Download Softimage: Towards a New Theory of the Digital Image by Ingrid Hoelzl, Remi Marie PDF

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By Ingrid Hoelzl, Remi Marie

With today’s electronic know-how, the picture is not any longer a sturdy illustration of the realm, yet a programmable view of a database that's up to date in actual time. It now not features as a political and iconic illustration, yet performs an essential function in synchronic data-to-data relationships. it isn't simply a part of a application, however it includes its personal working code: the picture is a application in itself. Softimage goals to account for that new truth, taking readers on a trip that delicately undoes our unthinking reliance at the obvious solidity of the photographic picture and development instead an unique and well timed theorization of the electronic photo in all its complexity, one who offers to spark debate in the evolving fields of picture reports and software program studies.

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Extra resources for Softimage: Towards a New Theory of the Digital Image

Sample text

Given the ubiquity of the effect in professional and amateur image production, and in traditional and new media (film and TV, public info screens, the Internet and mobile 19 Softimage media), the effect is a constant (often barely noticed and sometimes irritating) aspect of today’s digital visual culture. More often than not, it is used as a pure random feature to create animated digital slideshows, whose constant pans and zooms generate a liminal narration that is purely retinal – a kind of ambient motion.

The video’s ambiguous form of representation containing both documentary and fantasy 37 Softimage seems to be most appropriate to represent a new twist in the rationalization of labour at the beginning of the twenty-first century based on labour and finance deregulation, privatization, outsourcing and globalization. But it is not only labour, production facilities and goods that are deregulated and dislocated; in today’s global culture, the image is also deregulated and dislocated. With instant editing and exchange via networked mobile devices, the image is no longer bound to a given form, time and place, but can be processed, stored and accessed anytime and anywhere, and adapted to a variety of display devices.

The workers do not leave the factory, only the camera does! Beyond the Actuality/Fantasy Dichotomy – or Cinema as Trucage But there is more: The workers are not frozen into ‘impossible poses’ (Benjamin 2008) of bodies about to complete a movement, as in snapshot photography. Rather, they are photographed seperately, cut out and then reassembled into a line that leads out of the (equally reassembled) factory space towards the outside area into which a rocket and an oversized counter have been pasted.

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