Pub Date : 2021-07-03DOI: 10.1080/17514517.2021.1935090
Gil Pasternak
Abstract This article explores the consequences of the digital heritagization of domestic photographs that the State of Israel has initiated as part of its aspiration to settle increasing tensions between traditional national values and modern identities in Israel’s Jewish hegemonic social sphere. The process has been realized through the implementation of the community-based crowdsourcing initiative Israel Revealed to the Eye. Launched in 2011, it was designed to identify valued expressions of perceived national heritage in the photographs kept in the households of Israeli citizens across the country, and incorporate them into a centralized database for their safeguarding, study and public deployment. The article opens with an investigation of the various circumstances that have officially led the state to consider domestic photographs as cultural resources of national significance. As well as examining whose heritage the digitized photographs effectively safeguard once absorbed into the database, it then analyzes how their collection through coordinated crowdsourcing activities has reconditioned definitions and understanding of national heritage in the country. In doing so, the article demonstrates that the digital heritagization of the photographs has assisted in mitigating citizens’ conflictual approaches to Israel’s national heritage without repressing contestations of the dominant cultural status quo.
{"title":"The National is Personal: Domestic Photographs in Israel’s Authorized Digital Heritage","authors":"Gil Pasternak","doi":"10.1080/17514517.2021.1935090","DOIUrl":"https://doi.org/10.1080/17514517.2021.1935090","url":null,"abstract":"Abstract This article explores the consequences of the digital heritagization of domestic photographs that the State of Israel has initiated as part of its aspiration to settle increasing tensions between traditional national values and modern identities in Israel’s Jewish hegemonic social sphere. The process has been realized through the implementation of the community-based crowdsourcing initiative Israel Revealed to the Eye. Launched in 2011, it was designed to identify valued expressions of perceived national heritage in the photographs kept in the households of Israeli citizens across the country, and incorporate them into a centralized database for their safeguarding, study and public deployment. The article opens with an investigation of the various circumstances that have officially led the state to consider domestic photographs as cultural resources of national significance. As well as examining whose heritage the digitized photographs effectively safeguard once absorbed into the database, it then analyzes how their collection through coordinated crowdsourcing activities has reconditioned definitions and understanding of national heritage in the country. In doing so, the article demonstrates that the digital heritagization of the photographs has assisted in mitigating citizens’ conflictual approaches to Israel’s national heritage without repressing contestations of the dominant cultural status quo.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47611545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/17514517.2021.1927372
Michelle Hamers
The digitization of archival photographic records is usually celebrated as a process that makes them accessible to multiple audiences who might have otherwise not been able to examine them so easily. It has equally been noted, however, that the very same process may lead to misrepresentations of records and generate evasive perceptions of their origin and historical significance. No doubt, these benefits and disadvantages may have significant implications in any context. Yet, their magnitude is likely to be of even greater consequence when the digitized records pertain to a long-lasting, ongoing violent conflict. The digital creation of the UNRWA Film and Photo Archive – readily accessible at https://unrwa. photoshelter.com – is one case in point. With its production beginning at a particular moment in the history of the Israeli-Palestinian conflict in which its two sides started to engage in direct talks about their shared future, the resulting digital archive demonstrates how photographs originally taken as mere records of institutional activities have, following their digitization, been made into volatile records of unpredictable political consequence. The acronym UNRWA stands for the United Nations Relief and Works Agency for Palestine Refugees in the Near East. A relief and human development organization, UNRWA was created by the United Nations in December 1949 with the intention of bringing relief and designing work programs for Palestine refugees in Jordan, Lebanon, Syria, the West Bank and the Gaza Strip. In May 1950 it became operational and has, since then, offered education, health care, social services and emergency assistance, while working to improve the infrastructure and general living conditions in the Palestinian refugee camps located within the boundaries of these countries and lands. Similar to many other humanitarian organizations, over the years UNRWA has commissioned photographers and filmmakers to document its pursuits, mainly for communication and fundraising purposes. Their works have been preserved in a physical voluminous audio-visual archive. Split since 1996 between UNRWA’s two Headquarters in Amman (Jordan) and Gaza, it contains over 600,000 records, including approximately 459,000 black and white photo negatives, a few hundred photographic prints, 58,000 color slides, 15,000 contact sheets, 75 films, 730 videocassettes and an estimated 80,000 born-digital images.
{"title":"The UNRWA Film and Photo Archive","authors":"Michelle Hamers","doi":"10.1080/17514517.2021.1927372","DOIUrl":"https://doi.org/10.1080/17514517.2021.1927372","url":null,"abstract":"The digitization of archival photographic records is usually celebrated as a process that makes them accessible to multiple audiences who might have otherwise not been able to examine them so easily. It has equally been noted, however, that the very same process may lead to misrepresentations of records and generate evasive perceptions of their origin and historical significance. No doubt, these benefits and disadvantages may have significant implications in any context. Yet, their magnitude is likely to be of even greater consequence when the digitized records pertain to a long-lasting, ongoing violent conflict. The digital creation of the UNRWA Film and Photo Archive – readily accessible at https://unrwa. photoshelter.com – is one case in point. With its production beginning at a particular moment in the history of the Israeli-Palestinian conflict in which its two sides started to engage in direct talks about their shared future, the resulting digital archive demonstrates how photographs originally taken as mere records of institutional activities have, following their digitization, been made into volatile records of unpredictable political consequence. The acronym UNRWA stands for the United Nations Relief and Works Agency for Palestine Refugees in the Near East. A relief and human development organization, UNRWA was created by the United Nations in December 1949 with the intention of bringing relief and designing work programs for Palestine refugees in Jordan, Lebanon, Syria, the West Bank and the Gaza Strip. In May 1950 it became operational and has, since then, offered education, health care, social services and emergency assistance, while working to improve the infrastructure and general living conditions in the Palestinian refugee camps located within the boundaries of these countries and lands. Similar to many other humanitarian organizations, over the years UNRWA has commissioned photographers and filmmakers to document its pursuits, mainly for communication and fundraising purposes. Their works have been preserved in a physical voluminous audio-visual archive. Split since 1996 between UNRWA’s two Headquarters in Amman (Jordan) and Gaza, it contains over 600,000 records, including approximately 459,000 black and white photo negatives, a few hundred photographic prints, 58,000 color slides, 15,000 contact sheets, 75 films, 730 videocassettes and an estimated 80,000 born-digital images.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1927372","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42384247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/17514517.2021.1927369
Jane Lydon
Abstract The process of “postcolonizing” continues in the former settler colony of Australia, entailing intense struggles over national identity and culture. Digital heritage plays a key role in these conflicts, in the form of historical and newer archives that have become increasingly important within Indigenous advocacy for recognition. Constructed from more traditional museum, library and private collections, these have become digital assets that now circulate in radically different ways—for example, as proof of identities, and links to Country. Since the late 1990s, as a result of postcolonizing advocacy by Indigenous people and cultural institutions in alliance with rapidly developing digital technologies, a profound shift in management practices has facilitated the assertion of control by First Nations people. These are exemplified by the Aṟa Irititja project, and its replicants, such as the Storylines project at the State Library of Western Australia. Digital heritage and digitized historical photographs in particular are now considered to be key resources for building Aboriginal history and identity, challenging oppressive state narratives and strengthening communities. Despite concerns regarding loss of culture caused by globalization and continuing inequalities, Aboriginal interests have drawn upon this expanded photographic digital heritage resource, to advance their rights through new temporal practices of production, circulation, and consumption.
{"title":"Indigenous Uses of Photographic Digital Heritage in Postcolonizing Australia","authors":"Jane Lydon","doi":"10.1080/17514517.2021.1927369","DOIUrl":"https://doi.org/10.1080/17514517.2021.1927369","url":null,"abstract":"Abstract The process of “postcolonizing” continues in the former settler colony of Australia, entailing intense struggles over national identity and culture. Digital heritage plays a key role in these conflicts, in the form of historical and newer archives that have become increasingly important within Indigenous advocacy for recognition. Constructed from more traditional museum, library and private collections, these have become digital assets that now circulate in radically different ways—for example, as proof of identities, and links to Country. Since the late 1990s, as a result of postcolonizing advocacy by Indigenous people and cultural institutions in alliance with rapidly developing digital technologies, a profound shift in management practices has facilitated the assertion of control by First Nations people. These are exemplified by the Aṟa Irititja project, and its replicants, such as the Storylines project at the State Library of Western Australia. Digital heritage and digitized historical photographs in particular are now considered to be key resources for building Aboriginal history and identity, challenging oppressive state narratives and strengthening communities. Despite concerns regarding loss of culture caused by globalization and continuing inequalities, Aboriginal interests have drawn upon this expanded photographic digital heritage resource, to advance their rights through new temporal practices of production, circulation, and consumption.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1927369","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41773695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/17514517.2021.1927370
K. Thomas
Abstract This article explores the creation and curation of digital photographic heritage relating to the anti-apartheid struggle in South Africa as a political project and examines the importance of the online circulation of historical photographs from private collections for public engagement with the re-opening of unresolved judicial cases concerning activists who were detained, tortured and murdered during apartheid. Focusing on the advocacy and commemoration practices relating to the re-opening of the inquest into the death of anti-apartheid activist Ahmed Timol, who was killed by the South African Security Police in October 1971, the article demonstrates that the curation of photographs included on the website relating to his life and murder can be understood as digital photographic heritage in formation. The article considers how the photographs constitute a form of virtual posthumous personhood and argues that Timol’s digital afterlife moves beyond commemoration and contributes to the ongoing struggle for justice in South Africa in the aftermath of apartheid.
{"title":"Digital Visual Activism: Photography and the Re-Opening of the Unresolved Truth and Reconciliation Commission Cases in Post-Apartheid South Africa","authors":"K. Thomas","doi":"10.1080/17514517.2021.1927370","DOIUrl":"https://doi.org/10.1080/17514517.2021.1927370","url":null,"abstract":"Abstract This article explores the creation and curation of digital photographic heritage relating to the anti-apartheid struggle in South Africa as a political project and examines the importance of the online circulation of historical photographs from private collections for public engagement with the re-opening of unresolved judicial cases concerning activists who were detained, tortured and murdered during apartheid. Focusing on the advocacy and commemoration practices relating to the re-opening of the inquest into the death of anti-apartheid activist Ahmed Timol, who was killed by the South African Security Police in October 1971, the article demonstrates that the curation of photographs included on the website relating to his life and murder can be understood as digital photographic heritage in formation. The article considers how the photographs constitute a form of virtual posthumous personhood and argues that Timol’s digital afterlife moves beyond commemoration and contributes to the ongoing struggle for justice in South Africa in the aftermath of apartheid.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1927370","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41812120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/17514517.2021.1927368
D. W. Brett
Abstract In March 1942, the Director of British Naval Intelligence, Admiral John Godfrey made a public appeal via the BBC Radio. Godfrey requested listeners to send in holiday photographs and postcards of Europe, particularly places of potential military interest. Over 80,000 people responded with holiday snaps forming a comprehensive library that by 1944 totaled ten million images. Relevant photographs garnered from the public for Operation Overlord were incorporated into military briefing materials, along with maps and zero-elevation aerial photographs, then issued to assault troops in preparation for the invasion of France in June 1944. While the material was largely returned to the British public, over 750,000 images were reproduced and remain in British archives. Over seventy years later, German photographer Simon Menner accessed the Imperial War Museum archive to digitize part of the collection for a photographic project that was not fully realized. This article considers Menner’s engagement with these records as a means by which this obscure national achievement has come to light beyond military history research. It also foregrounds the tension between political conflict surrounding digitization of declassified state and vernacular material, and Menner’s photographic intervention as a protagonist in the ongoing efforts to access formerly secret or confidential government material.
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Pub Date : 2021-04-29DOI: 10.1080/17514517.2021.1901451
Nathaniel Brunt, S. Farooq
Since the partition of the Indian subcontinent in 1947, Kashmir has become one of the most militarized regions in the world and the site of multiple wars between India and Pakistan. In 1988 the tensions in the region entered a new phase, when long-simmering discontentment amongst the Kashmiri population led to a popular and armed uprising against Indian control of the region. Out of this revolt a myriad of sometimes competing anti-state militant groups emerged seeking nationhood or merger with Pakistan. The subsequent asymmetric conflict continues to this day and has resulted in nearly 70,000 deaths and numerous human rights violations, including thousands of enforced disappearances. In addition to the corporeal and psychological toll caused by the ongoing conflict, the systematic destruction of both private and organizational collections of documents related to the war by the state has left a large lacuna in the historical record of the conflict and the remaining fragments of material scattered across a variety of private holdings. In contemporary Kashmir, institutional photographic archives preserving the history of the conflict do not exist and archival efforts continue to be suppressed due to the ongoing political issues in the region. More broadly, information blockades including internet shutdowns and limitations on the press are common in Kashmir and the population’s access to information is often heavily curtailed. In this absence, organizations and individuals have often filled the evidential void by collecting diverse forms of historical material, clandestinely preserving it, and disseminating it to the public. One of the few, and among the most notable, of these archives is the personal photographic collection of political activist Shakeel Bakshi (Figure 1). Throughout the 1990s Bakshi led or worked within various Kashmiri pro-separatist organizations including the Islamic Student League and the Jammu and Kashmir Liberation Front (Figure 2). Simultaneously he founded the Kashmir Press Agency which, along with media units with the various political and militant organizations, produced and collected a large body of conflict documentation including photographs, videos, and human rights testimony (Figure 3). However, by the mid to late 1990s, as Indian security forces and local proxies increasingly gained control over the situation on the ground, much of this material was confiscated or actively destroyed during raids (Figure 4). As a result, much of the surviving documentation
{"title":"The Kashmir Conflict Archive","authors":"Nathaniel Brunt, S. Farooq","doi":"10.1080/17514517.2021.1901451","DOIUrl":"https://doi.org/10.1080/17514517.2021.1901451","url":null,"abstract":"Since the partition of the Indian subcontinent in 1947, Kashmir has become one of the most militarized regions in the world and the site of multiple wars between India and Pakistan. In 1988 the tensions in the region entered a new phase, when long-simmering discontentment amongst the Kashmiri population led to a popular and armed uprising against Indian control of the region. Out of this revolt a myriad of sometimes competing anti-state militant groups emerged seeking nationhood or merger with Pakistan. The subsequent asymmetric conflict continues to this day and has resulted in nearly 70,000 deaths and numerous human rights violations, including thousands of enforced disappearances. In addition to the corporeal and psychological toll caused by the ongoing conflict, the systematic destruction of both private and organizational collections of documents related to the war by the state has left a large lacuna in the historical record of the conflict and the remaining fragments of material scattered across a variety of private holdings. In contemporary Kashmir, institutional photographic archives preserving the history of the conflict do not exist and archival efforts continue to be suppressed due to the ongoing political issues in the region. More broadly, information blockades including internet shutdowns and limitations on the press are common in Kashmir and the population’s access to information is often heavily curtailed. In this absence, organizations and individuals have often filled the evidential void by collecting diverse forms of historical material, clandestinely preserving it, and disseminating it to the public. One of the few, and among the most notable, of these archives is the personal photographic collection of political activist Shakeel Bakshi (Figure 1). Throughout the 1990s Bakshi led or worked within various Kashmiri pro-separatist organizations including the Islamic Student League and the Jammu and Kashmir Liberation Front (Figure 2). Simultaneously he founded the Kashmir Press Agency which, along with media units with the various political and militant organizations, produced and collected a large body of conflict documentation including photographs, videos, and human rights testimony (Figure 3). However, by the mid to late 1990s, as Indian security forces and local proxies increasingly gained control over the situation on the ground, much of this material was confiscated or actively destroyed during raids (Figure 4). As a result, much of the surviving documentation","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1901451","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47724123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-26DOI: 10.1080/17514517.2021.1920178
Sabina Mlodzianowski, Lisa Moravec, Helen Lewandowski
Along with Eadweard Muybridge and Etienne-Jules Marey, Ottomar Ansch€utz was one of the most important practitioners of late nineteenthcentury chronophotography. Although his work remains woefully overlooked, Ansch€utz invented the electric Schnellseher (Electrotachyscope) and thus significantly contributed to the technical history of cinematography. A considerable part of his photographic work is devoted to the depiction of animals, including around 1,500 photographs housed in the archive of Berlin University of the Arts. When Ansch€utz presented his first instantaneous photographs in 1883-4 in Berlin, the technological advancement of his images was striking in contrast to Muybridge’s early photography from 1878-79. While Muybridge depicts the horse and rider as dark silhouettes on the picture plane, in Ansch€utz’s images the bodily movement and anatomy appear in full clarity and splendor. Many of his contemporaries within the arts and sciences praised the strong impression his lively images exuded. This became possible through a new precision of depiction—the use of extremely light-sensitive gelatin dry plates in combination with Ansch€utz’s invention of the rouleau-shutter, which he located directly in front of the photographic plate. Compared to his contemporaries’ photographs, Ottomar Ansch€utz’s images generate the illusion of spatial freedom, which leaps over to the depicted object. Instead of a narrow stage and a black background, there is a vast expanse of light, an atmospheric landscape reminiscent of Leonardo da Vinci’s famous sfumato technique. The deliberate dissolution of what is
{"title":"Ottomar Anschütz’s Animal Photography through the Lens of Darwinism","authors":"Sabina Mlodzianowski, Lisa Moravec, Helen Lewandowski","doi":"10.1080/17514517.2021.1920178","DOIUrl":"https://doi.org/10.1080/17514517.2021.1920178","url":null,"abstract":"Along with Eadweard Muybridge and Etienne-Jules Marey, Ottomar Ansch€utz was one of the most important practitioners of late nineteenthcentury chronophotography. Although his work remains woefully overlooked, Ansch€utz invented the electric Schnellseher (Electrotachyscope) and thus significantly contributed to the technical history of cinematography. A considerable part of his photographic work is devoted to the depiction of animals, including around 1,500 photographs housed in the archive of Berlin University of the Arts. When Ansch€utz presented his first instantaneous photographs in 1883-4 in Berlin, the technological advancement of his images was striking in contrast to Muybridge’s early photography from 1878-79. While Muybridge depicts the horse and rider as dark silhouettes on the picture plane, in Ansch€utz’s images the bodily movement and anatomy appear in full clarity and splendor. Many of his contemporaries within the arts and sciences praised the strong impression his lively images exuded. This became possible through a new precision of depiction—the use of extremely light-sensitive gelatin dry plates in combination with Ansch€utz’s invention of the rouleau-shutter, which he located directly in front of the photographic plate. Compared to his contemporaries’ photographs, Ottomar Ansch€utz’s images generate the illusion of spatial freedom, which leaps over to the depicted object. Instead of a narrow stage and a black background, there is a vast expanse of light, an atmospheric landscape reminiscent of Leonardo da Vinci’s famous sfumato technique. The deliberate dissolution of what is","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1920178","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41693731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-13DOI: 10.1080/17514517.2021.1903244
(2021). From the Editors. Photography and Culture: Vol. 14, No. 1, pp. 1-3.
(2021)。来自编辑。《摄影与文化》第14卷第1期第1-3页。
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Pub Date : 2021-04-03DOI: 10.1080/17514517.2021.1879457
J. Stallabrass
Abstract This article, centered on the experience of photographing the sky during the COVID-19 pandemic, examines photographic history, the metaphorical associations of skies and clouds, and the photography of contrails. It contains an account of Alfred Stieglitz’s “Equivalents” which are used to contrast with the current situation of sky photography, in particular analyzing his framing, manipulation, and expressive symbolism, alongside nationalist readings of his images. Monochrome images of the sky are juxtaposed to an account of the varying associations of the color blue, drawing on the work of Derek Jarman. Nineteenth century views of the sky and the sublime are also discussed, including the work of John Ruskin and Edmund Burke, to suggest that current environmental peril undercuts the sublime effect. The article is illustrated with photographs from the sequence ‘Corona Equivalents’ made by the author.
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Pub Date : 2021-04-03DOI: 10.1080/17514517.2021.1925006
Helen Lewandowski, Lisa Moravec
Photography & Culture ’ s special issue “ Humanism after the Human ” engages with posthumanist theories to reconsider critiques of liberal humanism. The authors analyze a selection of nineteenth-century, mid-twentieth-century, and contemporary photography to challenge both a universalizing and glorifying liberal humanism that equates social with economic progress, as well as disembodied posthuman visions. Concerned with questions of what counts as human, non-human, and technological agency, the essays reinforce the importance of imagining alternatives to capitalism ’ s particularizing and objectifying norms. “ Humanism after the Human ” asks: how can we, as humans, realistically but differently interact with our natural, animal, and technological environment that we appro-priate and thereby co-produce? What roles do the artistic medium of photography and photographic images play in critiquing hegemonic humanist practices? And, how can contemporary posthumanist visions and photographic technologies resist subsummation by capitalist reproduction of liberal humanist values? issue
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