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Please go to the student website and read:
• Chapter 8 ‘Obedient Numbers, Soft Delight’ from Geoffrey Batchen (2002)
Each Wild Idea, Cambridge, MA: MIT Press. (PH5DIC_Each Wild Idea_Obedient Numbers_Soft
Delight)
• Geoffrey Batchen’s essay ‘Ectoplasm: Photography in the Digital Age’ in Squiers, C. (ed.)
(1999) Over Exposed: Essays in Contemporary Photography, New York: The New Press, pp.9–
23. (PH5DIC_Over Exposed_Ectoplasm)
You should also read Joan Fontcuberta’s essay ‘I Knew the Spice Girls’ (pp. 56–63) from the
collection Fontcuberta, J. (2014) Pandora’s Camera: Photogr@phy after Photography, London:
MACK, provided with your course materials.
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Read about Idris Kahn’s work at Link 1.
Welsh artist Helen Sear uses manipulation, layering and colour to create highly aesthetic
images where the interplay of subject and ground is constantly in play. Both Kahn and Sear use
the digital layer as a fundamental part of their creative process.
Read Jesse Alexander’s blog post on Helen Sear’s work at Link 2.
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Read the essay ‘The Digital Image in Photographic Culture: Algorithmic Photography and the
Crisis of Representation’ by Daniel Rubinstein and Katrina Sluis, Chapter 2 in Lister, M. (ed.)
(2013) The Photographic Image in Digital Culture, Abingdon: Routledge (pp.22–40).
Watch American artist Daniel Gordon discuss his work and his digital montage methods at
Link 3.
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Read ‘Intention and Artifice’ in Mitchell, W.J.T. (1994) The Reconfigured Eye: Visual Truth in the
Post-photographic Era, Cambridge, MA: MIT Press (pp.22–57). You’ll find this on the student
website (PH5DIC_The Reconfigured Eye_ Intention and Artifice).
• Read a review of Hannah Höch’s 2014 exhibition at the Whitechapel Gallery in London at
Link 5
• Read Sabine Kreibel’s essay ‘Manufacturing Discontent: John Heartfield’s Mass Medium’ at
Link 6
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Watch Stephen Gill describe his exhibition Best Before End at Foam, Amsterdam, at Link 9
Hear Eva Stenram discuss her Drape series at Link 10
Gill is a highly experimental photographer who often rips, tears, folds and even burns the
photographic image to create the effects he wants. These strategies are present also in the work
of another British artist, John Stezaker. Stezaker uses the cut and the tear to uncomfortable
effect, forcing connections between previously unconnected images. In Marriage LXI he splices
together two found photographs, originally intended as publicity shots. In bringing these two
images together to create a third meaning, Stezaker suggests that the identities created in
these publicity shorts are both constructed and infinitely interchangeable.
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Read:
• Nina Lager Vestberg’s essay ‘The Photographic Image in Digital Archives’, Chapter 7 in Lister,
M. (ed.) (2013) The Photographic Image in Digital Culture, Abingdon: Routledge (pp.113–30),
which is provided with your course materials.
• David Campany’s Deutsche Börse essay on John Stezaker at Link 11
• ‘Why do we call it Love when we mean Sex?’ in the collection Pandora’s Camera, provided
with your course materials.
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