Non-hierarchical forms

Órfhlaith Whelan

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#Data_curation | #User_experience | #Transparency | #Personalisation | #Identity

The artist Tuomo Rainio (2018) explores the idea of an exhibition as an interface. He questions whether transparency can be restored through the current inquiries into the unique relationship between the spatial elements of an exhibition and the two dimensionality of an image. If the exhibition is the interface then, Rainio (2018) notes that the viewer is conceptualised as a user. Images give a sense of visibility through a non hierarchical form, leaving the viewer to interpret what is in front of them.

Fig 1. Devlin, E (2019) Poem Portraits in AI: More than Human. Across the Centre.

Rainio (2018) notes that exhibiting work in a way that challenges the traditional structures of the ways of seeing creates an interruption which helps to reveal and explore the depths of the exhibition. He notes while the visual interface makes the depth’s functionality accessible, the algorithms that are behind these interfaces are hidden from the view under functionality. It becomes difficult to grasp how the viewer, as a user, should interact with the exhibition as an interface.

The artist and should be able to embed the meaning of the work within the images in order to make this relationship of surface and depth fairer.

Rainio (2018) notes that the artist should be familiar with this relationship between the interface and the user. Furthermore, the artist and should be able to embed the meaning of the work within the images in order to make this relationship of surface and depth fairer. This includes access to attributes associated with the image files, which can enrich the users understanding of the content by providing metadata descriptors of files. Rainio (2018) references Ryoji Ikenda and how he implements this in his exhibition Supersymmetry by using an immersive technological system which creates multi sensory experience.

Fig 2. Fewings, T (2019) Supersymmetry, 2065. Barbican, London.

An example of a good user experience (UX) design is when an exhibition is laid out in a way that allows the user to clearly access the underlying features of the exhibition, even without prior experience. By providing a clear user interface (UI) design which does not take into account the prior knowledge of a user, you can provide the user with a sense of control and familiarity. Powers ( 2018) begins by defining This. as an online resource that seeks to manage content which limits itself to only share a single link a day. Curation, as a tool, has the potential to combat the oversaturated choice online by applying personalisation. This vision may have set in order to eventually create an online space that is entirely curated where the abundance no longer existed entirely.

Fig 3. UI and UX explained. N/A, Sun Graphics, N.D.

Fig 4. Maggi, S.(2020) Content Curation: How does it build value? Digital Marketing Institute.

The use of the period, or full stop punctuation mark, as part of the name This. was a symbol to pause and pay attention. Unfortunately in 2016, This. ceased operations as they were unable to raise enough long term capital to sustain the business. Reflecting on this, Powers (2018) warns that This. should be an example of what can happen when you try to control and direct the way that information is shared. He notes especially that the limited aspect of This. was misrepresented as the app users themselves having a selective role in the content and a consequent influence on the editors.

Privilege around content sharing that plays into the promotional inclination to dictate how, where, when and what we share and see.

Schmidt (2012) refers to user login approaches which enhance platforms, such as Google and Facebook. He argues that this approach would promote integrity and prevent the over saturation of anonymous identities. Although This. was not following the filtering methods of algorithms that many large social sites such as Instagram were using. But it was still relying on their platform users to create a refining process. This raises the question of what the nature of the relationship is between curation and promotion.

When advertising revenue becomes a driving financial influence in the future of curated social sites, this reintroduces important questions about the reality of control that is behind the personalised choices we are given. Powers (2018) notes that creating apps like This. creates privilege around content sharing that plays into the promotional inclination to dictate how, where, when and what we share and see.

Citation

Whelan, Ó. (2020) 'Being human-centred' in Curating Photography: Poolside. TU Dublin: BA Photography [Online]. Available at www.curating.photography/post/orflaith-whelan

References

Hookin, S. (2015) ‘The Internet of Me: Creating a Personalized Web Experience’ Wired [Online] Viewed: 28th April 2020. <https://www.wired.com/insights/2014/11/the-internet-of-me/>

Keyes, J. (2016) ‘How Much Transparency is the Right Amount? A Museum Visitor Response Case Study’ Medium. [Online] Viewed: 28th April 2020.

<https://medium.com/viewfinder-reflecting-on-museum-education/how-much-transparency-is-the-right-amount-a-museum-visitor-response-case-study-b8edbba1ced5 >

Powers, D. (2018). ‘This. Reader: trending topics and the curation of information’ in Jeremy Morris, W. and Murray, S. (eds), Appified: culture in the age of apps. Ann Arbor: University of Michigan Press.

Rainio, T. (2018). ‘Interfaces for artistic thinking: redefining visual and spatial metaphors in apost-digital condition’ in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books.

Schiffer, Z. (2019) ‘‘Filter Bubble’ author Eli Pariser on why we need publicly owned social networks’ The Verge. [Online] Viewed: 28th April 2020. <https://www.theverge.com/interface/2019/11/12/20959479/eli-pariser-civic-signals-filter-bubble-q-a >

Schmidt, E. (2012) ‘Eric Schmidt’ interviewed by Walt Mossberg and Kara Swisher. 92Y Talks. Viewed: 15th April 2020. <https://www.youtube.com/watch?v=7uvQ5J45nXM >

Images

Fig 1. Devlin, E. (2019). Poem Portraits in AI: More than Human. Across the Centre. Viewed: 27th April 2020 <https://www.barbican.org.uk/whats-on/2019/event/ai-more-than-human>

Fig 2. Fewings, T. (2019) Supersymmetry, 2065. Barbican [Online] Viewed: 27th April 2020

<https://www.barbican.org.uk/whats-on/2019/event/ai-more-than-human>

Figure 3: N/A (n.d.) UI and UX explained. Sun Graphics [Online] Viewed: 27th April 2020.

<https://sungraphicsmedia.com/post/what-is-ui-and-ux-anyway>

Fig 4. Maggi, S. (n.d) Content Curation: How does it build value?. Digital Marketing Institute [Online] Viewed: 27th April 2020.

<https://digitalmarketinginstitute.com/en-ie/blog/why-content-curation-rules-social>

Dynamic spaces

Valdis Alijevs

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#Documentary | #Visuality | #Curatorial_practices | #Contemporary_art | #FIne_art_photography.

Our timeframes need to be broad when analysing how institutions of photography have created modes of exhibition-making and methods of curatorial practice. The period from 1920 to 1940 is described as the era that brought about the institutionalisation of photography (Sheikh, 2013). The historical background is important to adequately understand why curatorial practices have come to be described as performances and events (Schorch, 2017). Wolfgang Tillmans' influence on young photographers is partly due to his exhibition techniques (Fig 3). The success of the dynamic spaces he produces is attributed to how he devises exhibitions both with and for images (Östlind, 2018 and Davies, 2017).

Fig 1 Kaski, H. (2015). Tranquility. Exhibition Views. Finish Museum of Photography, Helsinki.

Another photographer pushing developments in curatorial practice is Heikki Kaski (Fig 1). His exhibition ‘'Vibrate on Silent' (2017) includes transitions evident in the techniques associated with Tillsmanian techniques, in terms of the spatial layout of images in books. It is difficult to understand why there is sometimes such a difference between what is meant by the terms fine-art and contemporary photography. Angie Kordic argues that fine art photography is 'created in accordance with the photographer’s vision, and it manifests an emotion, a personal impression and a unique vision of a subject the artist has a passion for' (Kordic, 2015). About contemporary photography, Östlind argues that it cannot be easily defined because it is so impacted by ongoing developments in the field of the photography. Nonetheless, Geoffrey Koslov does offer a definition of contemporary photography as ‘a rolling and evolving view of photography from a contemporaneous moment in time' (Koslov, 2015). I agree with Östlind’s view that contemporary photography still remains difficult to define because of how the technologies of circulation and distribution that shape a particular time also affects how photographs are made and seen.

Fig 1 Jensen, J. (1973). Boy on the Wall. MoMa, NYC.

In 1973, Jens Jensen made an exhibition at the Fotografiska Museet resembling enlarged pages of a photobook, images were attached to large white paper and laminated to help with moving the exhibition to its next venue. This clearly shows the influence of the book, also evident in Kaski and Tillmans’ work. I think this provided limitations to the portrayal of photographs, since you always had to keep in mind the need to be mobile. Aaron Knochel describes visuality as ‘a central construct of critical thinking in visual culture, assembles social constructions of images that are often invisible to understand the performativity of visual culture in constructing our social worlds’ (Knochel, 2013, p. 13). This is not very different to Glenn Rugga's (2010) description of documentary photography as a tool employed by practitioners to inform people about events they cannot see for themselves. In my view, visuality has is significantly impacted by the circulation of photographs.

As regards the circulation of the viewer, consider the standard adopted by exhibitions to hang photographs in straight horizontal rows on walls painted white or more likely in a specialist photography space a mid-grey (Langford, 2005). Now consider wheelchair users. in such a scenario. The representative overview of the ADA guidelines for wheelchair users provides important data for curating photography because ease of access is necessary (Smitshuijzen, 2007). If considering our culture which values visuality so highly, it means that you are excluded from mainstream experience if you do not see the way others do. The standard is considered 152 to 156 centimeters from the floor to create an eyeline for the exhibited images, which doesn’t allow access to some people, implying a negative view of the wheelchair user. The first figure appears to show the importance of the positioning of elevator buttons. The second figure is showing the appropriate eyeline level for wheelchair users, to make sure the whole audience can see the work. IMMA is well known for having full wheelchair accessibility.

Fig 3 Tillmans, W. (2013). Folding, Refraction, Touch. Busch-Reisinger Museum.

Interestingly, Tillman’s photographs are often deliberately placed too high for wheelchair users to view, showing the Tillsmanian tantalising method of portrayal (Fig 3). The Smithsonian Guidelines state that accessible design is necessary because ‘people with disabilities are a part of the museum’s diverse audience’ (Majewski, 2010, p. 2). I think guidelines that promote equality and diversity are a necessity. The third and fourth figures of the ADA Guidelines show the length and width of the wheelchair because it's important that it can fit in everywhere and have enough space. The last 3 figures show how far the wheelchair user’s arms can reach. When exhibiting work, it’s important to me to know all the guidelines and follow them because then you will have a larger audience and promote equality (Smitshuijzen, 2007).

Citation

Alijevs, V. (2020) 'Dynamic spaces' in Curating Photography: Poolside. TU Dublin: BA Photography [Online]. Available at www.curating.photography/post/valdis-alijevs

References

Davies, C. (2017). The Ultimate Guide to Wolfgang Tillmans. Sleek Magazine. Available at:https://www.sleek-mag.com/article/wolfgang-tillmans/

Knochel, A. (2013). Assembling Visuality: Social Media, Everyday Imaging, and Critical Thinking in Digital Visual Culture. Visual Arts Research, 39(2), Pp. 13-27. DOI:10.5406/visuartsrese.39.2.0013

Kordic, A. (2015). Fine Art Photography – As Valuable as Other Types of Art. Widewalls. Available at: https://www.widewalls.ch/fine-art-photography/

Koslov, G. (2015). What is Contemporary Photography? FotoRelevance. Available at: https://fotorelevance.com/what-is-contemporary-photography/

Langford, M. (2005). Langford's Starting Photography: The guide to great images with digital or film. Massachusetts: Focal Press.

Majewski, J. (2010). Smithsonian Guidelines for Accessible Exhibition Design. Smithsonian Accessibility Program. Available at:https://www.sifacilities.si.edu/ae_center/pdf/Accessible-Exhibition-Design.pdf

Mirzoeff, N. (2006). On Visuality. Journal of Visual Culture, 5(1), pp. 53–79. https://doi.org/10.1177/1470412906062285

O’Day, C. (2015). Mimi Ducreux: Curator at Large. Blogsport. Available at: https://iorart.blogspot.com/2015/11/mimi-ducreux-curator-at-large.html

Östlind, N. (2018) ‘’Framed or Unframed? How the Question of Photography as Art Has Shaped Exhibition Practice in Contemporary Photography’’ In Rastenberger, A.K and Sikking, I (eds). Why Exhibit? : Positions on Exhibiting Photographies. Amsterdam: Fw Books. pp. 147-160.

Phillipp Schorch. (2017). ‘’Assembling Communities: Curatorial Practices, Material Cultures and Meanings’’ In Onciul, B., Stefano. L., Hawke, S (eds). Engaging Heritage, Engaging Communities. Suffolk: Boydell Press. Pp. 31-46. Available at: https://books.google.ie/books/about/Engaging_Heritage_Engaging_Communities.html?id=N7Q4DwAAQBAJ&printsec=frontcover&source=kp_read_button&redir_esc=y#v=onepage&q&f=false

Rodriguez, J. (2019). Rick Hansen's new mission: Improving accessibility across Canada. CTVNews. Available at:https://www.ctvnews.ca/lifestyle/rick-hansen-s-new-mission-improving-accessibility-across-canada-1.4433561?cache=%3FclipId%3D89530

Rugga, G. (2010). Documentary Photography: The impact that photographs can have is illuminated in a look back at iconic images. NiemanReports. Available at: https://niemanreports.org/articles/documentary-photography/

Sheikh, R. (2013). Photography in the Grey Years (1920-1940). History of Photography. Pp. 117-125. DOI:10.1080/03087298.2012.738550

Smitshuijzen, E. (2007). ‘’Appendix II ADA Sight Requirements'’ In Signage design manual. Baden: Lars Muller Publishers.

Tiffentale, A. (2018). The Family of Man: The Photography Exhibition that Everybody Loves to Hate. FK Magazine. Available at:https://fkmagazine.lv/2018/07/02/the-family-of-man-the-photography-exhibition-that-everybody-loves-to-hate/

Images

Fig 1. Kaski, H. (2015). Tranquility. Exhibition Views. Finish Museum of Photography. Viewed 28 March 2020. <http://heikkikaski.com/Exhibition-Views>

Fig 2. Jensen, J. (1973). Boy on the Wall. MoMa. Viewed 28 March 2020. <https://www.hasselbladfoundation.org/wp/portfolio_page/jens-s-jensen-hammarkullen-40-years-later/>

Fig 3 Tillmans, W. (2013). Folding, Refraction, Touch Busch-Reisinger Museum. Viewed 14 April 2020. <https://www.harvardartmuseums.org/article/a-conversation-with-wolfgang-tillmans>

Inclusive and accessible

Zoe Ardiff

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#Universal_design | #Accessible_design | #Distribution | #Production | #Publicity

Digital publishing offers an inclusive, affordable distribution network which makes ‘art photography' available to a wider audience than ever before ((Pijarski, 2018 p.25).. This is hugely important as it can make art and ideas available to a wider audience and broader demographics. Online exhibits, books, and webinars, to name just a few examples, have made photography accessible to a greater number of people. Digital publishing is an efficient and relatively inexpensive activity that should be in place at every company—big or small, established or emerging, to bring visibility and brand awareness.

Digital publications allow for the inclusion of scholarly content, external links, and further contextual material, without cluttering up the work itself - Pijarski

Michael Mack, founder of MAPP editions, is an example of a publisher who aimed to open up greater access to photobooks by publishing online. This has since been widely emulated by many more publishers and exhibitions of photobooks are not uncommon. This change within publishing has driven technical and creative skills, and new types of jobs have emerged. Digital publishing maximises accessibility to content at a minimal cost. This means unlike photo books and exhibitions, digital publishing allows for the inclusion of scholarly content, external links, and further contextual material, without cluttering up the work itself (Pijarski, 2018 p.24). The widespread access to technology and internet access has also furthered the accessibility of online digital publications, which is a positive aspect for digital publishing.

The National Gallery of Ireland online Documentary Photography exhibition which is available via a YouTube video on nationalgallery.ie

Digital publishing tends to cost less than publishing a book or staging a well-produced exhibition. However digital publishing does require the same amount of creativity in its production from a collaborative team of people. The online availability of digital publications also means that the public can access them when and where is convenient to them and there is only a minimal cost. I would definitely consider providing a digital publication if I were to host an exhibition or produce a physical photo book as I would want anyone who wants to have access to the material. If you create art it should be accessible to everyone and not be limited.

Prior to publishing material, it's important to first consider the ways in which it can be viewed by an audience: online or print?

The information age has brought a lot of amazing things, including the ability to share knowledge instantly across the world. One way of doing this that is being increasingly explored is by creating online exhibitions. Exhibitions give people access to new sources of information to learn and discover more about the world we live in. While often exhibitions audiences are limited to those who can travel there, online allows for more people to gain access. It is important that all exhibition spaces incorporate universal design so that it may be used to the greatest extent possible by all people regardless of their age, size, ability or disability. Universal Design is focused on the principle of universal use and aims to dramatically improves the use by everyone: children, people with disabilities, the ageing population, and everyone in between. However, Accessible Design is tailored to specific personal requirements and can create a more personalised environment for your needs.

Dazed online photography exhibitions which are free and easily accessible.

Prior to publishing material it's important to first consider the ways in which it can be viewed by an audience: online or print? One must consider what are the similarities and differences between online blogs and print. Blogs are essentially regularly updated website or web page, typically one run by an individual or small group, that is written in an informal or conversational style. In terms of production, blogs have low production costs and can be read for free whereas print has high production costs and often must be paid for in order to read. Blogs also usually only have one editor unlike print which requires professional editors and often contributors. The distribution network of blogs is also a lot easier and cheaper than print. A downfall to online blogs is that they require internet access and therefore electricity whereas print is always available. This comes down to the issue of accessibility and blogs might not be accessible to some of the older generation who may be without internet access.

Art is for everyone and should be enjoyed by everyone, and it is important that art is available for everyone.

Blogs are often more spontaneous in tone then print which is usually more thoughtful. Blogs also follow a ‘real-time’ production model. Print is the opposite, does not fit a ‘real-time’ production model, and requires a production process. The main benefit of print in my opinion though is the fact that the paper involves and engages most of our senses: sight, touch and smell. Also the use of our photographic memory compliments print form over online form as we remember its physical form. But photographic memory doesn't work well with a display screen, which is dynamic, in a state of constant change. The digital revolution has left us questioning the future of print and it seems more uncertain than ever.

Ffasiwn' a fashion documentary video shot in the South Wales Valleys is available for viewing on theface.com

I have always had a preference for information in print. However, I do understand the importance of easily accessible information online in the form of blogs too. I think it's important to support the print format as it can hold value into the future and can be passed down through families. Paper and quality ink lasts longer so far than any digital storage format or play technology. In an ideal world, art would be free for everyone. However art, like everything else, costs money; artists need funding. Despite this art is for everyone and should be enjoyed by everyone, and it is important that art is available for everyone.

Citation

Ardiff, Z. (2020) 'Being human-centred' in Curating Photography: Poolside. TU Dublin: BA Photography [Online]. Available at (Pijarski, 2018 p.24).

References

Pijarski, K. (2018). ‘On photography’s liquidity, or, (new) spaces for (new publics)’, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographs. Amsterdam: Fw Books.

Ludovico, A. (2018). Post-Digital Print, The Mutation of Publishing since 1894. Eindhoven: Onomatopee.

Images

National Gallery of Ireland, Moment in Time exhibition. Available via YouTube https://www.nationalgallery.ie/art-and-artists/exhibitions/moment-time-legacy-photographs-works-bank-america-collection Accessed 4th April 2020.

Dazed magazine's online photography exhibitions are free and easily accessed. Available at www.dazeddigital.com/art-photography. Accessed 2nd April 2020

Ffasiwn a fashion documentary video shot in the South Wales Valleys. Available at https://theface.com/culture/the-valleys-wales-documentary-photography-charlotte-james-clementine-schneidermann-martin-parr. Accessed 4th April 2020.