III. Against the Anthropocene

On May 16th, 2015, the “Paddle in Seattle” demo unleashed its kayak flotilla, a mass direct action against Shell’s Arctic-bound Polar Pioneer drilling rig temporarily stationed in the west coast city’s port. Word and images of the “S(h)ell no!” protest spread widely online, accompanying reports in indie media and some mainstream press, distributed by environmentalist and Indigenous movements, adding momentum to the popular challenge to extreme extractivism in the far North.

 ‘Shell No’ protesters take to the water on Saturday heading near Royal Dutch Shell’s Polar Pioneer drilling rig near Seattle. Photograph: David Ryder/Getty Images


‘Shell No’ protesters take to the water on Saturday heading near Royal Dutch Shell’s Polar Pioneer drilling rig near Seattle. (David Ryder/Getty Images)

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II. Geo-Engineering the Anthropocene

“A daunting task lies ahead for scientists and engineers to guide society towards environmentally sustainable management during the era of the Anthropocene. This will require appropriate human behaviour at all scales, and may well involve internationally accepted, large-scale geo-engineering projects, for instance to ‘optimize’ climate.”[1]—Paul Crutzen, 2002 Read More »

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I. Welcome to the Anthropocene!

“In a single lifetime we have grown into a phenomenal global force. We move more sediment and rock annually than all natural processes such as erosion and rivers. We manage three quarters of all land outside the ice sheets. Greenhouse gas levels this high have not been seen for over one million years. Temperatures are increasing. We have made a hole in the ozone layer. We are losing biodiversity. Many of the world’s deltas are sinking due to damming, mining and other causes. Sea level is rising. Ocean acidification is a real threat. We are altering Earth’s natural cycles. We have entered the Anthropocene, a new geological epoch dominated by humanity.”

Welcome to the Anthropocene (screenshot) https://www.youtube.com/watch?v=fvgG-pxlobk

Welcome to the Anthropocene (screenshot) https://www.youtube.com/watch?v=fvgG-pxlobk

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5. Remnants of the Index: Hanging on to Photographic Values – The Installation Shot

Having reflected on the selfie and how it connects to the canonical qualities attributed to the analogue photograph, in this last blog post, which concludes my series of posts for the “still searching” blog, I will discuss the installation shot as a second example of how traditional values associated with the classic photographic image continue to live on as part of online culture. Read More »

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4. Remnants of the Index: Hanging on to Photographic Values – The Selfie

My last two blog posts, entitled Remnants of the Index: Hanging on to Photographic Values, will each focus on the legacy and the importance of iconic photographic values. The first does so through a discussion of the selfie, while the second considers the installation shot. Read More »

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2. What I Talk about When I Talk about Photography

If one thinks about photography in medium-specific terms, digitization actually hasn’t introduced any significant challenges to the essence of the photographic moment. Cameras and iPhones that produce digital photographs still contain optical lenses that record light from which an image is generated.[1] What has changed, however, is the process of image creation that directly follows from this moment. Whereas analogue photography registered light on paper and in this way created an image, digital photography translates light into data out of which an image is calculated. Read More »

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1. Introduction

For this blog, I will address a number of ideas about the contemporary role of photography within digital culture and artistic practice. With the photographic image having become firmly established as the predominant form of online image, photography is now an increasingly pervasive mode of cultural production. As a result, it is important to explore the role of digital photography within the context of photography as both an artistic medium and a specialized field that has emerged over the course of the last two centuries.

Alfred Stieglitz, Equivalent, 1926 Gelatin silver print; 4 5/8 x 3 5/8 in. (11.8 x 9.2 cm) Alfred Stieglitz Collection, 1949 (49.55.29) http://www.metmuseum.org/toah/works-of-art/49.55.29

Alfred Stieglitz, Equivalent, 1926
Gelatin silver print; 4 5/8 x 3 5/8 in. (11.8 x 9.2 cm)
Alfred Stieglitz Collection, 1949 (49.55.29)
http://www.metmuseum.org/toah/works-of-art/49.55.29

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