‘Instravel - A Photogenice Mass Tourism Experience’ by Olivier Kmia.

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‘Instravel - A Photogenice Mass Tourism Experience’ by Olivier Kmia.

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“The Selfie Factory is an experimental art installation creating a temporary visual experience of online behaviour.“
https://dpa.portrait.gov.au/dpa-finalist/selfie-factory/
Automated images don't just simply represent things—they actively intervene in everyday life.
“On its surface, a platform like Facebook seems analogous to the musty glue-bound photo albums of postwar America. We “share” pictures on the Internet and see how many people “like” them and redistribute them. In the old days, people carried around pictures of their children in wallets and purses, showed them to friends and acquaintances, and set up slideshows of family vacations. What could be more human than a desire to show off one’s children? Interfaces designed for digital image-sharing largely parrot these forms, creating “albums” for selfies, baby pictures, cats, and travel photos.
But the analogy is deeply misleading, because something completely different happens when you share a picture on Facebook than when you bore your neighbors with projected slide shows. When you put an image on Facebook or other social media, you’re feeding an array of immensely powerful artificial intelligence systems information about how to identify people and how to recognize places and objects, habits and preferences, race, class, and gender identifications, economic statuses, and much more.”
Street View Camera That Saw Me by Ed Panar.
Agoraphobic Traveller
“Agoraphobia & anxiety limit my ability to travel, so I've found another way to see the world #GoogleStreetView”

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GSV series ‘You Are Not You Anymore’ by Joris Hermans.
The first installment of Accidental Internet, a new series where Gideon Jacobs and Eric Oglander crawl the web looking for strange and beautiful pieces of text and images.
Joan Fontcuberta, GOOGLEGRAM: 11-S NY, 2005. GOOGLEGRAM: 11-S NY, 2005. September 11 plane crash snapshots. The photographs have been refashioned using photomosaic freeware, linked to Google’s Image Search function. The final result is a composite of 8,000 images available on the Internet that responded to the words: ‘God’, ‘Yahve’ and ‘Allah’.
From an article by Lewis Bush ‘Nothing but Blue Skies’ on the Hatje Cantz blog.
Zeynep Beler, Instagram #3, 2016.
Arist & friend Zeynep Beler wrote an interesting article on her practice of painting ‘lost’ photographs from the internet.
“The reflex for picking out orphaned images stood up and declared itself. Noting that the everyday plethora of lo-fi images on my screen could at times pander more credibly to my personal narrative than photographs I took myself, which could be heavily influenced or defined by applied photography, I started to lean into a practice free of those implications. Oil painting comes laden with its own meaning—not that I was relying on that alone, since I don’t paint photorealistically. Rather, I liked the playfulness and leeway in overstating certain tactile qualities of the image, prone to being lost in compression, while assimilating or simplifying other aspects. It allowed me to manipulate a photograph without changing its essence as I perceived it and gave me a new angle in how I saw and presented images where up till now I had been dependent on choices in editing.”
Some Los Angeles Apartments (2013) by Sveinn Fannar Jóhannsson is a remake of the original book by the American artist Ed Ruscha, published in 1965. The occasionally grainy and unfocused Google-pictures in Jóhannsson's book give, however, associations to a theme that in one sense has become all-pervasive and considerably more relevant today than in Ruscha's era: surveillance. Google's enthusiasm for documentation is today a part of a literally quite different, and more extensive and disagreeable, picture universe than the Ruscha-photographs were, spread as they were in a low quantity amongst art enthusiasts.

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Tinder In by Dries Depoorter
Side by Side profile pictures of LinkedIn & Tinder of the same person. Series existing out of 10 photo frames.
To question and challenge privacy issues, i’ve used examples from my surroundings as well as examples from my personal life (as I do in many of my projects). With this, I do not have the intention to expose any person in particular. My intention is to mock privacy in general. I want to expose what can be exposed so easily without us realizing it. From now on, I will continue this project without anyone being recognisably pictured.
The online discussion that erupted since the project went online, shows that you don’t need anyone’s permission to debunk someone’s ‘apparent’ privacy. It is interesting to see that this project effectively shows how people think about being visible online, even though in daily life, people hardly seem to be concerned.
The Encyclopedia of Kurt Caviezel For the past 15 years, from his studio in Zurich, Kurt Caviezel has been monitoring 15,000 publicly accessible webcams located all over the world. By taking screenshots of any situation he found interesting he compiled an archive of more than 3 million images, categorizing them for recurring patterns and subjects. The dust jacket of the book contains all 15,000 web-links used by Kurt Caviezel to create this body of work. From the foreword by Joachim Schmid: Through years of camera surveillance the artist has compiled a virtually unreal amount of images, which have all been harvested from webcams. The quantity of images is of crucial importance here, because quantity (as is the case with many collections of things) at some point turns into quality. Only abundance enables the detection of recurring patterns. May the single image be just funny or banal or vacuous, in a series of similar ones it becomes a building block of knowledge. By sequencing kindred images, Caviezel makes order emerge from the torrent of images.
Vricon offers a new way to map the world
Brad Feuerhelm on ‘Jaunt’ by Lotte Reimann
“Lotte Reimann’s Jaunt on Art Paper Editions is a post-traumatic lover’s discourse culled from the corners of the Internet. Brilliantly extracted from a series of vernacular images and re-shot via her computer screen, the images weave a post-narrative of dead ends. There is little information behind this new re-purposing of imagery, but it is sewn together with an intricate eye to formulate a new posture of belief. I find that with everything appropriated via the Internet these days, the hand of the artist is a generally nuanced affair. The creator must re-purpose, but also dedicate a strong editorial and means of aesthetic proficiency to pull together such arcane material into a cohesive body of work.“
Full article on ASX.
4JEDD, 2011 @ Doug Rickard
An article by Owen Campbell on Doug Rickards new book.
"Rickard takes stills from YouTube, freezes them and rephotographs them. The result is remarkable, atmospheric street photography for the era where everything has already been photographed and selection rivals original documentation."
And an interview with Rickard on the CNN website.
"What he ended up with is a jumble of violence, exploitation, joy rides, drugs and other illegal activities. It is a view of a country struggling with a shifting economic and cultural landscape, one where technology can create or amplify crisis and where cyberbullying, revenge porn and "slut shaming" have gone viral."

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Over fotografie en privacy op het web.
A different use of images taken from the internet...