Marie Naja (talk | contribs) (Created page with "<!------------------------> <!-- do not remove this --> <div id="{{PAGENAME}}" class="comment"> <!------------------------> Firstly, it really resonates with me on a broader plane of circulation of war images on social media because lately I've been thinking a lot about the ethics of this (for clear reasons). But beyond ethics of representation, when I started reading, I immediately started thinking about documentary practices in art (and visual culture) and it...") |
Marie Naja (talk | contribs) No edit summary |
||
| (One intermediate revision by one other user not shown) | |||
| Line 1: | Line 1: | ||
<!------------------------> | <!------------------------> | ||
<!-- do not remove this --> | <!-- do not remove this --> | ||
<div id=" | <div id="Marie comment3" class="comment"> | ||
<!------------------------> | <!------------------------> | ||
Firstly, it really resonates with me on a broader plane of circulation of war images on social media because lately I've been thinking a lot about the ethics of this (for clear reasons). But beyond ethics of representation, when I started reading, I immediately started thinking about documentary practices in art (and visual culture) and it felt so natural to get to a Martha Rosler reference (and made me think also of Oliver Ressler and Harun Farocki). I guess this performativity of a staged media image, immediately clashing with a war reality, and widely circulated online, is somehow exemplifying a different relationship to visual documentation - mediated by publishing technologies and ultimately rendered as content? I mean different in comparison to earlier ways in which the lens was dominating documentary discourse (in art, activism, performance etc.) | Firstly, it really resonates with me on a broader plane of circulation of war images on social media because lately I've been thinking a lot about the ethics of this (for clear reasons). But beyond ethics of representation, when I started reading, I immediately started thinking about documentary practices in art (and visual culture) and it felt so natural to get to a Martha Rosler reference (and made me think also of Oliver Ressler and Harun Farocki). I guess this performativity of a staged media image, immediately clashing with a war reality, and widely circulated online, is somehow exemplifying a different relationship to visual documentation - mediated by publishing technologies and ultimately rendered as content? I mean different in comparison to earlier ways in which the lens was dominating documentary discourse (in art, activism, performance etc.) | ||
<!------------------------> | <!------------------------> | ||
<!-- do not remove this --> | <!-- do not remove this --> | ||
Latest revision as of 14:09, 31 January 2024
Firstly, it really resonates with me on a broader plane of circulation of war images on social media because lately I've been thinking a lot about the ethics of this (for clear reasons). But beyond ethics of representation, when I started reading, I immediately started thinking about documentary practices in art (and visual culture) and it felt so natural to get to a Martha Rosler reference (and made me think also of Oliver Ressler and Harun Farocki). I guess this performativity of a staged media image, immediately clashing with a war reality, and widely circulated online, is somehow exemplifying a different relationship to visual documentation - mediated by publishing technologies and ultimately rendered as content? I mean different in comparison to earlier ways in which the lens was dominating documentary discourse (in art, activism, performance etc.)