Abstract / Description of output
This article analyses the aesthetics of digital compression as revealed in Thomas Ruff’s Jpegs series of photographs (2004–07). These images exhibit a poor standard of digital picture resolution fixed as large-scale, high-quality, lustrous C-type photographic prints. With reference to Vilém Flusser’s writing on photography, I argue that Ruff’s work discloses a ‘horror of digital photography’: a system of automated representation, which inverts our relationship to the photographic image.
Original language | English |
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Pages (from-to) | 93-109 |
Number of pages | 17 |
Journal | Philosophy of Photography |
Volume | 12 |
Issue number | 1-2 |
DOIs | |
Publication status | Published - 24 Jan 2023 |
Keywords / Materials (for Non-textual outputs)
- compression
- contemporary art
- Düsseldorf School
- Flusser
- poor image
- post-internet