Some of them coexist today in different forms so they are not completely excluded from each other. This exercise will help to show the relationship between technologies of image creation and visual regimes made up of practices, objects, and the possibilities of image creation. In this framework, the socio-technical history of photography could be seen as a pendulum constantly moving and swinging through cyclic changes between the know-how necessary to create images, and the artifacts used for that purpose. Throughout these cycles, there are also ongoing trends that persist, for example the miniaturization of equipment to support mobility and increasing ease of access to a wider set of technical features; these trends also shape visual images and social uses. Changes in technology, professional practices, and public uses are continually converging and diverging over time. But ultimately, the combination of all those elements with socio-historical conditions shapes what is understood as “photography” in different times and contexts. This seems especially relevant in the digital era since, following, Lister, we have to
Some of them coexist today in different forms so they are not completely excluded from each other. This exercise will help to show the relationship between technologies of image creation and visual regimes made up of practices, objects, and the possibilities of image creation. In this framework, the socio-technical history of photography could be seen as a pendulum constantly moving and swinging through cyclic changes between the know-how necessary to create images, and the artifacts used for that purpose. Throughout these cycles, there are also ongoing trends that persist, for example the miniaturization of equipment to support mobility and increasing ease of access to a wider set of technical features; these trends also shape visual images and social uses. Changes in technology, professional practices, and public uses are continually converging and diverging over time. But ultimately, the combination of all those elements with socio-historical conditions shapes what is understood as “photography” in different times and contexts. This seems especially relevant in the digital era since, following, Lister, we have to
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