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“Laughing Stock:” Stock Photography and Satire, from Digital Meme Culture to Post-Internet Art

Nathalie Agostini
This study interrogates the contrast between the relatively unexplored territory of stock photography as an academic focus, and its widespread exploitation in visual culture. Ubiquitous online in its various commercial and editorial formats as well as on social media, stock photography is worthy of attention because of the many characters it takes on. Taking satire as a starting point, this study examines the limits of stock photography, or the “wallpaper of consumer culture,” captured by the renderings of stock images in meme culture, while surveying alternate possibilities of their handling in art and contemporary photography practices.

Photo credit:
Timur Si-Qin. Selection Display: Tomato Quadra, 2013 from the solo exhibition “Basin of Attraction,” courtesy of the artist. Photography: Simon Vogel
  • Fecha
    26 mayo, 2017

    Multicultural Poetry Video based on Korean Culture

    Hyojin  Jang / USA
    Texas A&M University
    hyojinjang@tamu.edu

    This “Multicultural Poetry Video based on Korean Culture” includes two positive effects: i) audience can explore both the beauty of Korean language and literature via new media, and ii) audience’s emotion can be touched via one of the most touching Korean poems.
  • Fecha
    26 mayo, 2017

    Video Art & Indigenous Collaborations by Rachel Lin Weaver

    Rachel Lin Weaver / USA
    Virginia Tech University
    www.rlinweaver.com

    Rachel Lin Weaver is an interdisciplinary media artist working in video, experimental documentary, sound, installation, and performance. Her projects explore personal and cultural memory, resilience in the face of adversity, landscapes and people in flux, and ecological systems. She is influenced by her upbringing in wilderness areas and rural communities in poverty, and finds many useful metaphors in the natural world.
  • Fecha
    26 mayo, 2017

    The walls have ears

    Cristian Camilo Quintero Toro / Colombia
    Imagen Móvil
    crtoro90@gmail.com

    "The walls have ears” is an environment where the surfaces and objects can be activated to show the history fragments collected in the walls of our city. Everything that is outside of it's limits presents itself in fluctuating levels and offers a bigger perception field, the empty like a percent of territory has as support the manifestations, adjustments and transformations that the human being practices to habit.
  • Fecha
    26 mayo, 2017

    Transformational – A Psychotransgenic Workshop on Making With Life

    Louise Mackenzie / United Kingdom
    Northumbria University
    info@loumackenzie.com

    This talk presents initial responses from
    Transformational - a bio-art workshop that forms part of an ongoing research collaboration between Northumbria University and the Institute of Genetic Medicine at Newcastle University.  Tranformational introduces the concept of psychotransgenics: the situating of oneself physically in the position of transforming a thought into a living organism and the encounter of doing so.  The workshop enables participants to explore the potential of DNA as data storage device for text, music or image, create their own DNA storage designs for potential future use, choose whether they wish to physically store information within the body of a living organism and then reflect on their decision via a video diary.
  • Fecha
    30 mayo, 2017

    Notes about experimental film and video-art. A perspective of  filmmaking between ‘production effects'

    Carlos Mauricio Gómez / Colombia
    Universidad Nacional de Colombia
    akademik.mau@gmail.com

    Since the emergence of the seventh art has felt the need to explore even beyond what already 'established' to deepen the characteristics of an emerging new film, away from mercantilist and commercial purpose that this was coming permeating from Hollywood; It is so precisely as theoreticians, artists and experimenters in film managed to come up with other speech, accepted and valid from an audiovisual context. It can be stated that the experimental film and video art has not been made to understand, but from a viewpoint of subjective judgment within a given space and time, is unable to reach a result as such, but the process itself, the ideas they are covering what is observed; thus, an infinite range of views and interpretations is obtained.
  • Fecha
    30 mayo, 2017

    Beauty Technology: Seamless interactions through interactive cosmetics

    Katia Vega / Perú
    UTEC
    katia@katiavega.com

    Beauty Technology is a novel area of research that presents an exploration between the body surface, beauty products and digital technology. The concept stemmed from a multidisciplinary perspective; computing, chemistry, body anatomy, human behavior, electronics and design. By using Beauty Technologies, we are trying to move away from traditional wearable devices worn on clothes and accessories where gestures for interaction and electronics are noticeable.
  • Fecha
    30 mayo, 2017

    The Dermal Abyss: Possibilities of Biosensors as a Tattooed Interface

    Katia Cánepa Vega  / USA
    MIT Media Lab, Harvard Medical School
    http://katiavega.com

    Advances in biotechnology suggest new use cases outside the domain of research. The Dermal Abyss (d-abyss) is our proposal to create novel biointerfaces within the skin. D-abyss renders an interactive display by patterning into the dermis biosensors whose colors change in response to variations in the interstitial fluid. d-abyss is designed to use the aesthetics, permanence, and visibility nature of tattoos to encode information.
  • Fecha
    30 mayo, 2017

    Poietic Strategies in Artistic Practice

    Sophie Carolin Wagner / Austria
    RIAT – Research Institute for Arts and Technology
    scw@riat.at, https://riat.ac.at//

    The term poiesis, the basis for the adjective poietic, is derived from Ancient Greek and denotes an act that is directed to create something out of nothing – from poieo (ποιέω): 'to make'; to create something where there was void. Giorgio Agamben calls it in 'The Man with no Content': 'something passed from nonbeing to being, from concealment into the full light of the work. The essential character of poiesis was not its aspect as a practical and voluntary process but it being a mode of truth understood as unveiling, a-letheia (ἀ-λήθεια).' (Agamben, 1999, p.42) Poiesis stands thereby in opposition to practice, whose end in itself is action: the notion of the will to act. Poiesis on the other hand is not about being a volitional process, but one of revealing and with that a mode of veracity; a possibility for humans to find their own certainties.