Pub Date : 2023-05-04DOI: 10.1080/17540763.2023.2189160
L. Kronman
Classifying is human. Classifying is also what machine vision technologies do. This article analyses the cybernetic loop between human and machine classification by examining artworks that depict instances of bias when machine vision is classifying humans and when humans classify visual datasets for machines. I propose the term ‘indirect reverse operativity’ – a concept built upon Ingrid Hoelzl’s and Remi Marie’s notion of ‘reverse operativity’ – to describe how classifying humans and machine classifiers operate in cybernetic information loops. Indirect reverse operativity is illustrated through two projects I have co-created: the Database of Machine Vision in Art, Games and Narrative and the artwork Suspicious Behavior. Through ‘artistic audits’ of selected artworks, a data analysis of how classification is represented in 500 creative works, and a reflection on my own artistic research in the Suspicious Behavior project, this article confronts and complicates assumptions of when and how bias is introduced into and propagates through machine vision classifiers. By examining cultural conceptions of machine vision bias which exemplify how humans operate machines and how machines operate humans through images, this article contributes fresh perspectives to the emerging field of critical dataset studies.
{"title":"CLASSIFYING HUMANS: THE INDIRECT REVERSE OPERATIVITY OF MACHINE VISION","authors":"L. Kronman","doi":"10.1080/17540763.2023.2189160","DOIUrl":"https://doi.org/10.1080/17540763.2023.2189160","url":null,"abstract":"Classifying is human. Classifying is also what machine vision technologies do. This article analyses the cybernetic loop between human and machine classification by examining artworks that depict instances of bias when machine vision is classifying humans and when humans classify visual datasets for machines. I propose the term ‘indirect reverse operativity’ – a concept built upon Ingrid Hoelzl’s and Remi Marie’s notion of ‘reverse operativity’ – to describe how classifying humans and machine classifiers operate in cybernetic information loops. Indirect reverse operativity is illustrated through two projects I have co-created: the Database of Machine Vision in Art, Games and Narrative and the artwork Suspicious Behavior. Through ‘artistic audits’ of selected artworks, a data analysis of how classification is represented in 500 creative works, and a reflection on my own artistic research in the Suspicious Behavior project, this article confronts and complicates assumptions of when and how bias is introduced into and propagates through machine vision classifiers. By examining cultural conceptions of machine vision bias which exemplify how humans operate machines and how machines operate humans through images, this article contributes fresh perspectives to the emerging field of critical dataset studies.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41630252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17540763.2022.2150878
Sally Miller
Marc Adelman’s Stelen is a collection of 150 images of men posing at the Memorial to the Murdered Jews of Europe in Germany. Understanding the photographs that compromise Stelen involves tracking a number of shifts that have taken place across different fields: a change in the understanding of the role of the public memorial which has seen the construction of ‘anti-memorials’ or ‘counter-monuments’ such as the Memorial to the Murdered Jews of Europe; a turn towards participatory memory practices in museums and at memorial sites; digital photography and the impact of social media. In the first part of this paper, I explore how these trends intersect in order to give an account of the conditions of production of the photographs. Adelman has proposed that the photographs might be understood in relation to the role that the memory of the Holocaust plays in contemporary queer life. In the second part of this paper, I use Michael Rothberg’s concept of Multidirectional Memory to consider Stelen as a counter-archive that offers a multidirectional articulation of grief.
Marc Adelman的石碑收藏了150张男子在德国欧洲被谋杀犹太人纪念碑前摆姿势的照片。了解影响Stelen的照片需要追踪不同领域发生的一些变化：对公共纪念馆作用的理解发生了变化，建造了“反纪念馆”或“反纪念碑”，如欧洲被谋杀犹太人纪念馆；转向博物馆和纪念场所的参与式记忆做法；数码摄影和社交媒体的影响。在本文的第一部分中，我探讨了这些趋势是如何交叉的，以说明照片的制作条件。阿德尔曼提出，这些照片可能与大屠杀记忆在当代酷儿生活中所扮演的角色有关。在本文的第二部分中，我使用迈克尔·罗斯伯格的多向记忆概念，将斯泰伦视为一个对悲伤进行多向表达的反档案。
{"title":"MOURNING WITH STRANGERS: MARC ADELMAN’S STELEN","authors":"Sally Miller","doi":"10.1080/17540763.2022.2150878","DOIUrl":"https://doi.org/10.1080/17540763.2022.2150878","url":null,"abstract":"Marc Adelman’s Stelen is a collection of 150 images of men posing at the Memorial to the Murdered Jews of Europe in Germany. Understanding the photographs that compromise Stelen involves tracking a number of shifts that have taken place across different fields: a change in the understanding of the role of the public memorial which has seen the construction of ‘anti-memorials’ or ‘counter-monuments’ such as the Memorial to the Murdered Jews of Europe; a turn towards participatory memory practices in museums and at memorial sites; digital photography and the impact of social media. In the first part of this paper, I explore how these trends intersect in order to give an account of the conditions of production of the photographs. Adelman has proposed that the photographs might be understood in relation to the role that the memory of the Holocaust plays in contemporary queer life. In the second part of this paper, I use Michael Rothberg’s concept of Multidirectional Memory to consider Stelen as a counter-archive that offers a multidirectional articulation of grief.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49482554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17540763.2022.2150879
Lorenz Widmaier
This article examines how digital photographic legacies affect and shape mourning and remembrance. The research sample comprises 32 interviews with bereaved persons, two expert interviews, 500 photographs, 200 screenshots, and social media contents. The qualitative, empirical research utilises constructivist grounded theory. Research data were gathered through intensive media-elicitation interviews, researcher-generated photography, and extant data collection. The findings demonstrate the profound impact of digital photographic legacies on mourning and remembrance, and that creatively working with inherited photographs is an essential task in bereavement. Digital photographs left behind empower mourners to recall everyday life in rich detail, to recognise the personality of the deceased, to feel close, and to reconnect with them. Further, inherited photographs may alleviate grief by allowing mourners to experience missed periods of the deceased’s life, to learn about their hidden facets, to be reassured about their good life, to answer questions of why, guilt, and time in cases of suicide, and thus to reconstruct the deceased’s biography. The article advocates a refocusing of photography research on photography’s commemorative function. It suggests that bereavement researchers and counsellors could benefit from further exploration of digital photographic legacies for grief and through a consideration of advancing therapeutic grief techniques which utilise digital photographs.
{"title":"Digital photographic legacies, mourning, and remembrance: looking through the eyes of the deceased","authors":"Lorenz Widmaier","doi":"10.1080/17540763.2022.2150879","DOIUrl":"https://doi.org/10.1080/17540763.2022.2150879","url":null,"abstract":"This article examines how digital photographic legacies affect and shape mourning and remembrance. The research sample comprises 32 interviews with bereaved persons, two expert interviews, 500 photographs, 200 screenshots, and social media contents. The qualitative, empirical research utilises constructivist grounded theory. Research data were gathered through intensive media-elicitation interviews, researcher-generated photography, and extant data collection. The findings demonstrate the profound impact of digital photographic legacies on mourning and remembrance, and that creatively working with inherited photographs is an essential task in bereavement. Digital photographs left behind empower mourners to recall everyday life in rich detail, to recognise the personality of the deceased, to feel close, and to reconnect with them. Further, inherited photographs may alleviate grief by allowing mourners to experience missed periods of the deceased’s life, to learn about their hidden facets, to be reassured about their good life, to answer questions of why, guilt, and time in cases of suicide, and thus to reconstruct the deceased’s biography. The article advocates a refocusing of photography research on photography’s commemorative function. It suggests that bereavement researchers and counsellors could benefit from further exploration of digital photographic legacies for grief and through a consideration of advancing therapeutic grief techniques which utilise digital photographs.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49553285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17540763.2022.2150877
Cherine Fahd
A baby’s new life is often celebrated publicly on social media by sharing ultrasound images and photographs of pregnancy and childbirth. However, not all births go to plan; sometimes, a baby tragically dies, and birth’s social rituals of photographic celebrations cease. While sharing photographs of a deceased baby is rare, numerous examples on the social media platform Instagram reveals that this is slowly changing. Undertaking a search of hashtags associated with infant loss reveals a social movement led by mothers, birth photographers and midwives aiming to destigmatise the death of a baby. These women aim to build death literacy and raise awareness of infant loss by sharing personal stories and photographs of and with their deceased babies. In turn, the hashtags reveal an online community of women who, in supporting each other, understand the critical role of sharing birth and death photographs on social media. This essay explores the complex terrain of visualising infant loss while visually and textually analysing Instagram posts to reveal how and why mothers use photography, alongside captions and hashtags, to express their loss publicly.
{"title":"DESTIGMATISING INFANT LOSS WITH PHOTOGRAPHY AND HASHTAGS ON INSTAGRAM","authors":"Cherine Fahd","doi":"10.1080/17540763.2022.2150877","DOIUrl":"https://doi.org/10.1080/17540763.2022.2150877","url":null,"abstract":"A baby’s new life is often celebrated publicly on social media by sharing ultrasound images and photographs of pregnancy and childbirth. However, not all births go to plan; sometimes, a baby tragically dies, and birth’s social rituals of photographic celebrations cease. While sharing photographs of a deceased baby is rare, numerous examples on the social media platform Instagram reveals that this is slowly changing. Undertaking a search of hashtags associated with infant loss reveals a social movement led by mothers, birth photographers and midwives aiming to destigmatise the death of a baby. These women aim to build death literacy and raise awareness of infant loss by sharing personal stories and photographs of and with their deceased babies. In turn, the hashtags reveal an online community of women who, in supporting each other, understand the critical role of sharing birth and death photographs on social media. This essay explores the complex terrain of visualising infant loss while visually and textually analysing Instagram posts to reveal how and why mothers use photography, alongside captions and hashtags, to express their loss publicly.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42893514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17540763.2022.2158490
Purbita Das, Antara Chatterjee
This article offers a close textual and visual analysis of some of the most iconic photographs of the COVID pandemic’s second wave in India, to examine how they evoke violence both within and outside the photographic frame, and become sites of critical reflection. The pandemic’s second wave witnessed a proliferation of images in social media and online news portals representing mass deaths, corpses floating in rivers, and mass funerals executed in makeshift crematoria. Pointing out how the widely circulated photographs deployed an excess of violence to represent death as a dreaded event external to life, this article contends that the violence in these images not only evoked shock and horror but also interrupted mourning both in the private and the collective realm, furthered through violence in the images and the interruption of familiar mourning rituals for those dead. Deriving from Ariella Azoulay’s idea of the ‘civil gaze’ to ‘watch’ photographs, the article explores how these photographs configure a space of critical reflection and responsibility towards those photographed, which uncovers the crucial biopolitical interfaces between disease, death, the state, and the precarity of citizens. It simultaneously deliberates on the role of the visual and the photographic gaze in foregrounding these intersections.
{"title":"(RE)THINKING SUFFERING AND MOURNING THROUGH COVID-19 PHOTOGRAPHS IN INDIA","authors":"Purbita Das, Antara Chatterjee","doi":"10.1080/17540763.2022.2158490","DOIUrl":"https://doi.org/10.1080/17540763.2022.2158490","url":null,"abstract":"This article offers a close textual and visual analysis of some of the most iconic photographs of the COVID pandemic’s second wave in India, to examine how they evoke violence both within and outside the photographic frame, and become sites of critical reflection. The pandemic’s second wave witnessed a proliferation of images in social media and online news portals representing mass deaths, corpses floating in rivers, and mass funerals executed in makeshift crematoria. Pointing out how the widely circulated photographs deployed an excess of violence to represent death as a dreaded event external to life, this article contends that the violence in these images not only evoked shock and horror but also interrupted mourning both in the private and the collective realm, furthered through violence in the images and the interruption of familiar mourning rituals for those dead. Deriving from Ariella Azoulay’s idea of the ‘civil gaze’ to ‘watch’ photographs, the article explores how these photographs configure a space of critical reflection and responsibility towards those photographed, which uncovers the crucial biopolitical interfaces between disease, death, the state, and the precarity of citizens. It simultaneously deliberates on the role of the visual and the photographic gaze in foregrounding these intersections.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42341218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17540763.2022.2150880
Sam Holleran
For centuries headstone carving was in the hands of select groups: priestly castes, stonemason guilds, and cemetery operators. Today, stone markets are globalised; religiosity, and accompanying rituals, have waned in many countries; and cheap, on-demand laser engraving allows for the easy transfer of photographic images to polished stone surfaces. With these changes have come new challenges for those tasked with moderating the visual environment of the cemetery. This paper explores controversial headstone imagery by combining insights into the ‘deathcare’ industry taken from anthropological fieldwork with a media analysis of several headstone controversies in the US, UK, and Australia. It looks at the actions taken by cemetery personnel to remove or amend images considered inappropriate and reflects on the changing roles of those tasked with moderating headstone content and their interactions with tradespeople, who execute designs, and the clients, who purchase headstones for loved ones. Lastly, this paper analyses how headstone moderation relates to broader conversations on censorship and offence; including ‘cheeky’ content that walks the line between permissible and impermissible in the cemetery setting.
{"title":"CHEEKY MONUMENTS: PHOTO-ENGRAVED HEADSTONES AND IMAGE MODERATION IN CEMETERIES","authors":"Sam Holleran","doi":"10.1080/17540763.2022.2150880","DOIUrl":"https://doi.org/10.1080/17540763.2022.2150880","url":null,"abstract":"For centuries headstone carving was in the hands of select groups: priestly castes, stonemason guilds, and cemetery operators. Today, stone markets are globalised; religiosity, and accompanying rituals, have waned in many countries; and cheap, on-demand laser engraving allows for the easy transfer of photographic images to polished stone surfaces. With these changes have come new challenges for those tasked with moderating the visual environment of the cemetery. This paper explores controversial headstone imagery by combining insights into the ‘deathcare’ industry taken from anthropological fieldwork with a media analysis of several headstone controversies in the US, UK, and Australia. It looks at the actions taken by cemetery personnel to remove or amend images considered inappropriate and reflects on the changing roles of those tasked with moderating headstone content and their interactions with tradespeople, who execute designs, and the clients, who purchase headstones for loved ones. Lastly, this paper analyses how headstone moderation relates to broader conversations on censorship and offence; including ‘cheeky’ content that walks the line between permissible and impermissible in the cemetery setting.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42045840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17540763.2022.2158917
Theopisti Stylianou-Lambert, Lorenz Widmaier
Photography has been associated with death and used for mourning practices since its inception. The invention of photography had a profound influence on how people remember and mourn the dead. Nowadays, the constant availability of mobile phone cameras, digital networks, social platforms, and new printing technologies have changed the kinds of photographs which are taken and how they are shared and displayed. The main question that this special issue examines is whether this socio-technological transition, caused by a shift in digital and technological cultures, affects photographic mourning practices, and how? While the digital shift in photography has been extensively documented and debated in academic literature, its impact on private and public mourning practices has remained largely unaddressed. This special issue of photographies aims to shed light on the interplay between digital everyday photography and mourning in the 21 century. In 2021, in the midst of the COVID-19 pandemic and when many areas were still in lockdown, we released a call for papers for a special issue titled ‘Everyday Photography and Mourning in the 21 Century.’ We received an overwhelming response to the call; proof that many researchers, authors, and artists are currently looking into the relationship between photography, mourning, and new technologies. Through a competitive peerreviewed process, seven papers were selected — six of them appear in this issue and one appeared in the previous issue (volume 15, issue 3). Although one of the papers appeared in
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Pub Date : 2023-01-02DOI: 10.1080/17540763.2022.2150881
Michele White
Etsy sellers employ such terms as ‘touching’ to describe vintage post-mortem and mourning photographs. In this article, I provide an analysis of the ways sellers produce feelings and encourage buyers to connect with earlier sentiments around mourning. Sellers digitally reproduce antiquarian photographs and contemporary props, incorporate framing information, and suggest how items physically and emotionally feel. I argue that sellers use these practices to provide viewers with emotional experiences of mourning and what has been described as ‘feeling photography.’ As Elspeth H. Brown and Thy Phu note in their feminist and queer anthology on the subject, feeling photography stimulates dismay and sympathy when seeing violent images and mourning when viewing portraits of deceased intimates. As part of these processes, Etsy sellers reference textured objects to connect buyers to items and feelings. I thus cite Eve Kosofsky Sedgwick’s and other scholars’ considerations of textures and feelings, Roland Barthes’s proposal for how death and mourning are experienced through photography, and analyses of nineteenth-century photographs. My feminist and queer reading demonstrates how sellers support normative expectations about the heightened mourning of children, displace contemporary inequities by focusing on earlier losses, and (often unintentionally) render such less traditional identities as the queer child.
{"title":"FEELING POST-MORTEM PHOTOGRAPHY: ETSY SELLERS’ MOURNING LISTINGS","authors":"Michele White","doi":"10.1080/17540763.2022.2150881","DOIUrl":"https://doi.org/10.1080/17540763.2022.2150881","url":null,"abstract":"Etsy sellers employ such terms as ‘touching’ to describe vintage post-mortem and mourning photographs. In this article, I provide an analysis of the ways sellers produce feelings and encourage buyers to connect with earlier sentiments around mourning. Sellers digitally reproduce antiquarian photographs and contemporary props, incorporate framing information, and suggest how items physically and emotionally feel. I argue that sellers use these practices to provide viewers with emotional experiences of mourning and what has been described as ‘feeling photography.’ As Elspeth H. Brown and Thy Phu note in their feminist and queer anthology on the subject, feeling photography stimulates dismay and sympathy when seeing violent images and mourning when viewing portraits of deceased intimates. As part of these processes, Etsy sellers reference textured objects to connect buyers to items and feelings. I thus cite Eve Kosofsky Sedgwick’s and other scholars’ considerations of textures and feelings, Roland Barthes’s proposal for how death and mourning are experienced through photography, and analyses of nineteenth-century photographs. My feminist and queer reading demonstrates how sellers support normative expectations about the heightened mourning of children, displace contemporary inequities by focusing on earlier losses, and (often unintentionally) render such less traditional identities as the queer child.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41765207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/17540763.2022.2096679
Sebastian Bustamante-Brauning
The practice of enforced disappearances fundamentally alters memorialisation rituals as relatives do not have a body to localise mourning as is possible with processes of death. Families in the Southern Cone of South America (Chile/Argentina) have sought new ways to remember the dictatorship missing who remain in a liminal space between life and death. As a vehicle to represent public grief, photography became vital; families marched with photographs of their disappeared relatives on placards or pinned to their chests. Studies on the importance of photography and disappearance have come some way in elucidating the photographic medium’s unique role of in representing the disappeared. However, little scholarship has looked at the role of photography and new media in these histories. Charting the use of photographs in Chile and Argentina to represent the disappeared and their families’ grief, this article engages with their suspended mourning drawing on content and visual analysis alongside expert interview data. By analysing two websites that reproduce photographs of the disappeared: www.memoriaviva.com and www.recordatorios.com.ar, the article looks at the use of photography in the digital ecology. Both sites show photography’s continued importance for rituals of remembrance and to demand accountability in the present and for the future.
{"title":"[Re]-appearances online: photography, mourning and new media ecologies for representing the Southern Cone’s disappeared on two digital memory platforms","authors":"Sebastian Bustamante-Brauning","doi":"10.1080/17540763.2022.2096679","DOIUrl":"https://doi.org/10.1080/17540763.2022.2096679","url":null,"abstract":"The practice of enforced disappearances fundamentally alters memorialisation rituals as relatives do not have a body to localise mourning as is possible with processes of death. Families in the Southern Cone of South America (Chile/Argentina) have sought new ways to remember the dictatorship missing who remain in a liminal space between life and death. As a vehicle to represent public grief, photography became vital; families marched with photographs of their disappeared relatives on placards or pinned to their chests. Studies on the importance of photography and disappearance have come some way in elucidating the photographic medium’s unique role of in representing the disappeared. However, little scholarship has looked at the role of photography and new media in these histories. Charting the use of photographs in Chile and Argentina to represent the disappeared and their families’ grief, this article engages with their suspended mourning drawing on content and visual analysis alongside expert interview data. By analysing two websites that reproduce photographs of the disappeared: www.memoriaviva.com and www.recordatorios.com.ar, the article looks at the use of photography in the digital ecology. Both sites show photography’s continued importance for rituals of remembrance and to demand accountability in the present and for the future.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48410533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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