreia Alves de Oliveira, Iza Pevec, Matej Sitar
article contributors: Miha Colner, Murat Durusoy, Clio Flego, Jernej Čuček Gerbec, John Hillman, Louise Hisayasu, Lenart J. Kučić, Ana Peraica, Patricia Prieto-Blanco, Devon Schiller, Alexander W. Schindler, Richard Whitlock
translations: Tom Smith • proofreading: Tom Smith, Anja Kos
image & projects contributors: Forensic Architecture, Murat Durusoy, onformative, Nataša Berk, Amalia Ulman, Ashley Gilbertson, Kerem Ozan Bayraktar, Dead End Thrills, Leonardo Sang, Clement Valla, Nuri Sergen Şehito lu, Harun Farocki, Vilém Flusser, Patricia Prieto-Blanco, Johann Gabriel Doppelmayer, Richard Whitlock
design: Primož Pislak
printing: Cicero • print-run: 400
all images and texts © Membrana, except when noted otherwise • editorial photograph: onformative, from installation view of Meandering River [audiovisual digital artwork], Berlin, Funkhaus, 2017. Used with permission. • last page photo from: screen capture from video by Harun Farocki, Eye/Machine III (Auge/Maschine III) © Harun Farocki, 2003.
