False Positives

FALSE POSITIVES

FALSE POSITIVES A meditation on the broken promises of photography.

double chin : no (82%), blurry : yes (27%), bushy eyebrows : no (91%), big lips : no (64%), 5o clock shadow : no (93%), pointy nose : yes (51%), goatee : yes (71%) + receiding hairline : no (84%), heavy makeup : no (79%), brown hair : yes (56%), bald : no (0%), chubby : yes (13%), wavy hair : no (98%), rosy cheeks : no (70%)

When he was asked when this catastrophe had taken place, he replied to them: “Tomorrow.” Profiting from their attention and confusion, Noah drew himself to his full height and said these words: “The day after tomorrow, the flood will be something that has been. And when the flood will have been, everything that is will never have existed. When the flood will have carried off everything that is, everything that will have been, it will be too late to remember, for there will no longer be anyone alive.

And so there will no longer be any difference between the dead and those who mourn them. If I have come before you, it is in order to reverse time, to mourn tomorrow’s dead today. The day after tomorrow it will be too late.” With this he went back whence he had come, took of the sackcloth, cleaned his face of the ashes that covered it, and went to his workshop.

That evening a carpenter knocked on his door and said to him: “Let me help you build an ark, so that it may become false.”

Günther Anders, Endzeit und Zeitende.

In: Jean-Pierre Dupuy, Enlightened Doomsaying and Concern for the Future.

Stanford University Press, 2013.

INDEX

6

10

Brokenness as enlightened doomsaying

Without photography the world doesn’t exist.

20

Photography is exchange.

30 40

Photography is easy. Photography is difficult.

Photography controls time.

50

Photography is proof.

62 68 80

Photography is a universal language.

Photography changes the world.

90 102

Photography can fix memory.

Photography never lies.

Photography is more objective than the human eye.

110 120

Photography makes visible.

Photography says more than a thousand words.

126

134

Reading list

Photography gets you closer.

Brokenness as enlightened doomsaying

These contributions were developed during the six-week seminar The Liquid Image, taught by Adam Broomberg and Shailoh Phillips at the Masters of Photography and Society at the Royal Academy of Art, The Hague (NL). In this seminar, we explored the limits and potentials of the photographic medium from different angles. Each week there were readings and short experimental assignments, addressing the dynamics of blockchain and artificially digital scarcity, hybrid forms of expanded photographic objects that intersect with sculpture, virtual reality and performance, race and technology, traumatic collective memories and the unresolvable past, and the rise of non-human photography as we enter an era in which images are being made for and by self-organizing networked machines.

suffering and joy, to engage ethically and generate engagement in viewers.

Again and again such promises are broken, with rampant commodification, state control, image manipulation, overproduction, incomprehensible fragments, algorithmic selections, failed memories, unemployed photographers, images employed to justify new wars.

In this publication, we explore the field of tension between what photography claims to be able to do, and the many ways in which it fails to live up these expectations.

We take current and past failures as practicing grounds for unlearning entrenched conventions. This is a first attempt at engaging with future failure, with the unknown disappointments and destruction We still live under the yoke of some of that is yet to come. We seek ways the pervasive assumptions about what to break out of a binary system of photography is and what it can do. Implicit verification, to challenge a visual in the medium of photography are a set regime that eclipses our ability of claims. Photography has promised to picture a way forward. We must to tell the truth, to provide evidence, to first mourn the future, starting emancipate us, to provide a window on by purging ourselves from the distant places, even to bring an end to war, implicit expectations that linger to cultivate solidarity and empathy, to speak on in photographic practices. more than a thousand words, to offer a universal language, to connect people, The umbilical cord linking to be able to engage in political struggles, photography to a specific place to help us remember things, to stop and time has been cut; the medium and manipulate time, transform space has grown into a mechanism that with an illusion of depth. Along with feeds into an insatiable hunger for the field of photography, the role of images. The emancipatory potential a photographer was promised to that comes with the democratization provide a way to show the world’s of photography is clogged with selfies, 6

cat memes and instagrammable meals. each promise and its intrinsic Taking a picture has become so incredibly failure to persist. We are not easy and accessible, sharing images so looking for progress, for the user-friendly and quick. The world of image next new thing, rather salvaging creation is accelerating within the globally something without a clear solution, distributed network of capturing as well looking at our current condition as the plethora of visual devices, which as something both malleable and are producing and shedding more fixed, escapable and unavoidable. images than we could ever have time to process. We are image junkies, In scientific research, ‘false positives’ both consumers and producers with a are mistakes that creep into a binary voracious appetite. But what systems classification system. A positive do we feed into? We seek to make confirmation providing evidence of more than snapshots in the rubble of a condition that is not actually present. impending doom. And yet our ability to The ambiguity of a photograph makes stay engaged with our present world that it can be seen as evidence, but is severely impaired by a paralysis also as the lack thereof. Every picture in our imagination when it comes to made testifies to the continued potential atrocities, past, present and future. of photography, and yet the ubiquitous nature thereof is also a negation of the Perhaps reality itself is broken. very possibility to represent reality.

What then can making images do And yet its failure does not completely about it? We wonder what positions erase its potential. Indeed, we may are left for photographers to make confirm the potential of photography a difference in society. By revisiting by exploring its failures. the claims of photography, we aim to go beyond the confines of the initial promises that photography offers us.

By focusing on the medium’s failures, we would like to explore another option: to transform the situation by reframing it.

Reframing by examining our own inabilities and exploring other modes of creating and sharing images. We revisit the practice of photography by radically refusing to allow conditioned impulses to dominate. Accepting reality, but not as ‘fate’. Allowing for necessary contingency to persist, exploring the tension between affirmation and negation, between 7

8

double chin : no (82%)

WITHOUT PHOTOGRAPHY THE WORLD DOESN’T EXIST.

10

“In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.”

— Suárez Miranda, Viajes de varones prudentes, Libro IV, Cap. XLV, Lerida, 1658

Jorge Luis Borges, On Exactitude in Science, Collected Fictions, Grove Press, 1962 11

What is the Map then?

What is the Real?

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13

Over time the first representation got replaced by a new one.

Then another one. And again.

What was there, behind the beginning of everything?

14

15

16

I can’t tell you anymore.

We are living in the Desert.

The Desert of the Real itself.

Can’t you recognize it?

17

18

blurry : yes (27%)

PHOTOGRAPHY IS EXCHANGE.

blurry : yes (27%)

20

Sniper in grass. Instructional photograph distributed by the British War Office ca. 1916.

21

Creating A Safer And More Personalized Planet Through Facial Recognition Technology.

22

23

QuikCamo, Mossy, Oak, Obsession, Camouflage, 3D, Leafy, Bucket, Hat, Face, Mask.

24

25

HD, 1080P, Police, Camera, Security, Guard, Recorder, DVR, Body, Pocket, DV, Mini, Camcorders.

26

27

28

bushy eyebrows : no (91%)

PHOTOGRAPHY IS EASY. PHOTOGRAPHY IS DIFFICULT.

30

It’s so easy it’s ridiculous. It’s so easy that I can’t even begin — I just don’t know where to start.

After all, it’s just looking at things. We all do that.

It’s simply a way of recording what you see – point the camera at it, and press a button.

How hard is that?

It’s so difficult because it’s everywhere, every place, all the time, even right now.

It’s the view of this pen in my hand as I write this, it’s an image of you reading now.

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Drift your consciousness up and out of this text and see: it’s right there, across the room - there... and there.

Then it’s gone. You didn’t photograph it, because you didn’t think it was worth it. And now it’s too late, that moment has evaporated.

But another one has arrived, instantly. Now. Because life is flowing through and around us, rushing onwards and outwards, in every direction.

But if it’s everywhere and all the time, and so easy to make, then what’s of value? Which pictures matter? Is it the hard won photograph, knowing, controlled, previsualised? Yes. Or are those contrived, dry and belabored? Sometimes. Is it the offhand snapshot made on a whim. For sure. Or is that just a lucky observation, some random moment caught by chance? Maybe. Is it an intuitive expression of liquid intelligence? Exactly. Or the distillation of years of looking, seeing, thinking photography. Definitely.

“Life’s single lesson: that there is more accident to it than a man can admit to in a lifetime, and stay sane.” Thomas Pynchon, V The more preplanned it is the less room for surprise, for the world to talk back, for the idea to find itself, allowing ambivalence and ambiguity to seep in, and sometimes those are more important than certainty and clarity. The work often says more than the artist intended.

33

But my photography doesn’t always fit into neat, coherent series, so maybe I need to roll freeform around this world, unfettered, able to photograph whatever and whenever: the sky, my feet, the coffee in my cup, the flowers I just noticed, my friends and lovers, and, because it’s all my life, surely it will make sense? Perhaps. Sometimes that works, sometimes it’s indulgent, but really it’s your choice, because you are also free to not make ‘sense’. Ok, so how do I make sense of that never ending flow, the fog that covers life here and now. How do I see through that, how do I cross that boundary? Do I walk down the street and make pictures of strangers, do I make a drama-tableaux with my friends, do I only photograph my beloved, my family, myself? Or maybe I should just photograph the land, the rocks and trees – they don’t move or complain or push back. The old houses? The new houses? Do I go to a war zone on the other side of the world, or just to the corner store, or not leave my room at all?

Yes and yes and yes.

That’s the choice you are spoiled for, just don’t let it stop you.

Be aware of it, but don’t get stuck – relax, it’s everything and everywhere. You will find it, and it will find you, just start, somehow, anyhow, but: start.

34

Ok, so I need time to think about this. To allow myself that freedom for a short time. A couple of years. Maybe I won’t find my answer, but I will be around others who understand this question, who have reached a similar point.

Maybe I’ll start on the wrong road, or for the wrong reasons – because I liked cameras, because I thought photography was an easy option, but if I’m forced to try, then perhaps I’ll stumble on some little thing, that makes a piece of sense to me, or simply just feels right. If I concentrate on that, then maybe it grows, and in its modest ineffable way, begins to matter. Like photographing Arab-Americans in the USA as human beings with lives and hopes, families and feelings, straight, gay, young, old, with all the humanity that Hollywood never grants them. Or the black community of New Haven, doing inexplicable joyous, ridiculous theatrical-charades that explode my preconceptions into a thousand pieces. Or funny-disturbing-sad echoes of a snapshot of my old boyfriend. Or the anonymous suburban landscape of upstate in a way that defies the spectacular images we’re addicted to. Or... how we women use our bodies to display who we believe we should be, Or...

35

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And hopefully I will carry on, and develop it, because it is worthwhile.

Carry on because it matters when other things don’t seem to matter so much: the money job, the editorial assignment, the fashion shoot.

Then one day it will be complete enough to believe it is finished.

Made. Existing. Done. And in its own way: a contribution, and all that effort and frustration and time and money will fall away. It was worth it, because it is something real, that didn’t exist before you made it exist: a sentient work of art and power and sensitivity, that speaks of this world and your fellow human beings place within it. Isn’t that beautiful?

Paul Graham, “Photography Is Easy, Photography Is Difficult” Paul Graham Photography Archive, 2009, www.paulgrahamarchive.com/writings_by.html.

37

38

big lips : no (64%)

PHOTOGRAPHY CONTROLS TIME.

40

When using a camera for the first time, everyone, at least intuitively, will come to understand something about time and that they have found a way of manipulating it.

41

“Then, in the spring of 1894, he finally succeeded in stopping the droplet’s splash with a photograph.”

Lorraine Daston and Peter Galison, Objectivity. Zone Books, 2007. Image by Arthur Worthington. p.14

42

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teleology | telē'äləjē, tēlē'äləjē | noun (plural teleologies)

Philosophy the explanation of phenomena by the purpose they serve rather than by postulated causes.

My words the idea that events follow a necessary course to some evident goal. But you know, most of the time you can’t know; it is only in depicting events that we see, in hindsight, the apparently clear development from here to there; sometimes the pictures tell a story that seems to make sense, we seem to understand where it is going, because the sequence has a start and an end. In reality, these are only abstractions from a constant stream of events where start and end are hard to separate.

44

45

46

47

48

5o clock shadow : no (93%)

PHOTOGRAPHY IS PROOF.

50

51

52

53

54

55

56

57

58

59

60

pointy nose : yes (51%)

PHOTOGRAPHY CAN FIX MEMORY.

62

63

I’m not here, I’m with you, one more moment with you.

And I will fade away whenever I wish to feel closer to you.

64

65

66

goatee : yes (71%) receiding hairline : no (84%)

PHOTOGRAPHY IS A UNIVERSAL LANGUAGE.

68

The following is a collaborative work between multiple artificial intelligences - one director, two poets, an image maker and an audience member.

69

Bloodsucking midnight A critical, cold eye hunts enjoying the graves

70

71

Dreams- tormentors of my dreams By the grave I saw the premonitions In a kingdoms full of tomorrows Once I sat engaged and promising I awoke and flung the bliss When I thought of the dreams Much I marvelled the silent dreamworld On that day my soul grew yearning

72

73

Depressing evening A sole, tiny purpose talks to the perfect horse.

74

75

You are right.

All right.

You are right.

Okay fine.

Okay fine.

Yes, right here.

No, not right now.

Talk to me right now.

Please talk to me right now.

I will talk to you right now.

I will talk to you right now.

You need to talk to me now.

76

77

78

heavy makeup : no (79%)

PHOTOGRAPHY CHANGES THE WORLD.

80

The award-winning photographs of World Press Photo since 1955 were printed and mixed in a blender.

81

Assassination, Turkey, shouts, shooting, Russian ambassador, art gallery, Ankara.

82

83

84

Hope, New Life, baby, handed, hole, razor wire, barrier, Syrian refugee, managed, border, Rรถszke.

85

Venezuela Crisis, catches fire, clashes, riot, police, protest, Caracas.

86

87

88

brown hair : yes (56%)

PHOTOGRAPHY NEVER LIES.

90

91

Photography never lies.

92

93

Photography never lies.

94

95

Photography never lies.

96

97

Photography never lie

98

ies.

99

100

bald : no (0%)

PHOTOGRAPHY IS MORE OBJECTIVE THAN THE HUMAN EYE.

102

103

Meteorology and atmospheric

science – the field concerned with measuring, understanding, and ultimately predicting the atmosphere - gather a diversity of scientific knowledge with intellectual, cultural and social dimensions, art istic impact and even religious sensibilities, but we still don’t know much how exactly it works.

What fascinates me in the study about the weather is how the most banal of topics could be so complex, elusive, with many different dimensions and so much social impact and at the same time, so unknown. It’s not only complex but a dynamic system, combining computational power and observational tools, humane and machine interaction and a wide range of disciplines.

Weather forecasting in the 21st century inevitably moves towards big data, computer vision, and artificial intelligence, empowering meteorologists with a third eye and helping them look at things humans don’t usually have the ability to do.

104

A lot of the information is automatized, but still the human factor is very much important – human knowledge, analytical and communicative skills, even the intuition plays an important role.

The zoom out on new technologies gives a better understanding on their social impact – AI and machine learning systems for climate data and meteorological models evaluation, high-performance computing systems – supercomputers, weather modification techniques and experiments, weather radars, weather satellites and telecommunication, even the measuring of urban rainfall using microwave links from commercial cellular communication networks or the use of data sources such as crowd sourcing and drones.

105

Throughout history, human beings have always dreamed to achieve control over nature. Now we have come closer than ever to reaching this ultimate goal. The ability to perceive changes of weather in advance could be an expression of this longing of control and power, the desired triumph over nature. The role of meteorology becomes even more central to societies as they prepare for the dangers associated with significant changes in climate and environment caused by human activities.

As a photographer, interested in visualizing the invisible/the unpronounceable/what remains out of sight, meteorology (like most of the sciences) gives the exceptional power to do this literally, providing with the right tools to achieve it. We worry or feel relief when we’re shown X-rays or MRIs, or meteorological data visualization and satellite imagery because of what they indicate should happen next; what we see tells us something very important concerning our future.

106

“Science is magic that works”

There are certain images that we have to learn how to see – scientific images requires a specific level of knowledge from the viewer in order to be seen, they are the space where photography still “keeps its promise” and meets the expectations to be more objective than the eye. Photography challenges the limits of our perception by revealing to us what would otherwise easily go unnoticed.

Visualization in meteorology is an important part of its precision.

Meteorologists experimented eagerly with maps, charts, and cloud cameras, especially after the new technologies of printing and photography emerged in 19th century. Beyond the strikingly beautiful metaphor, science gives more visibility also to an important lesson for an artist – the most interesting is not always self-evident; sometimes the value of the picture is what you can’t (directly) see; more often it requires a certain level of engagement and knowledge.

107

108

chubby : yes (13%)

PHOTOGRAPHY MAKES VISIBLE.

110

The following presents us with seven photographs of De Schie, a penitentiary of western Rotterdam. In order to get to know as much as possible about the prison, it has been recorded with a camera from all angles.

111

The prison is next to some water.

It is slightly shorter than the trees surrounding it.

112

Due to monochrome printing the color of the prison is indeterminable.

113

In front of one side of the prison is a barbed wire fence, light poles and a bike lane.

114

The prison is made of glass and the wall of concrete.

There is wire and a camera on top of the wall.

115

The camera has been recorded from another angle in order to make it more visible.

116

The camera from a more frontal angle.

117

On the back side of the prison are trees, light poles and a fence.

118

wavy hair : no (98%)

PHOTOGRAPHY SAYS MORE THAN A THOUSAND WORDS.

120

My dear Telemachus, The Trojan War is over now; I don’t recall who won it.

The Greeks, no doubt, for only they would leave so many dead so far from their own homeland.

But still, my homeward way has proved too long.

While we were wasting time there, old Poseidon, it almost seems, stretched and extended space.

I don’t know where I am or what this place can be. It would appear some filthy island, with bushes, buildings, and great grunting pigs.

A garden choked with weeds; some queen or other.

Grass and huge stones . . . Telemachus, my son!

To a wanderer the faces of all islands resemble one another. And the mind trips, numbering waves; eyes, sore from sea horizons, run; and the flesh of water stuffs the ears.

I can’t remember how the war came out; even how old you are – I can’t remember.

Grow up, then, my Telemachus, grow strong.

Only the gods know if we’ll see each other again. You’ve long since ceased to be that babe before whom I reined in the plowing bullocks.

Had it not been for Palamedes trick we two would still be living in one household.

But maybe he was right; away from me you are quite safe from all Oedipal passions, and your dreams, my Telemachus, are blameless.

Joseph Brodsky, Odysseus to Telemachus, 1972.

Translated by George L. Kline, 1980.

121

My childhood playground.

Sebastopol, Crimea, 1855.

122

My father. Soldiers do not photograph generals.

Sebastopol, Crimea, 2018.

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124

rosy cheeks : no (70%)

PHOTOGRAPHY GETS YOU CLOSER.

126

The light was reflected by the metal warehouse on the windscreens of the parked cars, then rebound on the ground. Lit by the end of that fading sheen triangle, you could still feel the heat of the early autumn sun. Ship horns echoing from the distance, a washing machine jiggling on some nearby balcony. Saturday afternoon.

I didn’t know I was walking toward her until she stood up.

She looked at me with the camera and started running away.

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READING LIST

“77sqm_9:26min”, Forensic Architecture film from Documenta. www.forensic-architecture.org/case/77sqm_926min/, accessed in November 2018.

Agamben, Giorgio. “Biopolitics and the Rights of Man.” Homo Sacer: Sovereign Power and Bare Life. Stanford University Press, 1998: 126-35.

Bailey, Jason. “How Blockchain Will Change Photography”, 8 March 2018. www.artnome.com/news/2018/3/4/how-blockchain-willchange-photography, accessed in November 2018.

Benjamin, Walter. A short history of photography. Screen 13.1, 1972: 5-26.

Benjamin, Walter. The work of art in the age of its technological reproducibility, and other writings on media. 1936. Harvard University Press, 2008.

Bennetts, Russell. “Glitch Feminism: An Interview With Legacy Russell”, 21 February 2018. www.berfrois.com/2018/02/glitch-feminism-aninterview-with-legacy-russell/, accessed in November 2018.

Berry, David et al. “Digital Selves”, 17 October 2017. http://blogs.lse. ac.uk/theforum/digital-selves/, accessed in November 2018.

Birhane, Abeba et al. “The Algorithmic Age.”, 27 February 2018. http://blogs.lse.ac.uk/theforum/the-algorithmic-age/, accessed in November 2018.

Blas, Zach. “Informatic opacity.” The Journal of Aesthetics and Protest 9, 2014.

Breland, Ali. “How white engineers built racist code – and why it’s dangerous for black people.”, The Guardian, 4 December 2017. www. theguardian.com/technology/2017/dec/04/racist-facial-recognitionwhite-coders-black-people-police, accessed in November 2018.

Capps, Kriston. “The Experience Is Virtual. The Terror Is Real.”, 7 June 2018. www.citylab.com/life/2018/06/the-experience-is-virtual-theterror-is-real/561941/, accessed in November 2018.

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Cardoso Pereira, Paula and Joaquín Zerené Harcha. “Revolutions of Resolution: About the Fluxes of Poor Images in Visual Capitalism.”

TripleC (Cognition, Communication, Co-Operation): Open Access Journal for a Global Sustainable Information Society 12.1, 2014.

Catlow, Ruth, et al. Artists Re: thinking the Blockchain. Vol. 1. Torque editions, 2017.

“Data & Society”, Datasociety.net, https://datasociety.net/, accessed in November 2018.

Dawood, Shezad. Kalimpong. Stemberg Press, 2016.

Didi-Huberman, Georges. Images in spite of all: four photographs from Auschwitz. University of Chicago Press, 2008.

Diodato, Roberto. Aesthetics of the Virtual. SUNY Press, 2012.

Gržinić, Marina. “The Virtual-Image and the Real-Time Interval.”

Filozofski vestnik 20.2, 1999.

Iñárritu, Alejandro González. “Carne y Arena.” 2017.

Keenan, Thomas, and Eyal Weizman. “Mengele’s skull: The advent of a forensic aesthetics.” Sternberg and Portikus Press, 2012.

Krauss, Rosalind. “Sculpture in the expanded field.” October, Vol. 8 (Spring 1979): 31-44.

Lake, Ed. “The machine gaze.”, 17 September 2012. www.aeon.co/ essays/what-do-we-uncover-when-we-look-through-digital-eyes, accessed in November 2018.

Lippard, Lucy. “Six Years: The dematerialization of the art object.”

New York, 1973: 75.

Maguire, Mark, Ursula Rao, and Nils Zurawski, eds. “Bodies as Evidence: Security, Knowledge, and Power.” Duke University Press, 2018.

McKenzie, Wark. “Digital Provenance and the Artwork as Derivative.”, in e-flux Journal #77, November 2016. www.e-flux.com/ journal/77/77374/digital-provenance-and-the-artwork-as-derivative/, accessed in November 2018.

McKenzie, Wark. “My Collectible Ass.”, in e-flux Journal #85, October 2017. www.e-flux.com/journal/85/156418/my-collectible-ass/, accessed in November 2018.

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Mitchell, WJT. What do pictures want?: The lives and loves of images. University of Chicago Press, 2005.

Mosse, Richard. Incoming. MACK, 2017.

Pantenburg, Volker. “Working images: Harun Farocki and the operational image.”

Image Operations: Visual Media and Political Conflict, Manchester University Press, 2016: 49.

Rijs, Laura van. “What Do Photo-Sculptures Want? Spatial Photographic Sculptures in Contemporary Art.” MA Thesis, 2015.

Roth, Lorna. “Looking at Shirley, the ultimate norm: Colour balance, image technologies, and cognitive equity.” Canadian Journal of Communication 34.1, 2009.

Smith, Shawn Michelle, and Sharon Sliwinski, eds. Photography and the optical unconscious. Duke University Press, 2017.

Sontag, Susan. Regarding the pain of others. Diogène 1, 2003.

Steyerl, Hito. “In Defense of the Poor Image”, in e-flux Journal #10, November 2009. www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/, accessed in November 2018.

Strecker, Alexander. “An Urgent Look at How Artificial Intelligence Will See the World”. www.lensculture.com/articles/trevor-paglen-an-urgent-look-at-howartificial-intelligence-will-see-the-world, accessed in November 2018.

Twain, Mark. King Leopold’s soliloquy: A defense of his Congo rule. LeftWord Books, 1905.

Virilio, Paul. The original accident. Polity, 2007.

Walsh, Maria. “Hito Steyerl: The Wretched of the Screen.” Art Monthly 365, 2013: 35.

Weizman, Eyal. “Essay” in Spirit is a Bone, by Adam Broomberg & Oliver Chanarin MACK, 2015.

Whitlock, Richard. Non-perspectival Photography: Towards a Post-digital Visuality.

Photomediations Machine, 2014.

Zizek, Slavoj. “From virtual reality to the virtualization of reality.” Electronic culture: technology and visual representation. Aperture, 1996: 290-295.

Zylinska, Joanna. “Nonhuman photography.” MIT Press, 2017.

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September 2019 Second edition of 200 copies Printed in Italy KABK, Royal Academy of Art The Hague MA Photography & Society Alexander Cabeza Trigg Chris Becher Gita Cooper-van Ingen Walter Costa Guglielmo Giomi Mads Holm Marica Kolcheva Dmitry Kostyukov Nola Minolfi Ana Núñez Rodríguez Olga Roszkowska Shadman Shahid Thijs van Stigt Anastasia Zhetvina