From Glass Architecture to Big Brother: Scenes from a Cultural History of Transparency

In this essay, I want to reposition the Big Brother phenomenon in the context of an earlier debate about domestic space which occurred during the emergence of architectural modernism in the first decades of the twentieth century. At issue then was the physical reconstruction of the home, particularly through the increasing use of glass as a design element. While glass architecture is even more prevalent in the present, its spatial impact—particularly in terms of its capacity to alter the relationship between the ‘inside’ and the ‘outside’—has now been matched or exceeded in many respects by the effects of electronic media. By tracing the parallel between the unsettling spatial effects produced by both glass construction and the electronic screen, I will sketch a cultural logic linking the modernist project of architectural transparency to the contemporary repositioning of the home as an interactive media centre

A casa estranhada

Em meados da década de 1990, quando o mercado da internet cresceu em velocidade avassaladora, circularam notícias na mídia a respeito da casa que Bill Gates estaria construindo em Seattle. Concebida como uma inovadora fusão entre tecnologia da informática e arquitetura, a residência multimilionária de Gates ostentava todas as costumeiras funções automatizadas, como controle de temperatura e sistemas de segurança eletrônicos, além de alguns extras, como a banheira que ligava automaticamente assim que o seu ‘mestre' adentrava o espaço da casa.

Digital storytelling, image-making and self-representation: Building digital literacy as an ethical response for supporting Aboriginal young peoples’ digital identities

From the early 19th century, Aboriginal culture in southeast Australia was severely disrupted by colonisation, the affects of which continue to reverberate within that community today. Visual material from the colonial period was often used as a means for classifying and labelling Aboriginal people in the southeast, resulting in many images being used to justify the idea of the so-called inevitable decline of Aboriginal people and to reinforce racist stereotypes. In this paper we discuss a digital storytelling workshop with Aboriginal young people from southeast Australia, which sought to develop digital literacy as an ethical imperative that would allow Aboriginal youth to construct visual content that not only challenged the traditional concept of digital storytelling as a linear, first-person, autobiographical narrative, but focused on developing Aboriginal young peoples’ capacity to control digital self-representations, which supported their explorations of their identity and culture. This was considered in terms of an ethical response to the use of visual methods in research with Aboriginal young people, as some images that are produced and consumed in the digital realm may provoke inappropriate and racist responses, a reality among Aboriginal communities, and one potentially aggravated by the rapid transmission of digital images via social network sites

Ambient Images

The digitization of the image has intensified the transformation of the relationship between humans and images. The proliferation of tools for the production of images and acceleration in their distribution has meant that a blasé attitude toward visual saturation, already prominent in the 20th century, has become more widespread. Writing in 1927, Siegfried Kracauer presciently spoke of a “blizzard of photographs.” In the first decades of the 21st century this grew into an environmental flood and the multiple streams along which people circulated images, challenged many of the traditional assumptions about the status and function of the image. Then came the pandemic. Suddenly, the relationship between the personal image and the public image was reconfigured. People hung out on platforms such as Instagram and Tik Tok with increased intensity and hunger. The platforms for virtual communication absorbed and at times aimed to compensate for the loss of events, meetings, face-to-face encounters and relationships. Confinement to the domestic sphere produced ever more mundane practices of co-present intimacy across platforms. For instance, while cross-generational practices of food photo sharing have long been a significant genre, photographs of home baking became an Instagram cliché, with “sourdough” becoming Google’s top food-related search phrase in 2020. The zoom boom soon became a new malaise—zoom fatigue. This adoption of virtual platforms was a profound incursion. It altered our sense of time and space as sense-making and social performance were increasingly aimed at and organised via camera and screen. Linear biographical narratives were cross-cut and spliced in novel ways. The image was less and less a document of an external reality, but more and more part of the new forms of mediated sociality. The diminution of physical engagements had an impact on how impressions were formed, what constituted the sensory triggers for memory, as well as shifting the markers for processes of understanding and decision-making. In this environment, images do not just multiply. Their increasing number also accentuates how they are stitched together to form new atmospheres, assemblages, iterations—or what we call the production of ambient images

Is this photograph taken? - The active (act of) collaboration with photography

Over more than thirty years of commercial and fine art photographic practice, I have often noticed remarkable disparities between the scenes, objects, events or moments ‘out there’ I had attempted to record – and the images within the resulting photographs. These (sometimes subtle, sometimes profound, but rarely anticipatable) disparities between what I had seen and what the photograph shows me offer the tantalising suggestion that there may be something else going on here – but something which the popular conception of photography may hinder our ability to recognise. This article explores the implications of four central assumptions implicit within the popular conception of photography which may impede new ways of thinking about photographic practice. Supported by a number of photographs that depict scenes, events and ‘moments’ which were not ‘taken’ but were created by the act of photographing them, I will suggest that new opportunities for practice may be available by ‘re-imagining’ the practice of photography as an active – or, as an act of – collaboration between medium and practitioner

The public and the private: John Berger's writing on photography and memory

Deposited with permission of the ANU Canberra School of Art GalleryJohn Berger's writings on photography belong mostly to the 1970s. Like Susan Sontag and Roland Barthes, Berger is an advocate of realism, although in neither a naive nor a simplistic fashion. I argue that Berger's writing on photography stands out firstly because of its refusal of a blanket response. Instead, the pivot of his analysis is ambiguity: on one level, the ambiguity of photographic meaning, but also the ambiguity of photographic practice due to the social and political contradictions in which the camera is embedded. This refusal to homogenise the entire field is important, because it allowed Berger to remain attentive, at a moment when many were not, to the different registers of photographic usage