Playing Against the Photoprogram
| Katedra | Katedra fotografie |
| Kvalifikační typ práce | A |
| Vedoucí práce | ŠIMŮNEK, Michal |
| Autor práce | Cevallos, Juan David |
| Oponent | DVOŘÁK, Tomáš |
| Datum obhajoby | 2020-09-15 |
| Abstrakt | Photography goes hand in hand with technology, the accelerated evolution of cameras has reduced production times (photographic) to a minimum, increased quality and reduced the size of equipment, now fit in a pocket. Cameras with sophisticated programs that facilitate the creation of images automatically leave errors in time-aperture calculations in the past. Mobile communication incorporates a camera into your device, so photography expands globally more than ever in history. The media and social networks mutated photography into a "product" of mass consumption, fast and instant and transforming some photographers into image collectors. Digital galleries are a breeding ground for experienced amateur photographers, who are not professionals but through practice and self-learning they have found a niche of work with low costs for clients who do not seek high quality professional services. What leaves in doubt what is the role of the professional photographer today. We live in an era where the role of the device-operator (selfie) has changed, now it is the camera that looks at the photographer. In a world overloaded with images and photographers, it becomes more difficult to find new alternatives in creative processes, it would seem that all ideas are repeated and fall victim to the abuse of digital techniques and artificial tendencies that modify the image and its aesthetics at will. For this reason, I am interested in experimental photographers who play with the apparatus against the "photoprogram", which through the misuse of the camera or the development processes create images where it is difficult to recognize the world through them. Where the very nature of photography hidden in the program of the apparatus is questioned. I want to analyse and experience the bad use of the apparatus as a tool in the creative process; create and show with my images the world in a different way to the natural, giving a new meaning to the documented. Exploring the modification of the camera or dispensing with it to create images that do not exist in the Everyday world. Could it be said the misuse of the apparatus and the creative process are in the "true apparatus" in experimental photography? For this purpose, I need to analyse concepts related to photography such as: • Object / apparatus / operator. • Misuse of the device / camera modification. • Photography without camera / camera obscura. • Photography vs. apparatus / experimental photography. Finally, I want to understand the importance of the rebellion of photography against the “photoprogram”, analyze and understand the work of photographers who consciously or unconsciously are referents of experimental photography and have used the camera as a tool in the creation of their art. Barthes, Roland and Richard Howard (2006). Camera Lucida: Reflections on Photography. 26. print. New York, NY: Hill and Wang, 2006. Batchen, Geoffrey (2016). Emanations: The Art of the Cameraless Photograph, Munich: DelMonico Books. Berti, August (2010). ‘Kurtis’ ‘Vandalised’ Photographs: On the Problem of Technical Images in Post-Documentary Photography’, Flusser Studies, 10, 1–19. Flusser, Vilém (2000). Towards a Philosophy of Photography, London: Reaction Books. Lenot, Marc (2017a). ‘Flusser and Photographers, Photographers and Flusser’, Flusser Studies, 24, 1-18. Seers, Lindsay (2007). Human Camera. Birmingham: Article Press. Shapley, Greg (2011). “After the Artefact: Post-Digital Photography in Our Post-Media Era.” Journal of Visual Art Practice 10, no. 1: 5–20. Steyerl, Hito (2009). ‘In Defence of the Poor Image’, e-flux, 10. Available at <https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/> (last accessed 28 October 2019). |
| Překlad abstraktu | Photography goes hand in hand with technology, the accelerated evolution of cameras has reduced production times (photographic) to a minimum, increased quality and reduced the size of equipment, now fit in a pocket. Cameras with sophisticated programs that facilitate the creation of images automatically leave errors in time-aperture calculations in the past. Mobile communication incorporates a camera into your device, so photography expands globally more than ever in history. The media and social networks mutated photography into a "product" of mass consumption, fast and instant and transforming some photographers into image collectors. Digital galleries are a breeding ground for experienced amateur photographers, who are not professionals but through practice and self-learning they have found a niche of work with low costs for clients who do not seek high quality professional services. What leaves in doubt what is the role of the professional photographer today. We live in an era where the role of the device-operator (selfie) has changed, now it is the camera that |
| Signatura | F_KP 04554 |
| URL | http://hdl.handle.net/10318/14514 |
| Instituce zpřístupňující práci | Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna |
| Klíčová slova | teorie fotografie |
| Klíčová slova | experimentální fotografie |
| Klíčová slova | camera obscura |
| Klíčová slova | fotografická technika |
| Obor vzdělání | Filmové, televizní a fotografické umění a nová média/Fotografie |
| Instituce udělující titul | Akademie múzických umění v Praze.Filmová a televizní fakulta |
| Udělený titul | BcA. |
| Typ studijního programu | bakalářský |
| Název | Playing Against the Photoprogram |
| Překlad názvu | Hrát proti fotogramu |
| Typ práce | Bakalářská práce |