Knowing Photography Now: the knowledge economy of photography in the twenty-first century’,

Research output: Contribution to journalArticle

Abstract

The shift to digitality in the capture and viewing of images has had a profound influence on the student experience and engagement with the image. Consequently the technological tools that have transformed the capture and viewing of the image, and also the new image-based activities that are facilitated by these technologies, determine the knowledge base that students bring to the classroom.The photograph, as a glossy printed cultural document is an alien concept to today’s student for whom the capture and reading of the image is largely mediated through an electronic interface. Captured electronically and referenced in pixels, the image is downloaded and interpreted on display devices such as screens and interfaces instead of glossy photo-paper. The 21st century experience of the photograph has been transformed; the process of viewing, storing and using the photo image has become processual. The capture of images in digital cultures acknowledge functions including formatting and file sizes; storage of the images references activities aligned to downloading, filing and file sharing; viewing the image involves searching and tagging practices. As this knowledge bases changes, education practice that addresses images and image making needs to acknowledge the changing landscape in the cultural and social practices involved in the construction and reception of images. This paper aims to assess whether critical discussions about visual cultures associated with images and image making in the 21st century, are fully acknowledging the changes in the knowledge economy of photography. It argues that issues of access, production and consumption of images in the 21st century, call for new paradigms in theoretical approaches and teaching strategies in photography education that acknowledge the current statues of the image as a social and cultural document.
LanguageEnglish
Pages169-183
JournalPhotographies
Volume2
Issue number2
Publication statusPublished - 1 Sep 2009

Fingerprint

knowledge economy
Photography
photography
twenty-first century
Students
Education
Teaching
Pixels
Display devices
Knowledge Economy
formatting
student
teaching strategy

Keywords

  • photography
  • interactivity
  • new media

Cite this

@article{c66aeb40e11844c58d729ecdacb814de,
title = "Knowing Photography Now: the knowledge economy of photography in the twenty-first century’,",
abstract = "The shift to digitality in the capture and viewing of images has had a profound influence on the student experience and engagement with the image. Consequently the technological tools that have transformed the capture and viewing of the image, and also the new image-based activities that are facilitated by these technologies, determine the knowledge base that students bring to the classroom.The photograph, as a glossy printed cultural document is an alien concept to today’s student for whom the capture and reading of the image is largely mediated through an electronic interface. Captured electronically and referenced in pixels, the image is downloaded and interpreted on display devices such as screens and interfaces instead of glossy photo-paper. The 21st century experience of the photograph has been transformed; the process of viewing, storing and using the photo image has become processual. The capture of images in digital cultures acknowledge functions including formatting and file sizes; storage of the images references activities aligned to downloading, filing and file sharing; viewing the image involves searching and tagging practices. As this knowledge bases changes, education practice that addresses images and image making needs to acknowledge the changing landscape in the cultural and social practices involved in the construction and reception of images. This paper aims to assess whether critical discussions about visual cultures associated with images and image making in the 21st century, are fully acknowledging the changes in the knowledge economy of photography. It argues that issues of access, production and consumption of images in the 21st century, call for new paradigms in theoretical approaches and teaching strategies in photography education that acknowledge the current statues of the image as a social and cultural document.",
keywords = "photography, interactivity, new media",
author = "Helen Jackson",
note = "Reference text: Ausubel, David P. (1968) Educational psychology: A cognitive view. New York: Holt Rinehart and Winston. Barthes, R. (1977) Image-Music-Text. London: Fontana Benjamin, W. (1970) Illuminations. London: Fontana Buckingham, D. (2003) Gotta catch ’em all: structure, agency and pedagogy in children’s media culture. Media, Culture & Society, 25(3), 379–399. Burgin, V. (ed) (1982) Thinking photography. London: MacMillan. Burnett, R. (2004) How images think. Cambridge, Mass.; London, England: MIT Press. Bolter, J. D. (1991) Writing Space: The computer, hypertext, and the history of writing. Hillsdale: Lawrence Erlbaum Associates. Chalfen, R. (1987) Snapshot versions of life. Bowling Green State University Popular Press. Corso, G. S. & Williamson S. C. (1999) The social construct of writing and thinking: Evidence of how the expansion of writing technology affects consciousness. Bulletin of Science, Technology and Society, 19(1), 32-45. Crary, J. (1993) Techniques of the observer in vision and modernity in the 19th Century. Cambridge, Mass.; London, England: MIT Press. Davies, J. (2007). Display, identity and the everyday: Self-presentation through online image sharing. Discourse: Studies in the Cultural Politics of Education, 28(4), 549-564. Davydov, V.V. & Radzikhovskii, L.A. (1985) Vygotsky’s theory and activity orientated approach. In J. V. Wertsch (Ed.), Culture, communication and cognition; Vygotskyian perspectives (pp.35 – 65). Cambridge: Cambridge University Press. Deuze, M. (2009) Convergence culture and media work. In J. Holt & A. Perren (eds) Media industries: history, theory and method (pp144 – 156). Wiley-Blackwell. Hansen, M. B. N. (2004) New philosophy for new media, Cambridge, Mass.; London: MIT Press. Jenkins, H. (2006) Convergence Culture: where old and new media collide, New York: New York University. Kember, S. (1998) Virtual anxiety: photography, new technologies and subjectivity. Manchester: Manchester University Press. Kolb, D. A. (1984) Experiential learning: experience as the source of learning and development, Englewood Cliffs, [N.J.]; London: Prentice-Hall Kluszczynski, R. W. (2007) From film to interactive art: Transformations in media arts, In O. Grau (ed) Media art histories (pp207-228), Cambridge, Mass.; London: MIT Press. Liechti, O., I Ichikawa, T. (2000) A digital photography framework enabling affective awareness in home communication. Personal and Ubiquitous Computing 4 (1), 232–9. Lister, M. (1995). The photographic image in digital culture, London: Routledge. Lister, M. (2007) A sack in the sand: Photography in the age of information. Convergence, 13(3): 251–274. Manovich, L. (2001) The Language of New Media, Cambridge, Mass.; London: MIT Press Merleau-Ponty, M. (2002) Phenomenology of perception. Translated by C. Smith. New York: Routledge Mitchell, W. J., (1992) The Reconfigured Eye: visual truth in the post-photographic era. Cambridge, Mass.; London: MIT Press. Murray, S. (2008) ‘Digital Images, Photo-Sharing, and Our Shifting Notions of Everyday Aesthetics.’ Journal of Visual Culture 7(2): 147–163. Murphie, A. & Potts, J. (2003) Culture and technology, Basingstoke: Palgrave. New London group (1996) Pedagogy of Multilitercies: Designing Social Futures, Harvard Education Review [online]. Available at http://wwwstatic.kern.org/filer/blogWrite44ManilaWebsite/paul/articles/A_Pedagogy_of_Multiliteracies_Designing_Social_Futures.htm [Accessed 12 May 2009]. Piaget, J. (1950) The psychology of intelligence, New York: Routledge Rodden, K & Wood, K (2003) How do people manage their digital photographs? Computer-Human Interaction 5(1): 409–16. Schiano, D.J., Chen, Coreena P. & Isaacs, E. (2002) ‘How Teens Take, View, Share, and Store Photos’, Proceedings of the Conference on Computer-Supported Co-operative Work (CSCW). New York: ACM Slevin, J. (2000) The Internet and society, Cambridge: Polity Press. Sontag, S. (1973) On photography, Harmondsworth: Penguin. Strickland, S. (1997) Poetry in the electronic environment, [online]. Availabe at http://www.altx.com/EBR/EBR5/STRICK.HTM. [Accessed 17th March 2009] Van Dijck, J. (2008) ‘Digital photography: communication, identity, memory’, Visual Communication, 7(1): 57–76. Van House, N.A., (2007) Flickr and public image-sharing; distant closeness and photo exhibition, [online]. Available at http://people.ischool.berkeley.edu/~vanhouse/VanHouseFlickrDistantCHI07.pdf. [Accessed 10th April 2009]. Vygotsky, L. S. (1962) Thought and Language, Cambridge, MA: MIT Press. Vygotsky L. S. (1978) Mind in Society: The Development of Higher Psychological Processes, Cambridge: Harvard University Press. Weight, J., (2006) I, Apparatus, You; A technosocial introduction to creative practice, Convergence: The International Journal of Research into New Media Technologies, London, 12(4): 413–446. Wenger, E. (1998) Communities of practice: Learning, meaning and identity, Cambridge University Press.",
year = "2009",
month = "9",
day = "1",
language = "English",
volume = "2",
pages = "169--183",
number = "2",

}

Knowing Photography Now: the knowledge economy of photography in the twenty-first century’, / Jackson, Helen.

Vol. 2, No. 2, 01.09.2009, p. 169-183.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Knowing Photography Now: the knowledge economy of photography in the twenty-first century’,

AU - Jackson, Helen

N1 - Reference text: Ausubel, David P. (1968) Educational psychology: A cognitive view. New York: Holt Rinehart and Winston. Barthes, R. (1977) Image-Music-Text. London: Fontana Benjamin, W. (1970) Illuminations. London: Fontana Buckingham, D. (2003) Gotta catch ’em all: structure, agency and pedagogy in children’s media culture. Media, Culture & Society, 25(3), 379–399. Burgin, V. (ed) (1982) Thinking photography. London: MacMillan. Burnett, R. (2004) How images think. Cambridge, Mass.; London, England: MIT Press. Bolter, J. D. (1991) Writing Space: The computer, hypertext, and the history of writing. Hillsdale: Lawrence Erlbaum Associates. Chalfen, R. (1987) Snapshot versions of life. Bowling Green State University Popular Press. Corso, G. S. & Williamson S. C. (1999) The social construct of writing and thinking: Evidence of how the expansion of writing technology affects consciousness. Bulletin of Science, Technology and Society, 19(1), 32-45. Crary, J. (1993) Techniques of the observer in vision and modernity in the 19th Century. Cambridge, Mass.; London, England: MIT Press. Davies, J. (2007). Display, identity and the everyday: Self-presentation through online image sharing. Discourse: Studies in the Cultural Politics of Education, 28(4), 549-564. Davydov, V.V. & Radzikhovskii, L.A. (1985) Vygotsky’s theory and activity orientated approach. In J. V. Wertsch (Ed.), Culture, communication and cognition; Vygotskyian perspectives (pp.35 – 65). Cambridge: Cambridge University Press. Deuze, M. (2009) Convergence culture and media work. In J. Holt & A. Perren (eds) Media industries: history, theory and method (pp144 – 156). Wiley-Blackwell. Hansen, M. B. N. (2004) New philosophy for new media, Cambridge, Mass.; London: MIT Press. Jenkins, H. (2006) Convergence Culture: where old and new media collide, New York: New York University. Kember, S. (1998) Virtual anxiety: photography, new technologies and subjectivity. Manchester: Manchester University Press. Kolb, D. A. (1984) Experiential learning: experience as the source of learning and development, Englewood Cliffs, [N.J.]; London: Prentice-Hall Kluszczynski, R. W. (2007) From film to interactive art: Transformations in media arts, In O. Grau (ed) Media art histories (pp207-228), Cambridge, Mass.; London: MIT Press. Liechti, O., I Ichikawa, T. (2000) A digital photography framework enabling affective awareness in home communication. Personal and Ubiquitous Computing 4 (1), 232–9. Lister, M. (1995). The photographic image in digital culture, London: Routledge. Lister, M. (2007) A sack in the sand: Photography in the age of information. Convergence, 13(3): 251–274. Manovich, L. (2001) The Language of New Media, Cambridge, Mass.; London: MIT Press Merleau-Ponty, M. (2002) Phenomenology of perception. Translated by C. Smith. New York: Routledge Mitchell, W. J., (1992) The Reconfigured Eye: visual truth in the post-photographic era. Cambridge, Mass.; London: MIT Press. Murray, S. (2008) ‘Digital Images, Photo-Sharing, and Our Shifting Notions of Everyday Aesthetics.’ Journal of Visual Culture 7(2): 147–163. Murphie, A. & Potts, J. (2003) Culture and technology, Basingstoke: Palgrave. New London group (1996) Pedagogy of Multilitercies: Designing Social Futures, Harvard Education Review [online]. Available at http://wwwstatic.kern.org/filer/blogWrite44ManilaWebsite/paul/articles/A_Pedagogy_of_Multiliteracies_Designing_Social_Futures.htm [Accessed 12 May 2009]. Piaget, J. (1950) The psychology of intelligence, New York: Routledge Rodden, K & Wood, K (2003) How do people manage their digital photographs? Computer-Human Interaction 5(1): 409–16. Schiano, D.J., Chen, Coreena P. & Isaacs, E. (2002) ‘How Teens Take, View, Share, and Store Photos’, Proceedings of the Conference on Computer-Supported Co-operative Work (CSCW). New York: ACM Slevin, J. (2000) The Internet and society, Cambridge: Polity Press. Sontag, S. (1973) On photography, Harmondsworth: Penguin. Strickland, S. (1997) Poetry in the electronic environment, [online]. Availabe at http://www.altx.com/EBR/EBR5/STRICK.HTM. [Accessed 17th March 2009] Van Dijck, J. (2008) ‘Digital photography: communication, identity, memory’, Visual Communication, 7(1): 57–76. Van House, N.A., (2007) Flickr and public image-sharing; distant closeness and photo exhibition, [online]. Available at http://people.ischool.berkeley.edu/~vanhouse/VanHouseFlickrDistantCHI07.pdf. [Accessed 10th April 2009]. Vygotsky, L. S. (1962) Thought and Language, Cambridge, MA: MIT Press. Vygotsky L. S. (1978) Mind in Society: The Development of Higher Psychological Processes, Cambridge: Harvard University Press. Weight, J., (2006) I, Apparatus, You; A technosocial introduction to creative practice, Convergence: The International Journal of Research into New Media Technologies, London, 12(4): 413–446. Wenger, E. (1998) Communities of practice: Learning, meaning and identity, Cambridge University Press.

PY - 2009/9/1

Y1 - 2009/9/1

N2 - The shift to digitality in the capture and viewing of images has had a profound influence on the student experience and engagement with the image. Consequently the technological tools that have transformed the capture and viewing of the image, and also the new image-based activities that are facilitated by these technologies, determine the knowledge base that students bring to the classroom.The photograph, as a glossy printed cultural document is an alien concept to today’s student for whom the capture and reading of the image is largely mediated through an electronic interface. Captured electronically and referenced in pixels, the image is downloaded and interpreted on display devices such as screens and interfaces instead of glossy photo-paper. The 21st century experience of the photograph has been transformed; the process of viewing, storing and using the photo image has become processual. The capture of images in digital cultures acknowledge functions including formatting and file sizes; storage of the images references activities aligned to downloading, filing and file sharing; viewing the image involves searching and tagging practices. As this knowledge bases changes, education practice that addresses images and image making needs to acknowledge the changing landscape in the cultural and social practices involved in the construction and reception of images. This paper aims to assess whether critical discussions about visual cultures associated with images and image making in the 21st century, are fully acknowledging the changes in the knowledge economy of photography. It argues that issues of access, production and consumption of images in the 21st century, call for new paradigms in theoretical approaches and teaching strategies in photography education that acknowledge the current statues of the image as a social and cultural document.

AB - The shift to digitality in the capture and viewing of images has had a profound influence on the student experience and engagement with the image. Consequently the technological tools that have transformed the capture and viewing of the image, and also the new image-based activities that are facilitated by these technologies, determine the knowledge base that students bring to the classroom.The photograph, as a glossy printed cultural document is an alien concept to today’s student for whom the capture and reading of the image is largely mediated through an electronic interface. Captured electronically and referenced in pixels, the image is downloaded and interpreted on display devices such as screens and interfaces instead of glossy photo-paper. The 21st century experience of the photograph has been transformed; the process of viewing, storing and using the photo image has become processual. The capture of images in digital cultures acknowledge functions including formatting and file sizes; storage of the images references activities aligned to downloading, filing and file sharing; viewing the image involves searching and tagging practices. As this knowledge bases changes, education practice that addresses images and image making needs to acknowledge the changing landscape in the cultural and social practices involved in the construction and reception of images. This paper aims to assess whether critical discussions about visual cultures associated with images and image making in the 21st century, are fully acknowledging the changes in the knowledge economy of photography. It argues that issues of access, production and consumption of images in the 21st century, call for new paradigms in theoretical approaches and teaching strategies in photography education that acknowledge the current statues of the image as a social and cultural document.

KW - photography

KW - interactivity

KW - new media

M3 - Article

VL - 2

SP - 169

EP - 183

IS - 2

ER -