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We’ve talked a lot about #selfies and the generalized genres we see in them, such as haircut selfies, weight loss selfies, or mirror selfies. I came at this from a very confused standpoint. This was, of course, not because I don’t take selfies, but instead, I don’t participate in genres with a single selfie subject. … Continue reading
The following websites are user-submissions sites that can act as communicative objects. Each entry follows a meme-like formula that is repeatable and shareable, acting as objects of exchange for users due to their “universal” nature. Dog Shaming Dogshaming.com posts submissions of photographs of dogs after they have done something naughty. Usually there is a handwritten … Continue reading
Two years ago, I went on a trip to Disney World with my partner during Reading Week. The trip would be my 5th time to “the World” but my first time going without the family, including my mom who is obsessed with taking the same pictures, by the same landmarks every time we go. Having … Continue reading
In Villi’s 2014 chapter Distance as the New Punctum, he points out the influence of digital networks, highlighting the new meaning of time and distance. He brings us back to Barthes’ “punctum” and extends his theory by suggesting distance as the new punctum. (48) Villi notes Barthes work Rhetoric of the Image which I will … Continue reading
Kara Walker’s art installation, A Subtlety includes several dramatic figures alluding to African American involvement in the sugar trade constructed from white sugar and molasses. The most prominent piece of the installation is a large Mammy Sphinx featuring prominent breasts and buttocks all made out of white sugar. Other figures include children made of molasses … Continue reading
In ‘The (Im)mobile Life of Digital Photographs: the Case of Tourist Photography”, Jonas Larsen examines how digital cameras and digital methods of dissemination have radically altered photo-tourism. One of the central changes affected by this technologically motivated increase in speed is the photographer’s connection to his or her photographs. Unlike the delayed gratification offered by the development … Continue reading
Smith and Watson’s Virtually Me expands their pre-existing work on autobiography, into digital spaces which they state is, “categorically different from what is understood as traditional life writing” (70). Part of what we have been talking up to this point in the class is how digital photographs are presented online and how different types of … Continue reading
Shove et al. in 2007 conducted a study with nine one-to-one interviews of amateur photographers, a local camera club, a focus group and workshop. Before diving into the analysis, they outlined three elements of photography: practitioners, participation and material. They also differentiated “early photography”, “popular photography”, “digital photography”, giving a brief history of “early photography … Continue reading
Critics devoted to the study of family photography have privileged the materiality of this phenomenon. Approaches have largely examined the printed materials themselves, preferring a semiological close reading of noteworthy images (69). Rose notes an oversight in the scholarship on photography, and insists that family photographs cannot be defined simply by their visual content (74). … Continue reading
In “Digital cameras and domestic photography: communication, agency and structure” Cobley and Haeffner expand the debate on the nature of communication in digital domestic photography. Seeing the rise of digital as inevitable, and rather than accepting the status of a digital democracy as inherently utopian, they deem it a “potential”, “as part of quotidian attempts to … Continue reading
Rhetoric of the Digital Image 