Signal Image Architecture
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Signal. Image. Architecture
Architecture is immersed in an immense cultural experiment called imaging. Yet the technical status and nature of that imaging must be reevaluated. What happens to the architectural mind when it stops pretending that electronic images of drawings made by computers are drawings? When it finally admits that imaging is not drawing, but is instead something that has already obliterated drawing? These are questions that, in general, architecture has scarcely begun to pose, imagining that somehow its ideas and practices can resist the culture of imaging in which the rest of life now either swims or drowns. To patiently describe the world to oneself is to prepare the ground for an as yet unavailable politics. New descriptions can, under the right circumstances, be made to serve as the raw substrate for political impulses that cannot yet be expressed or lived, because their preconditions have not been arranged and articulated. Signal. Image. Architecture. aims to clarify the status of computational images in contemporary architectural thought and practice by showing what happens if the technical basis of architecture is examined very closely, if its technical terms and concepts are taken very seriously, at times even literally. It is not a theory of architectural images, but rather a brief philosophical description of architecture after imaging.
Diffracting Digital Images
Digital imaging techniques have been rapidly adopted within archaeology and cultural heritage practice for the accurate documentation of cultural artefacts. But what is a digital image, and how does it relate to digital photography? The authors of this book take a critical look at the practice and techniques of digital imaging from the stance of digital archaeologists, cultural heritage practitioners and digital artists. Borrowing from the feminist scholar Karen Barad, the authors ask what happens when we diffract the formal techniques of archaeological digital imaging through a different set of disciplinary concerns and practices. Diffracting exposes the differences between archaeologists, heritage practitioners and artists, and foregrounds how their differing practices and approaches enrich and inform each other. How might the digital imaging techniques used by archaeologists be adopted by digital artists, and what are the potentials associated with this adoption? Under the gaze of fine artists, what happens to the fidelity of the digital images made by archaeologists, and what new questions do we ask of the digital image? How can the critical approaches and practices of fine artists inform the future practice of digital imaging in archaeology and cultural heritage? Diffracting Digital Images will be of interest to students and scholars in archaeology, cultural heritage studies, anthropology, fine art, digital humanities, and media theory.
Reality Modeled After Images
Reality Modeled After Images: Architecture and Aesthetics after the Digital Image explores architecture’s entanglement with contemporary image culture. It looks closely at how changes produced through technologies of mediation alter disciplinary concepts and produce political effects. Through both historical and contemporary examples, it focuses on how conventions of representation are established, maintained, challenged, and transformed. Critical investigations are conjoined with inquiries into aesthetics and technology in the hope that the tensions between them can aid an exploration into how architectural images are produced, disseminated, and valued; how images alter assumptions regarding the appearances of architecture and the environment. For students and academics in architecture, design and media studies, architectural and art history, and related fields, this book shows how design is impacted and changed by shifts in image culture, representational conventions and technologies.