imagery   3091

« earlier    

Responsive Image Breakpoints Generator by Cloudinary
Breakpoint generator for responsive images:



Good way to see the impact of different confi…
tools  webdev  imagery  imagescaling  rwd  from twitter_favs
16 days ago by dirtystylus
Are.na / Arrangement Collage
[also here:
https://github.com/dark-industries/dark-zine/blob/master/lukas_collage.md ]

[See also:
https://www.are.na/lukas-w/arrangement-collage ]

[via:
https://urcad.es/writing/new-american-outline/ ]

"In 2015, Frank Chimero wrote on the “Grain” of the Web, focusing on a web-native media that doesn’t try to fight the inherently rectangle-based HTML Document Object Model (DOM)—also shared with XML and XHTML. This remains true: any site that does not look rectilinear is usually just fooling you; strip the CSS and it’s just a pile of blocks. Perhaps tilted and stretched, or with the corners shaved off, but just a pile of blocks.

As McLuhan would have anticipated, this blocky model has substantial effects toward what web-native media looks like. Chimero documents this well. I’d like to add a psychological component, though, in that as an online culture, we’ve grown accustomed to block-based interfaces. We joke at Web 2.0’s desire to round over corners and balk at clunky Flash plugins; nonlinear, non-blocky interfaces are either salient or sore thumbs.

Native internet users consume media through HTML interfaces at an astounding pace; simple rectangles frame a continuous deluge of multimedia updates. In an age of both physical and digital abundance in the Western world, creation of new media from scratch requires ample justification. Acts of synthesis, archiving, compression, and remix are valuable tools for leveraging information otherwise lost to the unsorted heap. These verbs are ways to construct something new from pre-existing media objects, or at least finding some narrative or meaning within them.

A curator, classically, acts as composer and manager of (typically static) objects so as to convey narrative to a willing audience. The internet audience, however, expects more autonomy in the dynamic content they see. Self-selected content is simply a necessary tactic for navigating nearly limitless information. An explosion of digital “curation” caters to the desire, whether by user directly, tuned algorithms, or third-party human. This manifests when you select topics of interest on Quora and construct a twitter feed of only exactly the people you want. Going to a curated museum is now a relinquishing of control compared to typical digital art consumption, which comes mashed-up through various media platforms.

Even with stream moderation, the modern media viewer is accustomed to lack of coherence between adjacent content blocks. In your tumblr dashboard, a peer-reviewed journal article can sit immediately above an anonymously submitted shitpost. We don’t blink. In an arrangement of DOM blocks, each bit of media similarly carries its own context, history, and qualia. I posit we can effectively navigate our feeds not because we can rapidly jump between the context captured by each DOM block, but rather because we interpolate narrative and construct cohesion. Adjacency implies connection and synthesis, or, in the words of John Berger:
[An image reproduction] becomes itself the reference point for other images. The meaning of an image is changed according to what one sees immediately beside it or what comes immediately after it. (Ways Of Seeing)

Marius Watz, in a response on the New Aesthetic, writes on tumblr image culture: “Its art is juxtaposition: If we put this next to that and this other thing, surely a new understanding will emerge.” To be fair, there are uncountably many combinations that may be devoid of meaning—all I mean to point out is that a diptych is a third object, beyond the original two, with the possibility of value. Some find artistic practice in the form of a relentless stream of rectangles. People go nuts over releases of image dumps from Moodmail and JJJJound, and the Lost Image Desk is making professional practice of it.

(A scan of contemporary sculpture demonstrates that selection and arrangement of objects—often found or folk objects—is an ongoing trend. The viewer is trusted with finding meaning in the arrangement, selection, formal qualities, cultural context, and more in a relational tradition.)

HTML is perfectly built for image adjacency—a blank and infinite canvas, empowered by right-click “Copy Image Address.” Our expansive tumblrs and pinterest boards act as collected and performed narratives, collages of found digital media.
[Traditional] collages, […] were probably laid out carefully, aided by facsimiles, white-out, and tape, existed alongside the book, rather than being subsumed or created through the process of publishing and distribution, as is often the case with internet ‘collage’. Computers conceal distance; their collage move consists of juxtaposing elements that might be stored hundreds or thousands of miles apart, giving an illusion of spatial continuity. (Seth Price, Teen Image)

Traditional art collage used the intrigue and power in composing elements pulled from diverse sources. Meaning constructed by selection, editing, and combination. The HTML collage, however, is copy-pasted. What is the HTML-native collage?

I call it the “Arrangement Collage”—rectangular, transcontextual compositions of, ostensibly, found media. The arrangement collage does less work for the viewer than traditional collage: elements are kept fully intact rather than trimmed for blended. The composition often mitigates interaction between elements and instead celebrates raw adjacency.
When the historical avant-garde used valorized cultural objects such as the Mona Lisa or a violin, it profaned, overpowered, and destroyed them before going on to aestheticize them. In contrast, contemporary art uses mass-cultural things virtually intact. (Boris Groys, On The New)

The arrangement collage, while easy to construct in print, is truly native to the web, in which all objects are, by default, level rectangles, context-switching is the norm, and media to compose with is bountiful.

Our feeds, plentiful in the digital landscape, help populate the arrangement collage. Tumblr, ostensibly a micro-blogging site, is largely used for image collection; FFFFound is legendary for its contextless stream of collected imagery (and as birthing the name for JJJJound, when Justin Saunders couldn’t get an account); and Buzzfeed publishes “articles” that are frankly just stacks of image macros. A proliferation of mindless image consumption concerns Bob Gill.
There’s nothing original. ‘The Culture’ is the great mass of images and ideas which bombard us every day, and therefore shape the way we think visually. Only by recognising The Culture’s presence and its power, can designers move away from the clichés it promotes.

Irrefutably, the images we consume affect how we think, and what we can imagine. Gill’s words should be considered, and the internet-native should stay aware of “the clichés” promoted. Gill encourages “first-hand” research, but this points at a cultural gap—there is no line between reality and the internet; “first-hand” research takes place on the social web. In-person discussion and close examination of physical objects can be romanticized, but it should not detract from the fact that meaningful discussion and critical consumption can happen in a digital landscape as well.

Of deeper concern is the stripping of value from imagery in overabundance. Edition MK’s 2010 DDDDoomed (the name, I assume, another reference to FFFFound) gets at the kernel of this problem: Image Aggregators (“IAs”—such as JJJJound and other blogs), which typically present images contextless alongside hundreds of others, can strip imagery of its power. IAs do work that is weaker, semiotically, than traditional collage, and less organized than archiving (which is often a process of attaching or generating metadata, whereas IAs frequently remove it). Images that find political power within a context are reduced to purely aesthetic objects in the stream. If you are a tumblr fiend, this very likely rings true: the multitude of streams filled with gorgeous scenery, motivational quotes, and supermodel women quickly reduce this imagery to banality and objectification.
We [distance ourselves] from our critical faculties as we slide into models of passive spectatorship that reinforce our passivity by promoting a one-way mode of cultural consumption. […] Continuous over-stimulation leads to desensitisation. (Peter Buwert, “Defamiliarization, Brecht and Criticality in Graphic Design” in Modes of Criticism 2: Critique of Method)

The arrangement collage might serve as a tool in this battle against desensitization. In Buwert’s essay, referenced above, he describes how Brecht’s famous defamiliarization of the theater encouraged “a condition of active critical spectatorship within the audience.” DDDDoomed is lamenting the supposed death of this critical spectator, replaced with the numb and passive viewer. Buwert is less concerned with context/lessness than Edition MK, and instead focuses on familiarity.

There are valiant efforts towards an inclusion of context and metadata with online imagery, but it is not built into the structure of the internet. Flickr and twitter use image covers to dissuade copy-pasting (circumnavigable by screen-shotting) and Mediachain attempts to inextricably tie media to metadata using blockchain methods. As of writing, however, the JPG is not going anywhere, and the ease of downloading and re-uploading an image far surpasses digging to find its source. Entropy is not on our side, and Google’s reverse image search will never be quite fast or comprehensive enough to keep up.

Walter Benjamin might lament the loss of contextual sensitivity, as it comes intertwined with a loss of “aura.” The authenticity that drives Benjamin’s aura is dependent on the idea of an original—which, in internet ecosystems, simply isn’t a relevant concept, as the original and reproduction can be… [more]
lukaswinklerprins  2016  frankchimero  arrangementcollage  web  online  feeds  juxtaposition  canon  curation  collections  tumblr  html  webdev  form  imagery  images  webnative  decomposition  composition  peterbuwert  aggregation  ffffound  justinsaunders  bobgill  sethprice  moodmail  lostimagedesk  waysofseeing  johnberger  dom  xml  xhtml  marshallmcluhan 
4 weeks ago by robertogreco
New American Outline 1
"These days, the mirrors we most often use to check our makeup or see if there’s gunk in our teeth are found on our phones — “smart” devices that coordinate an array of sensors and cutting-edge “image display” and “image capture” technologies to render reality within the boundaries of a powered physical display.

What’s interesting about smart-devices-as-mirrors is that the eventual representation of the “image of the world” is explicitly and wholly a “model” of the world — a “model” meaning a “ human-constructed representation (abstraction) of something that exists in reality”. Physical mirrors are interesting because they have the ability to render reality and even warp it, but what they depict is “a physical reality” in the truest sense; The physical qualities of a mirror can be seen as akin to seeing the world through air, or seeing the world through water. While a human being can physically manipulate a physical mirror to alter the final reflection, the reflection in and of itself is a product of the physical world and unalterable in totality.

To a degree, film photography was an extension of this physical realization (rendering) of reality. At a certain point, what else is the capture of light on paper but a wholly physical process? While people intervened in the path of light’s travel with lenses and apertures and specifically-designed crystal-studded paper, what emerges as a process is less a constructed model of reality and more a continually warped representation of what actually exists in the world. Film and paper photography was a deeply labor-intensive art, full of cutting and cropping and poisoning and brushwork, all serving the act of rendering what was once a beam of light into an image-rendering of a particular summer day. Impressionism lives on in this sense.

It wasn’t until recently that most photographs became literal abstractions or literal models of thought with the advent of digital photographic capture. While the earliest digital photographs presented terrible image quality/resolution, they were possibly the most honest representations of what they actually were: a product of humans manipulating bits through clever mathematic compression to render blocks of color accordingly.

“How can mirrors be real if our eyes aren’t real?”

What we “see” in our screens is wholly a model of reality, wholly an abstraction of the natural world, wholly determined and manufactured by people sitting in an office in California somewhere, typing away at an IDE. When we strip away the image rendered on a screen, when we deconstruct an algorithm, what’s left?

What does it mean when most models (abstractions) of our digital representations are constructed in California, or completely in America for that matter?

When I look at myself on my phone camera, why do I get the haunting feeling I’m not situated in New York anymore? When I scroll through all the photos of friends and strangers on Facebook or Twitter, why does it all feel so flat? When I tap through my friend’s stories on Instagram and get interrupted by an ad for shoes, why does the shoe ad feel more real than the stories it’s sandwiched between?"



"New American Interfaces

When we talk about “New American Interfaces”, it’s important to expand upon the meaning of each word for a complete sense of the conceptual picture we’re trying to paint.

We should imagine “New American Interfaces” to be less a definition, more an expansion. Less an encircling and more an arrangement collage [https://www.are.na/block/736425 ] of existing realities.

“New”ness is a direct reference to developments in human technology that span the last 10 years or so. “New” American technology does not refer to technology that was developed in the 1970s. “New” American Technology is not a reference to networking protocols or personal computers proliferating in the 90s. “Newness” refers to mobile phones finding themselves in billions of people’s hands and pockets. “Newness” refers to the viability of video streaming over wireless networks. “New” implies cameras directly imbued with the capability to re-model reality and assign social value through “the arrangement of certain interfaces” only found in the most cutting-edge devices. “New”ness implies the forgetting of the massive stacks of technology that exist to show us images of our friends and their lives in chronological order.

“America” speaks to the “Americanness” of the current world. Totalizing global governance, military might, far-reaching memetic saturation the rest of the world cannot escape from. “America” means pop culture, “America” means world police. “America” retains the ability to wobble the economy of the world when executives shitpost on Twitter. When we talk about “America”, we mean the hegemonic cultural-economic infrastructure the rest of the world rests upon whether they like it or not.

“Interfaces” speak to not any button, slider, or like button physical or digital or otherwise. “Interfaces” in the sense of “New American” interfaces refer to what Kevin Systrom meant when he called Snapchat a “format”. A replicable stack(s) of technology is an “interface”. An “interface” under this definition means every chat application is fundamentally the same and completely interchangeable. Linear conversation will always be linear conversation, and the pattern of linear conversation is what we call a messaging app, and we call this an “interface”. Every search interface is the same, every index is the same, every captive portal is the same. To take our example to the physical world, imagine this scene:

You see two chairs side by side with one another. From afar, they are completely the same. You inspect them close and they are the same, you notice they both are built from the same beautiful ash wood, every single detail is perfectly mirrored in both chairs.

One of these chairs was wholly made by human hands and the other was cut to shape by a machine, assembled by people on a factory line, and produced in the millions.

One of these chairs is an interface —"

[See also: https://www.are.na/edouard-urcades/new-american-interface ]
édouardurcades  mirrors  interfaces  ui  ux  cameras  stories  instagram  storytelling  reality  2019  snapchat  multimedia  media  kevinsystrom  format  form  newness  technology  smartphones  mobile  phones  images  imagery  buttons  jadensmith  lukaswinklerprins 
5 weeks ago by robertogreco
‘Businesses Will Not Be Able to Hide’: Spy Satellites May Give Edge From Above
Jan. 24, 2019 | The New York Times | By Cade Metz.

In October, the Chinese province of Guangdong — the manufacturing center on the southern coast that drives 12 percent of the country’s economy — stopped publishing a monthly report on the health of its local factories.

For five consecutive months, this key economic index had shown a drop in factory production as the United States applied billions of dollars in tariffs on Chinese exports. Then, amid an increasingly bitter trade war between the United States and China, the government authorities in Beijing shut the index down.

A small start-up in San Francisco began rebuilding the index, lifting information from photos and infrared images of Guangdong’s factories captured by satellites orbiting overhead. The company, SpaceKnow, is now selling this information to hedge funds, banks and other market traders looking for an edge.

High-altitude surveillance was once the domain of global superpowers. Now, a growing number of start-ups are turning it into a business, aiming to sell insights gleaned from cameras and other sensors installed on small and inexpensive “cube satellites.”..... satellite analysis will ultimately lead to more efficient markets and a better understanding of the global economy.....as well...as a check on the world’s companies and governments....use satellite imagery to track everything from illegal mining and logging operations to large-scale home demolitions. .....All of this is being driven by a drop in the cost of building, launching and operating satellites. Today, a $3 million satellite that weighs less than 10 pounds can capture significantly sharper images than a $300 million, 900-pound satellite built in the late 1990s. That allows companies to put up dozens of devices, each of which can focus on a particular area of the globe or on a particular kind of data collection. As a result, more companies are sending more satellites into orbit, and these satellites are generating more data.

And recent advances in artificial intelligence allow machines to analyze this data with greater speed and accuracy. “The future is automation, with humans only looking at the very interesting stuff,” ......The start-ups buy their data from a growing number of satellite operators, and they build the automated systems that analyze the data, pinpointing objects like cars, buildings, mines and oil tankers in high-resolution photos and other images........What began with satellite cameras is rapidly expanding to infrared sensors that detect heat; “hyperspectral” sensors that identify minerals, vegetation and other materials; and radar scanners that can build three-dimensional images of the landscape below.....
artificial_intelligence  automation  competitive_advantage  indices  imagery  informational_advantages  infrared  insights  reconnaissance  satellites  sensors  slight_edge  surveillance  trade_wars 
8 weeks ago by jerryking
mining | Viktor Mácha - industrial photography
I’ve devoted the past ten years to creating a photographic record of the world's steel industry, visiting more than 250 steel mills and foundries worldwide. These are part of my ongoing non-profit project to show my fascination with the beauty and tradition of the world's iron & steel industry and the process of steel making.
references  drawing  mining  industrial  imagery  factories  mills  steel  iron  ore  smelting 
9 weeks ago by markogara

« earlier    

related tags

2016  2019  212  3d  actionable_information  aggregation  algorithms  alongside  analysis  app  arcgis  arrangementcollage  art  artificial_intelligence  artistic  autism  automation  balloons  bell-labs  bib  blog  bobgill  break-down  browser  buttons  cadastral  cameras  canon  catalog  censorship  cesium  china  clever  climate  cog  collections  colorize  colour  colourise  comics  comp-hist  competitive_advantage  composition  computer_vision  conservation  cool_artist  culture  curation  cyber_security  cyber_warfare  dat  data  dataset  decomposition  design  designs  digital  disaster  dissertation  dom  downlink  drawing  drones  dual-use  earth  elevation  engine  envi  eos  esri  eu  evil  experimental  factories  feeds  festung-kufstein  ffffonts  ffffound  flaws  following  form  format  fotos  framework  france  frankchimero  free  future  game  gan  gene_pool  gentrification  geography  geospatial  gis  global  google  googleearth  graphics  hackers  hbll  historical  history  html  human  hurricane  hxgf_style  iconic  ideas  idf  illustration  illustration_style  image  images  imagescaling  imaging  indices  industrial  informational_advantages  infrared  inquire  insights  insitu  instagram  interesting  interfaces  internal_systems  iron  israel  israeli  jadensmith  jigsaw  johnberger  justinsaunders  juxtaposition  karten  kevinsystrom  kontour  kufstein  landsat  lc  london  lostimagedesk  lu  lukaswinklerprins  machine_learning  machinelearning  making  map  mapping  maps  marblecutter  marshallmcluhan  mbtiles  media  metadata  military  mills  mining  mirrors  mit  mobile  monkey  moodmail  multimedia  mynaturewatch  naip  networks  nevada  newness  newyork  noaa  nrcs  of  online  ore  oregon  orthoimagery  osint  outcry  over  peterbuwert  phds  phones  photo  photographs  photography  photos  phots  picture  plugin  portal  prada  previews  processing  programming  pulls  python  racist  rasterio  reading  reality  recognition  reconnaissance  redlining  references  remotesensing  rg  rs  rwd  satellite  satellites  scanning  science  scripting  secret  security_&_intelligence  sensors  sentinel  service  sethprice  shuttercontrol  slight_edge  smartphones  smelting  snapchat  social  space  spatial  stac  start_ups  state  steel  stock  stories  storytelling  strategy  street  streetcred  surveillance  technology  terrain  tiles  tms  tool  tools  trade_wars  training  tumblr  tutorials  ui  unit_9900  us  usa  ux  video_art  viral  virality  visual-literacy  visualization  visualizations  visuals  viz  waysofseeing  weather  web  webapps  webdev  webmapping  webnative  webservices  wizards  wizrd’  wms  wordpress  xhtml  xinjiang  xjp  xml  édouardurcades  ‘the 

Copy this bookmark:



description:


tags: