RMIT Photography and IF_LAB are delighted to welcome
Dr Katrina Sluis, who will give a talk ‘on the photographic pipelines of machine vision’ to RMIT staff and students 1:30 Wednesday 26 July at RMIT School of Art in Building 6 Level 2 Room 3
This talk will draw on a presentation Dr Sluis gave to Google “on the photographic pipelines of machine vision: or, does google need a theory of photography?”
Dr Katrina Sluis is Head of Photography & Media Arts in the School of Art & Design at the Australian National University, where she convenes the Computational Culture Lab. From 2011-2019 she was Senior Curator (Digital Programmes) at The Photographers’ Gallery, London. Her research is broadly concerned with the politics and aesthetics of art and photography in computational culture, its social circulation, automation and cultural value.
Dr Sluis has recently edited an important book titled ‘The Networked Image in Post-Digital Culture’ with Andrew Dewdey, published by Routledge. This collection of essays 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.
