In this article we outline two different ways of ‘seeing’ autonomous driving (AD) cars. The first corresponds with the technological innovation narrative, published in online industry, policy, busi ...
{"title":"Emerging technologies and anticipatory images: Uncertain ways of knowing with automated and connected mobilities","authors":"S. Pink, Vaike Fors, Thomas Lindgren","doi":"10.1386/POP.9.2.195_1","DOIUrl":"https://doi.org/10.1386/POP.9.2.195_1","url":null,"abstract":"In this article we outline two different ways of ‘seeing’ autonomous driving (AD) cars. The first corresponds with the technological innovation narrative, published in online industry, policy, busi ...","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/POP.9.2.195_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45129400","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}
Automated facial recognition methods have become widely used as a way to ascertain the identity of individuals. Yet the methods by which facial recognition technologies (FRT) operate – the machinic performance of the perception of the human face – are often invisible to those under their gaze. This article investigates the machinic perception of the face through an FRT method known as eigenface, in order to both reveal and problematize the ways of seeing that underlie it. As part of its algorithmic processes, eigenface produces an image. This image can be understood as a portrait of machine recognition, making visible the processes through which the algorithm performs recognition and ‘sees’ the human face. The eigenface portrait reveals a way of seeing that is based on statistical processes of pattern recognition. An analogue antecedent of this application of statistics to the recognition of facial images can be found in the composite portrait. Through a dialectical discussion of composite portraiture in multiple disciplinary fields ranging from sociology to philosophy and the visual arts, this article experiments with providing a cultural and social translation of machine processes of visual perception. The discussion shifts the focus of enquiry towards the aesthetics of the algorithmic process in order to provide an entry point for critique and a possible reimagination on algorithmic knowledge production. (Less)
{"title":"A portrait of facial recognition: Tracing a history of a statistical way of seeing","authors":"Lila Lee-Morrison","doi":"10.1386/POP.9.2.107_1","DOIUrl":"https://doi.org/10.1386/POP.9.2.107_1","url":null,"abstract":"Automated facial recognition methods have become widely used as a way to ascertain the identity of individuals. Yet the methods by which facial recognition technologies (FRT) operate – the machinic performance of the perception of the human face – are often invisible to those under their gaze. This article investigates the machinic perception of the face through an FRT method known as eigenface, in order to both reveal and problematize the ways of seeing that underlie it. As part of its algorithmic processes, eigenface produces an image. This image can be understood as a portrait of machine recognition, making visible the processes through which the algorithm performs recognition and ‘sees’ the human face. The eigenface portrait reveals a way of seeing that is based on statistical processes of pattern recognition. An analogue antecedent of this application of statistics to the recognition of facial images can be found in the composite portrait. Through a dialectical discussion of composite portraiture in multiple disciplinary fields ranging from sociology to philosophy and the visual arts, this article experiments with providing a cultural and social translation of machine processes of visual perception. The discussion shifts the focus of enquiry towards the aesthetics of the algorithmic process in order to provide an entry point for critique and a possible reimagination on algorithmic knowledge production. (Less)","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49248257","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}
Daniela Agostinho, Ulrik Ekman, N. Thylstrup, Kristin Veel
{"title":"Images and uncertain worlds","authors":"Daniela Agostinho, Ulrik Ekman, N. Thylstrup, Kristin Veel","doi":"10.1386/POP.9.2.99_2","DOIUrl":"https://doi.org/10.1386/POP.9.2.99_2","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/POP.9.2.99_2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48952839","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}
{"title":"Imaging by touching: Atomic force microscopy","authors":"G. Schwartz, J. Navarro","doi":"10.1386/POP.9.1.41_7","DOIUrl":"https://doi.org/10.1386/POP.9.1.41_7","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"9 1","pages":"41-52"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/POP.9.1.41_7","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47056516","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}
{"title":"Reinventing the body on the photographic stage: Theatricality, identity, and figural writing in the work of Helena Almeida","authors":"M. Duarte, Bruno Marques","doi":"10.1386/POP.9.1.71_1","DOIUrl":"https://doi.org/10.1386/POP.9.1.71_1","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"9 1","pages":"71-94"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/POP.9.1.71_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45304425","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}
{"title":"Lyric images, everlasting instants: The photographic works of Tacita Dean and Roni Horn","authors":"B. Thornton","doi":"10.1386/POP.9.1.22_1","DOIUrl":"https://doi.org/10.1386/POP.9.1.22_1","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"9 1","pages":"22-40"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/POP.9.1.22_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43893315","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}
This article considers photography’s role as a visual technology and the consequent effects of expanded frames of knowledge. At the very moment human vision and memory were called into profound doubt, photography provided a mechanical, prosthetic extension to perceptual experience. However, as a technology, it contains the potential for both revelation and control. In this article, photography is considered as a technique that: expands human perception; inscribes its own mechanical operations into new visual forms, therefore enframing and encoding visible knowledge; and can be harnessed as a disciplinary instrument and technique of power. As a consequence, photography's revealing of hitherto invisible dimensions of reality unfolds within a history of revelation, spectacle and power.
{"title":"Vision, revelation, violence: technology and expanded perception within photographic history.","authors":"Tom Slevin","doi":"10.1386/POP.9.1.53_1","DOIUrl":"https://doi.org/10.1386/POP.9.1.53_1","url":null,"abstract":"This article considers photography’s role as a visual technology and the consequent effects of expanded frames of knowledge. At the very moment human vision and memory were called into profound doubt, photography provided a mechanical, prosthetic extension to perceptual experience. However, as a technology, it contains the potential for both revelation and control. In this article, photography is considered as a technique that: expands human perception; inscribes its own mechanical operations into new visual forms, therefore enframing and encoding visible knowledge; and can be harnessed as a disciplinary instrument and technique of power. As a consequence, photography's revealing of hitherto invisible dimensions of reality unfolds within a history of revelation, spectacle and power.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"9 1","pages":"53-70"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/POP.9.1.53_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42207417","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}
This paper sketches some connections between symbolic, pecuniary and formal economies in light of the question ‘what identifies Warburgian production?’ I propose that method occurs recursively throughout Warburgian production, across scales of scheme and impulse, subject and figure, miniaturization and affect. In this I claim, that along with his favored book, Carlyle’s Sartor Resartus, Warburg’s practice shares some characteristics of poioumenon, the Ancient Greek term for ‘product’ and a term employed by Alastair Fowler to refer to a metafiction in which the story concerns the process of creation. According to Fowler, "the poioumenon is calculated to offer opportunities to explore […] the limits of narrative truth." What is the process and productive topology of the Mnemosyne Atlas? Drawing from probability theory, set-theory and engaging Elie Ayache’s discussion in his book ‘The Blank Swan’ of the technology of the derivatives market and context-change in contrast to probability theory I sketch a shape for a Warburgian production where interpretation is severed from iconological representation, existing in the intervals and velocity changes between contexts.
{"title":"Juno Moneta Atlas: Warburgian production or performing context change","authors":"M. Westwood","doi":"10.1386/POP.8.1-2.119_1","DOIUrl":"https://doi.org/10.1386/POP.8.1-2.119_1","url":null,"abstract":"This paper sketches some connections between symbolic, pecuniary and formal economies in light of the question ‘what identifies Warburgian production?’ I propose that method occurs recursively throughout Warburgian production, across scales of scheme and impulse, subject and figure, miniaturization and affect. In this I claim, that along with his favored book, Carlyle’s Sartor Resartus, Warburg’s practice shares some characteristics of poioumenon, the Ancient Greek term for ‘product’ and a term employed by Alastair Fowler to refer to a metafiction in which the story concerns the process of creation. According to Fowler, \"the poioumenon is calculated to offer opportunities to explore […] the limits of narrative truth.\" \u0000What is the process and productive topology of the Mnemosyne Atlas? Drawing from probability theory, set-theory and engaging Elie Ayache’s discussion in his book ‘The Blank Swan’ of the technology of the derivatives market and context-change in contrast to probability theory I sketch a shape for a Warburgian production where interpretation is severed from iconological representation, existing in the intervals and velocity changes between contexts.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"8 1","pages":"119-130"},"PeriodicalIF":0.0,"publicationDate":"2017-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46033987","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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