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Photography without Photography

Gestern abend sind mir gleich drei Projekte durch den Feedreader gerutscht, die mit Abwesenheit in Fotografie zu tun haben. Zuerst das schon ältere 9eyes von Jan Rafman, der Bemerkenswertes von Googles Streetview in einem Tumblelog festhält: Hier das Blog 9eyes, hier seine Streetview-Projektsammlung, hier das dazugehörige Essay aus dem Jahr 2009: IMG MGMT: The Nine Eyes of Google Street View. (via MeFi)

Initially, I was attracted to the noisy amateur aesthetic of the raw images. Street Views evoked an urgency I felt was present in earlier street photography. With its supposedly neutral gaze, the Street View photography had a spontaneous quality unspoiled by the sensitivities or agendas of a human photographer. It was tempting to see the images as a neutral and privileged representation of reality—as though the Street Views, wrenched from any social context other than geospatial contiguity, were able to perform true docu-photography, capturing fragments of reality stripped of all cultural intentions.

Dann hätten wir hier Pavel Maria Smejkals ikonographische, historische Fotos ohne deren Protagonisten, auf eine sehr seltsame Art ziemlich weird. (via Dangerous Minds)

In my last work I am interested in historical contexts of human history, widely recorded by photographic medium in the last three centuries, I am interested in the medium itself, in its representational function and image as such. Getting off the main motif from the historical documents, from the photos which became our culture heritage, our image bank, a memory of nations, a symbol, a propaganda instrument or an example of some kind of photography, a template for making other images, in the time when almost all these photographs were reinterpreted by many authors of following generations from many points of view, with the knowledge that some of them were staged or their authenticity is disputable, I place questions about their sense, their meaning, their function and their future. I am interested in possibilities of photography in the time when analog process is over and I am asking what is next in the world waiting for change…

Und schließlich James Davies Projekt Man murdered in street shooting, in dem er die Orte fotografiert, an denen Menschen niedergeschossen wurden, nachdem das Verbrechen begangen und die Spuren beseitigt wurden. Sehr creepy auf diese sehr subtile Art, die ich so gerne hab. (via Boing Boing)

The photos in this series were taken on streets in London where somebody died as a result of a shooting. The victim died either at the scene or later as a result of their injuries. My aim in this series is to highlight the mundane. I didn’t want to find the exact location where each incident happened or go into the details of each murder. The intention here is just to show the utterly ordinary places where the extraordinary took place, forever assosciating a street with a horrific crime.

Auch toll, hat aber nix mit Abwesenheit zu tun: 360cities 80Gigapixel-Panorama von London, in dem man den Leuten im London Eye-Riesenrad wörtlich an die Gondel spucken könnte, wenn man sich seinen Monitor versauen wollte. Vom Pressrelease: „A newly published 360-degree photo of London takes the crown as the largest spherical panoramic photo in the world. The image of London, at 360cities.net/london, has a total resolution of 80 gigapixels, or 80 billion pixels. Shot by photographer Jeffrey Martin over a period of three days from the top of the Centre Point building at the crossroads of Oxford Street and Tottenham Court Road, the image reveals the highest-resolution view of any city that has ever been captured. From this vantage point – 36 stories up in the air – an astonishing number of landmarks, houses, skyscrapers, shops, offices, and streets are visible. Countless people at street level are observable, as well as thousands of windows, many of which reveal glimpses of life inside. In short, it is a portrait of London, the likes of which has never been made before.“