Photography-II
March 2016 Issue 18In the eyes of most photographers and theorists, the digitalisation of the image has fundamentally changed the nature of photography—its practice, its form, its consumption. Yet, despite the radical impact of digitalisation on photography as a whole, discussion on this subject has been developing unevenly. On the one hand, the highly visible and ubiquitous nature of images on social media has meant that a broad range of scholarly and artistic activity looks at digitalisation in relation to space, time, memory and public engagement with the medium. Likewise, philosophical enquiries—both theoretical and artistic—have dug into the very ontology of the digital image, questioning not only its connection to the objective world but its very status as a photograph. Photography has probably witnessed changes more rapidly than any other medium. Every few decades, the objects that evoke identifications with the medium has altered in form and function. It was compelling to add these alterations to our earlier issue, not to replace it, but to supplement it, and in our way document these interesting times.
It has been a little over two years since the last time TAKE looked at photography. In the meanwhile, the tech crazy, visually overloaded universe that we occupy, exploded. The transformations in visual culture have been so rapid, we have barely had time to analyse the overwhelming flood of images.
View Index Buy Now
