Andrew Dewdney – författare

This collection examines how the networked image establishes new social practices for the user and presents new challenges for cultural practitioners engaged in making, curating, teaching, exhibiting, archiving and preserving born-digital objects.

The mode of vision and imaging, established through photography over the previous two centuries, has and continues to be radically reconfigured by a hybrid of algorithms, computing, programmed capture and display devices, and an array of online platforms. The image under these new conditions is filtered, fluid, fleeting, permeable, mobile and distributed and is changing our ways of seeing. The chapters in this volume are the outcome of research conducted at the Centre for the Study of the Networked Image (CSNI) and its collaboration with The Photographers’ Gallery over the last ten years. The book''s contributors investigate radical changes in the meanings and values of hybridised media in socio-technical networks and speak to the creeping automation of culture through applications of AI, social media platforms and the financialisation of data.

This interdisciplinary collection draws upon media and cultural studies, art history, art practice, photographic theory, user design, animation, museology and computer science as a way of making sense of the specific cultural consequences of the rapid succession of changes in image technologies and to bring the story up to date. It will be of particular interest to scholars and students of visual culture, media studies and photography.

This collection examines how the networked image establishes new social practices for the user and presents new challenges for cultural practitioners engaged in making, curating, teaching, exhibiting, archiving and preserving born-digital objects.

The mode of vision and imaging, established through photography over the previous two centuries, has and continues to be radically reconfigured by a hybrid of algorithms, computing, programmed capture and display devices, and an array of online platforms. The image under these new conditions is filtered, fluid, fleeting, permeable, mobile and distributed and is changing our ways of seeing. The chapters in this volume are the outcome of research conducted at the Centre for the Study of the Networked Image (CSNI) and its collaboration with The Photographers’ Gallery over the last ten years. The book''s contributors investigate radical changes in the meanings and values of hybridised media in socio-technical networks and speak to the creeping automation of culture through applications of AI, social media platforms and the financialisation of data.

This interdisciplinary collection draws upon media and cultural studies, art history, art practice, photographic theory, user design, animation, museology and computer science as a way of making sense of the specific cultural consequences of the rapid succession of changes in image technologies and to bring the story up to date. It will be of particular interest to scholars and students of visual culture, media studies and photography.

Post-Critical Museology considers what the role of the public and the experience of audiences means to the everyday work of the art museum. It does this from the perspectives of the art museum itself as well as from the visitors it seeks. Through the analysis of material gathered from a major collaborative research project carried out at Tate Britain in London the book develops a conceptual reconfiguration of the relationship between art, culture and society in which questions about the art museum’s relationship to global migration and the new media ecologies are examined. It suggests that whilst European museums have previously been studied as institutions of collection, heritage and tradition, however ‘modern’ their focus, it is now better to consider them as distributive networks in which value travels along transmedial and transcultural lines.

Post-Critical Museology is intended as a contribution to progressive museological thinking and practice and calls for a new alignment of academics and professionals in what it announces as post-critical museology. An alignment that is committed to rethinking what an art museum in the twenty-first century could be, as well as what knowledge and understanding its future practitioners might draw upon in a rapidly changing social and cultural context. The book aims to be essential reading in the growing field of museum studies. It will also be of professional interest to all those working in the cultural sphere, including museum professionals, policy makers and art managers.

Post-Critical Museology considers what the role of the public and the experience of audiences means to the everyday work of the art museum. It does this from the perspectives of the art museum itself as well as from the visitors it seeks. Through the analysis of material gathered from a major collaborative research project carried out at Tate Britain in London the book develops a conceptual reconfiguration of the relationship between art, culture and society in which questions about the art museum’s relationship to global migration and the new media ecologies are examined. It suggests that whilst European museums have previously been studied as institutions of collection, heritage and tradition, however ‘modern’ their focus, it is now better to consider them as distributive networks in which value travels along transmedial and transcultural lines.

Post-Critical Museology is intended as a contribution to progressive museological thinking and practice and calls for a new alignment of academics and professionals in what it announces as post-critical museology. An alignment that is committed to rethinking what an art museum in the twenty-first century could be, as well as what knowledge and understanding its future practitioners might draw upon in a rapidly changing social and cultural context. The book aims to be essential reading in the growing field of museum studies. It will also be of professional interest to all those working in the cultural sphere, including museum professionals, policy makers and art managers.