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3Photography’s modern day quest was the reason for the research group Image in Context to start up a centre of expertise in which the insights of
photographers and artists concerning this problematic status of photography can be
brought together and studied. This centre of expertise PRICCAPractice (Photographic
Research in Cross-disciplinary and Cross-cultural Artistic Practices) conducts research
into the way in which professional photography is reinventing itself. It is aimed at the
artistic research practices of artists, designers and photographers into the status of
photography in our society. The focus lies on newly developed methods concerning
photography as part of an interdisciplinary artistic (and critical) research practice;
photography as a means of research to make reality visible again. For this reason it makes sense that photography should allow itself to be nourished and inspired by other reality seeking disciplines, such as sociology and anthropology. Based on her interest in processes which are socially meaningful, photography moreover connects itself with fields of study such as semiotics, cultural studies, art theory and philosophy. And in her forms of expression she learns from literature, theatre, and journalism as forms of representation. In other words, the centre of expertise researches how dimensions of reality in photography are made into problems in images which are not merely representations, but also a commentary on photography itself and which explore the narrative and communicative possibilities and limitations of the photographic image at the same time. We are looking for artistic research practices in which a new, authentic relationship between the photographic image and reality will be researched.
In this paper I would like to present a few of these practices.
DOCUMENT
This essay and manifesto define speculative photography from a historical perspective and through practical poetics, as photography that integrates fantastic and experimental elements in both its subjects and processes. Such photography is even more urgent at a time when generative artificial intelligence (AI) and computational photography are driving photography to an impasse of fabricated yet all-pervasive realism. The text defines speculative photography in its semiotic and information-theory aspects, outlines a taxonomy of speculative qualities in photography alongside examples of photographers and photographic communities practicing them, and pays particular attention to contemporary subcultures of early-2000s digital camera (digicam) reuse and internet pop-cultural redefinitions of “aesthetics”. While theories and definitions of speculative photography have existed since the 1970s, they are scattered and cover only select aspects of the broader concept proposed here. This paper argues that speculative photography rejects empiricism and notions of truth while practicing an art of the “medium” in its most literal – physical, artistic and spiritual – meanings.
DOCUMENT
www.priccapractice. is a website in which artistic researchers, journalists and ethnographers can publish their photography based research.
LINK
Differences between tourists in photographing and photo-sharing behaviours have been under-researched. We examined the influence of geographic origin and travel group composition on tourist photographing and sharing. Questionnaires were used to measure photographing and sharing frequency, while participant observation afforded a deeper examination of sharing processes. Findings showed differences in photography behaviour between solo and accompanied tourists. Tourists from some continents also took and shared photographs more frequently. Observations uncovered processes connecting sharing, photographing, and content of photographs. As user-generated content becomes increasingly influential in tourism management, attention to origin, group composition and other individual differences can help engage tourists in photographing and sharing.
LINK
In The Age of Total Images, art historian Ana Peraica focuses on the belief that the shape of the planet is two-dimensional which has been reawakened in the late 20th and early 21st centuries, and the ways in which these ‘flat Earth’ conspiracy theories are symptomatic of post-digital image culture. Such theories, proven to be false both in Antiquity and Modernity, but once held to be true in the Medieval Period, have influenced a return to a kind of ‘New Medievalism’.
MULTIFILE
The quality of the built environment can impact the quality of life and the sense of home of nursing home residents. This study investigated (1) which factors in the physical and social environment correlate with the sense of home of the residents and (2) which environmental factors are most meaningful. Twelve participants engaged in a qualitative study, in which photography was as a supportive tool for subsequent interviews. The data were analysed based on the six phases by Braun and Clarke. The four themes identified are (1) the physical view; (2) mobility and accessibility; (3) space, place, and personal belongings; and (4) the social environment and activities. A holistic understanding of which features of the built environment are appreciated by the residents can lead to the design and retrofitting of nursing homes that are more in line with personal wishes.
LINK
Are tourists who take more photos happier? Our study investigates the relationship between tourists’ photographing and happiness based on two proposed theories: photographing as a behavior that society expects from tourists, and photographing as a mechanism for social interaction. Questionnaires measuring photographic behavior and components of happiness such as positive emotions and life satisfaction were collected from 417 tourists at three destinations in the Netherlands. Additionally, we carried out participant observation to explore the potential roles of fulfilling cultural expectations and social interactions. We found a positive relationship between photography and tourists’ levels of happiness. People who take more pictures on holiday and rate photographing to be important experience more positive emotions and a higher life satisfaction, respectively. The participant observation data reveal that this relationship is strengthened when photography is used to build relationships, but weakened when people photograph to fulfill cultural expectations.
LINK
