Renouncing the Single Image: Photography and the Realism of Abstraction

This essay addresses the issue of the relationship between abstraction and realism that it argues is at stake in the rejection of any primacy accorded to the single image, in favour of a sequencing of photographs according to certain, often novelistic and epic ideas of narrative form. Setting out from the opening text of Allan Sekula’s Fish Story, the article explores the competing tendencies towards what Georg Lukács termed ‘narration’ and ‘description’ as these are traced throughout Sekula's project (in part through a comparison with the contrasting works of Andreas Gursky). The essay concludes by suggesting the ways in which it is the irreducible actuality of abstraction within the concrete everydayness of capitalism's social world that means that all photographic ‘realism’ is intrinsically ‘haunted’ by a certain spectre of that ‘self-moving substance in the ‘shape of money’, as Marx calls it, or of the abstract form of capital itself.

‘Don’t look down!’: A short history of rooftopping photography

The article examines the practice known as ‘rooftopping photography’ and its significance for the representation of vertical cities. It begins by charting the historical development of architecture as a viewing platform in the age of the camera, and dwells on the imagery of cityscapes from above that emerged in the inter-war period. Against this background, the essay investigates how rooftopping arose out of the urban exploration movement and became a global trend in the early 2010s. This phenomenon is situated within its wider social and cultural context, and is discussed with reference to the online media discourse that contributed to its public visibility. A set of ideas from the philosophy of photography and visual culture inform the critical analysis of rooftopping photographs: this broad and diverse body of images is examined with a focus on two predominant modes of representation—panoramic and plunging views. The affective responses elicited by so-called ‘vertigo-inducing’ images are discussed through the concept of vicarious kinaesthesia, which offers insights into the nexus between visceral experience and visual representation that lies at the core of rooftopping. By unpacking this interplay, the essay explores a phenomenon that has hitherto been given little scholarly attention and reflects on its broader implications for the relationship between photography and architecture today.

CNN Interactive just got more interactive

Interactive gallery installation which playfully re-contextualised online news feeds from CNN’s website with a soundtrack of found music in order to comment on an online environment where 'serious' news and trivial 'infotainment' often occupy the same space. ‘CNN Interactive just got more interactive’ aimed to investigate the balance between information and ‘info-tainment’ on the web. It demonstrated how the authority and presence of global news corporations online could be playfully subverted by enabling the audience to add a variety of emotively titled soundtracks to the monolithic CNN Interactive website. The project also explored how a work could exist dually as website and gallery installation. ‘CNN interactive’ contributes to the taxonomy of new media art as a new form of contemporary art. One of the first examples in the world of a gallery installation using live Internet data, it is also one of the first attempts in a new media art context to address how individuals respond to and comprehend the changed nature of the news as an immediate phenomenon as relayed by network communications systems. 'CNN interactive’ continues Craighead and Thomson’s research into how live digital networked information can be re-purposed as artistic material within gallery installation contexts but with specific reference to online-international news events, rather than arbitrary data sources (see e-poltergeist, output 1). ‘CNN Interactive’ was commissioned by Tate Britain for the exhibition ‘Art and Money Online’. This was the first gallery exhibition in Tate Britain featuring work that utilised and explored new media as an artistic area, and the first work commissioned by the Tate to operate simultaneously as an online gallery artwork. Selected reviews and citations include ‘Digital Art’ by Christiane Paul, 2003; ‘Internet Art: The Online Clash of Culture and Commerce’ by Julian Stallabrass. (2002); ‘Thomson & Craighead’ by Lisa Le Feuvre for Katalog Journal of Photography and Video, Denmark. All work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, (Slade).

Tourist photographers and the promotion of travel: the Polytechnic Touring Association, 1888–1939

The Polytechnic Touring Association (PTA) was a London-based, originally philanthropic turned commercial travel firm whose historical origins coincided with the arrival of the Kodak camera in 1888 – thus, of popular (tourist) photography. This article examines the PTA’s changing relationship with tourist photographers, and how this influenced the company’s understanding of what role photography could play in promoting the tours, in the late nineteenth and early twenty century. This inquiry is advanced on the basis of the observation that, during this time, the PTA’s passage from viewing tourists as citizens to educate, to customers to please, paralleled the move from using photography-based images to mixed media. Such a development was certainly a response to unprecedented market demands; this article argues that it should also be considered in relation to the widening of photographic perceptions engendered by the democratization of the medium, to which the PTA responded, first as educator, then as service provider. In doing so, the article raises several questions about the shifting relationship between “high”, or established, and “low”, or emerging, forms of culture, as mass photography and the mass marketing of tourism developed.

Detailed phenotypic and genotypic characterization of bietti crystalline dystrophy

OBJECTIVE: To provide a detailed phenotype/genotype characterization of Bietti crystalline dystrophy (BCD). DESIGN: Observational case series. PARTICIPANTS: Twenty patients from 17 families recruited from a multiethnic British population. METHODS: Patients underwent color fundus photography, near-infrared (NIR) imaging, fundus autofluorescence (FAF) imaging, spectral domain optical coherence tomography (SD-OCT), and electroretinogram (ERG) assessment. The gene CYP4V2 was sequenced. MAIN OUTCOME MEASURES: Clinical, imaging, electrophysiologic, and molecular genetics findings. RESULTS: Patients ranged in age from 19 to 72 years (median, 40 years), with a visual acuity of 6/5 to perception of light (median, 6/12). There was wide intrafamilial and interfamilial variability in clinical severity. The FAF imaging showed well-defined areas of retinal pigment epithelium (RPE) loss that corresponded on SD-OCT to well-demarcated areas of outer retinal atrophy. Retinal crystals were not evident on FAF imaging and were best visualized with NIR imaging. Spectral domain OCT showed them to be principally located on or in the RPE/Bruch's membrane complex. Disappearance of the crystals, revealed by serial recording, was associated with severe disruption and thinning of the RPE/Bruch's membrane complex. Cases with extensive RPE degeneration (N = 5) had ERGs consistent with generalized rod and cone dysfunction, but those with more focal RPE atrophy showed amplitude reduction without delay (N = 3), consistent with restricted loss of function, or that was normal (N = 2). Likely disease-causing variants were identified in 34 chromosomes from 17 families. Seven were novel, including p.Met66Arg, found in all 11 patients from 8 families of South Asian descent. This mutation appears to be associated with earlier onset (median age, 30 years) compared with other substitutions (median age, 41 years). Deletions of exon 7 were associated with more severe disease. CONCLUSIONS: The phenotype is highly variable. Several novel variants are reported, including a highly prevalent substitution in patients of South Asian descent that is associated with earlier-onset disease. Autofluorescence showed sharply demarcated areas of RPE loss that coincided with abrupt edges of outer retinal atrophy on SD-OCT; crystals were generally situated on or in the RPE/Bruch's complex but could disappear over time with associated RPE disruption. These results support a role for the RPE in disease pathogenesis.