Amanda Wasielewski – författare

Digital Art History has often aligned itself with the practical concerns of digital technology and the responsibilities of art institutions and associated institutional roles such as collection managers, information specialists, curators, and conservators. This emphasis on practicalities and implementation, while undeniably important, has often meant that there is little room for critical examination of the broader implications of digital technology and computational methodologies in art history. This anthology seeks to address the dearth of critical reflection by approaching the use of digital technology in art history from a theoretical perspective and critically assessing specific case study examples. This book also considers the political dimensions associated with the large-scale digitization and the application of digital tools within museums and collection management. A long-standing concern of the field – and also a major focal point of this book – is museum and collecting practices in the digital era. While there is a certain degree of continuity in the field, there are some important shifts and changes too. One of the key changes is the widespread uptake of artificial intelligence tools and an increased attention to both the broader historical and societal aspects of the use of digitaltools within museums and collection management.

How AI-generated images radically alter our interactions with photography as well as our understanding of it.In recent years, artificial intelligence technologies have made it easy for anyone to produce images that look indistinguishable from photographs. How do these AI-generated images change our understanding of photography? Should we consider them photography at all? In Digital Photography After AI, Amanda Wasielewski explores these questions as well as the historical and theoretical concerns for the field of photography after the widespread uptake of AI tools.The book connects AI-generated photographs to a longer trajectory of the history of photography, from Henry Fox Talbot in the nineteenth century through Surrealism and the mid-twentieth century of media to more recent times, including camera phone photography and social media. The author addresses AI-generated images in terms of the technique, form, and function of photography throughout its history, as well as the documentary function of photography, image resolution and filter effects, the surreal and real quality of photographs and AI-generated images, and the latter’s impact on representation and illusion.

The narrative of the birth of internet culture often focuses on the achievements of American entrepreneurs in Silicon Valley, but there is an alternative history of internet pioneers in Europe who developed their own model of network culture in the early 1990s. Drawing from their experiences in the leftist and anarchist movements of the ’80s, they built DIY networks that give us a glimpse into what internet culture could have been if it were in the hands of squatters, hackers, punks, artists, and activists. In the Dutch scene, the early internet was intimately tied to the aesthetics and politics of squatting. Untethered from profit motives, these artists and activists aimed to create a decentralized tool that would democratize culture and promote open and free exchange of information.

The narrative of the birth of internet culture often focuses on the achievements of American entrepreneurs in Silicon Valley, but there is an alternative history of internet pioneers in Europe who developed their own model of network culture in the early 1990s. Drawing from their experiences in the leftist and anarchist movements of the ’80s, they built DIY networks that give us a glimpse into what internet culture could have been if it were in the hands of squatters, hackers, punks, artists, and activists. In the Dutch scene, the early internet was intimately tied to the aesthetics and politics of squatting. Untethered from profit motives, these artists and activists aimed to create a decentralized tool that would democratize culture and promote open and free exchange of information.

The narrative of the birth of internet culture often focuses on the achievements of American entrepreneurs in Silicon Valley, but there is an alternative history of internet pioneers in Europe who developed their own model of network culture in the early 1990s. Drawing from their experiences in the leftist and anarchist movements of the ’80s, they built DIY networks that give us a glimpse into what internet culture could have been if it were in the hands of squatters, hackers, punks, artists, and activists. In the Dutch scene, the early internet was intimately tied to the aesthetics and politics of squatting. Untethered from profit motives, these artists and activists aimed to create a decentralized tool that would democratize culture and promote open and free exchange of information.

Made in Brooklyn is a belated critique of the Maker Movement: from its origins in the nineteenth century to its impact on labor and its entanglement in the neoliberal economic model of the tech industry. Part history, part ethnography, Made in Brooklyn provides a unified analysis of how the tech industry has infiltrated artistic practice and urban space.

Digital Art History has often aligned itself with the practical concerns of digital technology and the responsibilities of art institutions and associated institutional roles such as collection managers, information specialists, curators, and conservators. This emphasis on practicalities and implementation, while undeniably important, has often meant that there is little room for critical examination of the broader implications of digital technology and computational methodologies in art history. This anthology seeks to address the dearth of critical reflection by approaching the use of digital technology in art history from a theoretical perspective and critically assessing specific case study examples. This book also considers the political dimensions associated with the large-scale digitization and the application of digital tools within museums and collection management. A long-standing concern of the field – and also a major focal point of this book – is museum and collecting practices in the digital era. While there is a certain degree of continuity in the field, there are some important shifts and changes too. One of the key changes is the widespread uptake of artificial intelligence tools and an increased attention to both the broader historical and societal aspects of the use of digitaltools within museums and collection management.

Det här numret av Glänta försöker närma sig domstolarnas förändrade och allt viktigare politiska roll. En utveckling som ibland beskrivs som juridifiering, ibland som en framväxande juristokrati. Men vad betyder det att juridiken alltmer framstår som samhällets främsta konfliktlösningsmetod?