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Digitale Technologien und Daten verändern unser Lebensumfeld. Menschen, Unternehmen und staatliche Stellen agieren, kommunizieren und operieren heute anders als in der Vergangenheit - und diese Veränderungen beschleunigen sich zusehends.

Photography.

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"Fully updated and revised, this seminal book explains and illustrates what photographs are, how they were made and used in the past and, more particularly, what their place is in the creative arts and visual communications world of today. Paul Hill looks at photographs as modes of expression and explores the diversity of approaches taken when creating photographs and what these mean for a photographer's practice and purpose. It emphasises the importance of contextualisation to the understanding of the medium, diving into the ideas behind the images and how the camera transforms and influences how we see the world. With an impressive collection of 200 full colour images from professional practitioners and artists, it invites us to consider the foundations of photography's past and the digital revolution's impact on the creation and dissemination of photographs today. Essential reading for all students of photography, it is an invaluable guide for those who want to make a career in photography, covering most areas of photographic practice from photojournalism to fine art to personal essay"--

Photography.

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What if we allow speculation, messiness and befoggedness to set the conditions for documentary gestures and practices? What if we start using speculation as a tool, how can we re-imagine past, present and future? Contemporary documentary practice has a crucial role to play within art, mainstream media and activism. It constitutes less a genre, and more ‘a critical method’ in its own right. How can we rethink the documentary attitude conceptually, formally and methodologically? UNCERTAINTY! What if this unfinished business of the documentary, creates even more possibilities for speculation and imagination? How can we make decentralized, deformatted and polycentric documentaries, even if we assume that we will never fully succeed? Trigger #2 explores the potentials, the problems and paradoxes of an openly speculative documentary. A 'messy' mix of essays and artist contributions delivers imaginative and thoughtful insights in several Belgian and international 'uncertain' photographic practices and archives (Zineb Sedira, Saddie Choua, Barbara Probst, Marc De Blieck, Kate Morrell, Regine Petersen, Sophy Rickett, Allan Sekula and Lisette Model) and makes multiple bridges to collective practices which deal with speculation, recreation and radical futurisms (De Cleene De Cleene, Black Quantum Futurism, the Otolith Group, Robin Vanbesien). As stated in the editorial: 'Without claiming to be exhaustive, this issue gathers proposals that look for the document’s new uncertain potentials: documentary tales as life-giving fictions, the anti-documentary as care aesthetics, the dialectical documentary, the documentary as the creative practice of chronopolitics, the ‘dirty pictures’ documentary, the documentary as allegory, the documentary as pre-enactment and more. We have opted not to strive for a stringent classification of these proposals reflected in a neat table of contents but rather just to stay true to the polycentricity of its design. ‘We are not points on a line; rather, we are the centre of circles’, John Berger – a master of recognising the real value of the fictive in our time – scribbled near the end of his life in Confabulations (2016).'

Photography --- photography [process] --- fotografie

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Photography --- photography [process] --- Lokeren

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"NO POLITICS whatever." Walker Evans made this emphatic declaration in 1935, the year he began work for FDR's Resettlement Administration. Evans insisted that his photographs of tenant farmers and their homes, breadlines, and the unemployed should be treated as "pure record." The American photographer's statements have often been dismissed. In Walker Evans: No Politics, Stephanie Schwartz challenges us to engage with what it might mean, in the 1930s and at the height of the Great Depression, to refuse to work politically. Offering close readings of Evans's numerous commissions, including his contribution to Carleton Beals's anti-imperialist tract, The Crime of Cuba (1933), this book is a major departure from the standard accounts of Evans's work and American documentary. Documentary, Schwartz reveals, is not a means of being present-or being "political." It is a practice of record making designed to distance its maker from the "scene of the crime." That crime, Schwartz argues, is not just the Depression; it is the processes of Americanization reshaping both photography and politics in the 1930s. Historicizing documentary, this book reimagines Evans and his legacy-the complexities of claiming "no politics."

Documentary photography. --- Photography, Artistic.