Seedling
Duration: 00:04:32; Volume: 0.093; Words per Minute: 211.211
Also, an observation of such tutorials about storing everything in the mind. To remember the names of people, to remember what has been read, to remember the making the mind a storage.
what if subtitles overlap in visuals like audio
Idealy the digital reproducibility should strip the image with its aura, but the aura still persist and makes the option of image's errasure, accumulation, storage heavy and impossible.
A cull of images is coming, an automated decimation, which
will transform the ontology of the image once again. Google
announced that from June 1, 2021, they will stop the free back
up of compressed “high” quality photos. The significance of
this development is hard to overestimate. At this point, any
connection of smartphone photographs to the original medium of
photography and associated practices will finally be fully severed.
In the recent decade, substantial discussions about networked
images accounted for some of the core principles of image
operations today1:
people took over a trillion photos in 2020, an amount that
cannot possibly be processed by the human eye;
images changed their nature from being a cherished photograph
or, in any case, an object bounded by the limitations of its
medium, to a digital stream of imagery, co-produced by the
technical apparatus and circulating in the networks;
the material of images is a continuum formed between
photographs, 3D models, animations and environments, maps,
layers of augmentation, and virtual production;
images freed from sentimental, artistic, or instrumental
meaning form databases used to train machine learning
models to recognise and label images and derive conclusions
and predictions about humans.
Nevertheless, services still print photographs, shops sell frames,
and the media of desire, from design magazines to film, regularly
feature photographs on the walls. The photograph in your phone,
machine-assisted and -read, circulating in the network and readily
informing data analysts on its host, was still—up until now—a
photograph of a printable quality, lying in wait for a possible
welcome into the paper-based world. The possibility to print,
even if rarely used, still grounded image-taking in the originary
photographic processes, whose ontological concern was the manufacturing of a material impression of the world. This faint
connection, ontologically troubled by the materiality of digital
media (electric impulses, Boolean algebra, discreteness), will now
be completely removed.
When free backup is turned off, and memory cards fill up quickly,
who will be able to afford life-long monthly payments for storage?
What will happen to family photography? Will the relatives of the
deceased keep paying for the family archives, growing more and
more enormous with every year? A possibility to lose a life’s-worth
of photographs will arise. People will need to assess the value of
every image they take and decide which ones to save. Although
Google or Apple will help us decide, deleting images of “poor
quality,” our style of taking photographs perpetually, formed
by the availability of smartphone and network socialisation, is
unlikely to change. Amazon and undoubtedly many others will
provide cloud backup services, but an uninterrupted perpetual
backup is a fantasy. We will have to accept that photographic
images are no longer printable and their existence is confined
by the strict bounds of resolution. The overflow of smartphone
images into art exhibitions will stop. “Amateur” smartphone
photography, despite powerful cameras and intelligent software,
will basically be confined to the status of thumbnails.
The mass culling of photographic images can only mean one
thing: the automation of image analysis does not require printable
quality. Machine vision is modelled on human vision and there is
no detectable interest in trying to liberate AI from the diktat of its
limits and to explore what a non-human, truly computer vision
could see.2 It is the images made by humans that form training
datasets, whose function is to prepare computational models to
analyse more images made by humans. Such automation of imageprocessing is entirely human-centred because it aims to derive
actionable insight on the human as the “source of all possible cash”.
Clearly, unlimited data storage on the cloud is not ecologically
sustainable. The concerns of preservationists of media art, net
and software art archivists, battling with defunct software and
hardware will now be everyone’s preserve. Perhaps, photographic
studios and family photography will come back. Perhaps, imagemaking of a classical type will be resurrected alongside the
increasingly ephemeral streams of images, pixelated shadows,
which will still carry the substantial information for AI, marketing,
policing, the management of the population and individual consumers. Similarly to how facial biometrics is most concerned
with the geometry of the cheekbones, nose and eyebrows, which
form the “human face” for the assessing program, schematic
images can emerge as a new genre. A dream of technocrats, keen
to sort information into the categories of primary and secondary
(and so on) importance, such future digital imagery of reduced
resolution will carry minimal visual excess: just a little bit to
titillate the social networkers and enough to meet a machine
learning model’s specification.
Insecurity Complex/ Mass Traffic (Sabih Ahmad and Lantian Xie)---
"Bernard Stiegler says that “memory is the object of industrial and corporate exploitation.” And this gets to the heart of the politics around memory and the archive in the present day, as it is also at the heart of policing truth effects. We are in a time of a high traffic of misinformation as much as information, guided by subjective views to make visible the new artefact of truth. This artefact belongs to a changing regime of what constitutes a fact. This time, the police do not know what to police.
This is not to say that it is the digital that ushers the new paradigm. It in fact just manifests the paradigm which otherwise has its own roots in many other forms of knowledge. It is here that we encounter the crisis of the archive, which is not static but dynamic, which is not about preservation but about striation, not about stillness but about the movement, dissemination and redistribution, much like sediments revolting underneath one’s feet in a constant state of eruption.
To be archiving in the 21st century is like an archaeologist working in the middle of an earthquake, where the sediments are not fixed in their respective order in the Earth’s geology, but in a constant state of eruption. It is known for a fact that on any given day there are several hundred earthquakes taking place around the world, simultaneously taking place in our psyche and in our emotional states."
When free backup is turned off and memory cards fill up quickly, who will be
able to afford lifelong monthly payments for storage?
What will happen to family photography?
Will the relatives of the deceased keep paying for the family archives, growing
more and more enormous with every year?
A revenge of the archive against such attempts of disruption maybe :) are the below sentences from just before and after your quotation of Olga G.'s text:
"The possibility to print,
even if rarely used, still grounded image-taking in the originary photographic processes, whose ontological concern was the
manufacturing of a material impression of the world. This faint connection, ontologically troubled by the materiality of digital media (electric impulses, Boolean algebra, discreteness), will now be completely removed"
"People will need to assess the value of every image they take and decide which ones to save".
How do we remember?
A possibility to lose a life's worth of photographs will arise.
The people depicted in these photos, I didn't know who they were.
I didn't know which of these were my relatives since my father didn't feel the
need to share this.
He probably didn't remember himself.
The photo albums were showing a relic of time unimaginably alien to me.
The people I encountered in these images felt distant.
Someone I knew nothing about except how much I resented them.
These images reflected something collective, familiar, moments frozen in photos
that were supposed to bring identification, a sense of belonging and reverence.
why do we look at/ refer to the image; something like an extension of the body? Makes more sense when lost not maybe disrupted. Disruption has the potential to keep the door open.
The family photos in visuality being disrupted by the text that you read in a more visual form, like literally the disruptions/ linking/ delinking/ relinking different photos maybe for a starting intervention
Over time, I thought I recognized some of them, but never bothered to find out
who they really were.
It wouldn't have changed my relationship with them.
They were as alien to me as she was.
I might as well have found these pictures in a history book.
They say one picture is worth a thousand words.
But for that phrase to make sense, you do need to know what is it you're
looking at.
Whose memories were these photographs talking about?
I often thought that my father didn't remember much from his childhood, or
maybe didn't want to, or maybe it was just the farsightedness of forgetting,
one might say.
But his elder sister, who was a lawyer at the time, was one person whom he
remembered very vividly.
Maybe due to a naive hope for a better future for the family he had from her,
he often stopped me from asking silly questions about his childhood, and not to
indulge in these stories.
I reasoned that at his age, I too would have forgotten all the moments and
emotions I was experiencing as a 16-year-old.
In his own way, perhaps, he was stopping me from setting a trap for myself.
But was it me who was setting up a trap, or a loophole he was stuck in,
or just was thinking a nostalgia about his favourite family member?
His recounting created a space to weave an idea of home so special and dear, an
idealised imaginary.
It felt like existence was at once being both temporal and visual geographies.
I often wondered why my father, who is so reserved and silent, always felt this
need to reiterate these memories again and again over repeated years with the
photographs and often without the albums.
Maybe it was because of the promise to a better future full of possibilities,
or perhaps the utmost regard for an elder sibling who achieved a lot on her own
through her dedication and hard work.
For these are the qualities that I admired the most in him as well.
hyperdocumentation
The constant telling and retelling felt like an act of cementing certain ideals
and values in me, as markers of greatness, maybe?
How can you disrupt the site of an archive?
What is the form of such a disruption?
Text - The Culling of Photographic image by Olga Goriunova
The disruption is of the memory or the archive as a material itself? Do you disrupt the stories behind images and manipulate their memories, or do you add glitches, hacks, compressions etc. to the archives and disrupt the material?
Is the lifespan of the human being more than the lifespan of the storage, or vice versa? How much can you accumulate even if you want to? It is like asking what are the thresholds of biological memory?
when free backup is turned off and memory cards fill up quickly.
Who will be able to afford lifelong monthly payments for storage?
What will happen to family photography?
Will the relatives of the deceased keep paying for the family archives growing more and
more enormous with every year?
How do we remember a possibility to
lose a life's worth of photographs will arise the
people depicted in these photos.
I didn't know who they were.
I didn't know which of them,
since my father didn't feel the need to share.
This will help us decide deleting images
of poor quality,
the showing a relic of time and I of alien to
the people I encountered in these images
and nothing about an undo many will cloud backup
services.
These uninterrupted is a fantasy.
We will have to accept that and are no longer to bring
identical existence is confined resolution and
reverence Over time,
I thought I recognised some overflow of smart phone but never bothered to find
out who they really were.
Amateur smart.
It wouldn't have changed my relationship with their cameras and intelligent soft as
alien to basically see fine to the status of thumbnails.
I might as well have found these pictures in a history book.
They say one picture is worth 1000 words,
but for that phrase to make sense,
you do need to know What is it you're looking at?
Whose memories were these photographs to unlimited data Storage on the cloud is not
ecologically sustainable.
I often thought that the father remember Media Net and soft.
Maybe I was battling with deft and was just
the far out every one might say.
But his elder sister,
who was a lawyer at the time,
was one person whom he remembered very vividly,
maybe due to a naive hope for a better future for the family.
Photography studios and family photography will stop me from
asking silly questions about his childhood image,
making not indulge.
I used to be resurrected alongside the reason at this stage of image.
I had forgotten all the I was
as a 16 year marketing,
policing the management of his own vision,
and he was stopping me from setting a trap for myself.
But was it me who was setting up a trap or a loophole?
He was stuck.
A dream of technocrats was thinking into the categories
of primary and secondary,
and so on importance created a digital image of
resolution so minimal visual excess,
an idealised imaginary.
It felt like existence was advanced a little bit to the social network
and enough to meet a machine learning model specification.
Wondered why my father,
who is so reserved and silent,
always felt this need to reiterate these memories again and
photography?
Can you read me with the photographs?
The automation of this does not require printable quality.
Maybe it was because of the promise it is made by humans.
Of its function is to push the order to
analyse more images made by you on our own.
Image processing is entirely human,
but these are the qualities that it means to drive actionable insight on the
human as the source of all possible cash.
The constant telling and retelling felt like an act of cementing certain
ideals and values in me,
as markers of greatness may be
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