| dc.date.accessioned | 2019-05-29T12:14:42Z | |
| dc.date.available | 2019-05-29T12:14:42Z | |
| dc.identifier.uri | http://95.216.75.113:8080/xmlui/handle/123456789/93 | |
| dc.description | Biography:
Dr hab. Anna Nacher – since 2006 she has been working at the Institute for Audiovisual Arts, Jagiellonian University, Kraków, Poland. Her research interests include posthumanism, theory of culture, media art, e-literature and ubiquitous computing. She currently pursues a 3-year long research project on the post-digital imagery (“The aesthetics of post-digital imagery: between new materialism and object-oriented philosophy”, grant from The National Science Centre).The author of three books in Polish. The newest one, published in 2016 focuses on the locative media imagery – a reworked version of one chapter has been published as Internet of things and automation of imaging: beyond representationalism in communication+1, vol. 5 (2016). Other articles include: Mashup as paratextual practice: beyond digital objects (in the age of networked media), a chapter in N. Desrochers, D. Apollon (eds.), Examining Paratextual Theory and its Application in Digital Culture, Information Science Reference, IGI Global 2014; Stelarc and His Experiential Machinarium [in:] R. W. Kluszczyński (ed.), STELARC: Meat, Metal & Code: , Gdańsk 2014. She has participated in a number of international conferences, including Transimages (Plymouth University 2016), Electronic Literature Organization’s Conference (in 2013 and 2015), NECS Conference (2015). | |
| dc.language.iso | en | |
| dc.type | Presentation | |
| dc.title | The post-digital imagery as relational object | |
| dc.contributor.author | Nacher, Anna | |
| dc.description.abstract | I would like to re-examine the category of representation for the post-digital imagery which is understood in terms of “the continuous actualization of networked data” or “networked terminal” [Marie, Hoelzl 2015: loc. 146, Kindle]. I will specifically address the imagery accompanying distributed sensing networks (sensor-based visual monitoring systems), being the outcome of the automatic or quasi-automatic data exchange involving both human and non-human actors. I would like to argue that analysis of this new visual environment should not be limited to the procedures of data processing. I propose it fully acknowledges the complex procesuality of the visual objects' production and circulation within networked media. Hence the images produced in such arrangements are considered not so much the means to represent the world “out there” but rather the part of the “computationally articulating” [Gabrys, 2014] new ecological arrangements, understood as the performance in the lived world and with the lived world, beyond the confines of the representationalism [Kember, Zylinska, 2012]. Offering the processual and performative understanding of the category of representation, I will propose to perceive the post-digital, networked and sensor-based imagery as relational object [Hui 2016] but not the one confined to the purely digital milieu. I will argue that its ability to bridge and mediate different modes of reality (physical space, organic entities and abstract codes) should be considered as one of the core elements of the updated theory of representation that would adequately address the post-digital condition.
Marie R., Hoelzl I. (2015), Softimage. Towards a New Theory of the Digital Image, Bristol – Chicago: Intellect, (Kindle version),
Gabrys J. (2014), Program Earth. Environmental Sensing Technology and the Making of a Computational Planet, Minneapolis and London: University of Minnesota Press,
Hui Y. (2016), On the Existence of Digital Objects, Minneapolis and London: University of Minnesota Press,
Kember S., Zylinska J. (2012), Life After New Media. Mediation as a Vital Process, Cambridge – London: MIT Press | |
| dc.subject | ubicomp | |
| dc.subject | sensor-based imagery | |
| dc.subject | non-representationalist theory | |
