Emulations of photography generated by artificial intelligence are beginning to look so convincing that they can no longer be distinguished from images made by a film camera.

Documenting our lives for Snapchat and Instagram can decrease the likelihood of retaining those moments as a significant memory. This story appears in VICE Magazine's Truth and Lies Issue. Click HERE to subscribe.

Recently I began realizing that my perception of the world is beginning to change in a peculiar way. There are no longer distinctions between more and less important themes or work; both conceptually and visually, everything is becoming equally (un)important.

Documenting our lives for Snapchat and Instagram can decrease the likelihood of retaining those moments as a significant memory. This story appears in VICE Magazine's Truth and Lies Issue. Click HERE to subscribe.

Recently I began realizing that my perception of the world is beginning to change in a peculiar way. There are no longer distinctions between more and less important themes or work; both conceptually and visually, everything is becoming equally (un)important.

Documenting our lives for Snapchat and Instagram can decrease the likelihood of retaining those moments as a significant memory. This story appears in VICE Magazine's Truth and Lies Issue. Click HERE to subscribe.

Vol. 30 No.

Traditionally we think of images as relatively individualized or delimited phenomena that, in one way or the other, appear to the human mind and apparatus of perception. Currently, however, we are witnessing an intensification of what we might call thenetworkedness of the image along with a proliferation of machine imagery that operates independently of human perception and cognition. These “operative images” are, in Harun Farocki’s oft-cited formulation, “images without a social goal, not for edification, not for reflection”—they “do not represent an object, but rather are part of an operation.” In fact, one might claim that one of the characteristics of the contemporary image-space is its increasing integration of operational images and machine vision.

Who are you, and what are you doing here? You, there in the mirror, there in the lens of your phone: What do you see? In the eyes of us poor moderns, it seems self-evident that a picture can capture who you are.

The cultural impact of Mark Fisher's work continues to grow years after his death in 2017....

https://rwm.macba.cat/en/sonia/sonia-148-mark-fisher

From the militarization of social media to the corporatization of the art world, Hito Steyerl’s writings represent some of the most influential bodies of work in contemporary cultural criticism today.

Time Magazine’s annual “Person of the Year” announcement is, year after year, grossly misunderstood.

In the wake of high-profile police shootings, the Obama administration has encouraged local police departments to equip their officers with body-worn cameras.

Stephen Wilkes

In this newly commissioned essay, Daniel Rubinstein answers one of photography’s most complicated questions.

Photojournalism can be like “trying to play Rachmaninoff while wearing boxing gloves,” as former photojournalist Simon Norfolk put it.

In the first chapter of his book, After Photography, digital photography theorist Fred Ritchin explains the central selling point of digital over analog: Digital is based on an architecture of infinitely repeatable abstractions in which the original and its copy are the same; analog ages and rots,

Jumpo

Corinna Kern documented the life of George Fowler, a compulsive hoarder. In her photographs is "a closeness between the young woman behind the camera and the old man in front of it." [Itsnicethat via Digg]

Corinna Kern: George’s World