Screenshot Situations

“pictures as “complex assemblages of virtual, material and symbolic elements” (Mitchell 2005, p. xiv).” ⤴️
“Mitchell 2005, p. 93). If a picture “refers to the entire situation in which an image has made its appearance” (2005 , p. xiv) the screenshot might be helpful as a unit of measure of such a situation in the networked context.” ⤴️
“Screenshots, when taken as units of measure, participate in processes of knowing, measuring, theorising and observing” ⤴️
“Rather than following representationalist 1 belief that representations are ontologically distinct from what they represent, screenshots give account of how these phenomena are dependent, intra-actively rearranging and (re)producing not only images but also situations necessary to generate screenshots.” ⤴️
“especially suited to register histories of technologies (Allen 2016; Gaboury 2021 ; Gerling 2018),” ⤴️
“and broader social and cultural practices that take place across networks (Gaboury 2019; Soon & Tyżlik-Carver forthcoming).” ⤴️
“what the networked image might be” ⤴️
“While screenshots continue to circulate as images, they require infrastructural support. Distributed with them are metadata and other material practices that involve technologies, skills, interfaces and habits, often in form of gestures that are performed on and with the help of computational devices. These are screenshot situations” ⤴️
“images are world-making phenomena with agential force and screenshots are its material instances.” ⤴️
“the agential force of an image can be defined as a distance – in time and space – between an image and its apparatus, for this distance demonstrates the extent of the image’s range across networks: the operations that are executed and required to propel it across this infrastructure.” ⤴️
“The moment of making an image, which in this case is the event of screen capture, initiates a process of executions that require specific socio-technological conditions that reproduce screenshot situations computationally” ⤴️
“even if this particular image has been captured already, what remains is the continuous possibility of the situation of capture.” ⤴️
“Barad’s emphasis on measurement as “a meeting of the natural and the social” and as “a potent moment in the construction of scientific knowledge” (2007 , p. 67) applies here: the distance and number of reproductions across material networks, the executions of which are social and computational constitutes a measurement of socio-material potency.” ⤴️
“screenshots as worldmaking phenomena” ⤴️
“screenshots have been thought of as instrumental to the development of computeraided design in the 1960s (Allen 2016) . Matthew Allen discusses the application of screenshots for architecture by situating them “in contexts of practice” and as “figures of knowledge” that define the practice ( Allen 2020, p. 103).” ⤴️
“Menkman, in contrast, researches the materialities of computer screens and specifically resolution architectures and technologies that render data into images. These two authors usefully locate images in relation to practices, devices and formats created—that is, to the social, historical and technical conditions of image-making.” ⤴️
“a screenshot as a condensation of many different material and computational practices across time and space.” ⤴️
“capture the computational processes and give evidence of the apparatus of their making.” ⤴️
“self-disclosure of the image’s production and distance of travel reconfigure the screenshot’s potency” ⤴️
“To print, grab or shoot a screen engages algorithmic operations, storage capacities, image files and formats, as well as screens, and graphical and hardware interfaces.” ⤴️
“humans, bots and other algorithms might act as such operative agents.” ⤴️
“to make media (imaginatively) accessible as “landscapes or spaces” (2005, p. 208) to picture not just what media are and what they do but also “to raise the question of what the medium of theory itself might be” (p. 209).” ⤴️
“in digital spaces, which many users don’t see as landscapes that might open horizons, but impenetrable black boxes” ⤴️
“The challenge is to account for what is happening on this terrain and what already have taken place in such a way that, while accounting for the lives of images, metaphors are not the only ways to access what we know about an image.” ⤴️
“Today it is less common to photograph computer screens in 174 Magdalena Tyżlik-Carver such a way that the whole context of image-making is in the picture” ⤴️
“Screenshot infrastructures are no longer visible because they have become part of the networked and computational infrastructure of which the screenshot is also a part.” ⤴️
“Seeing screenshots as landscapes and locating them as spaces can mitigate this to a degree by opening screenshots’ metaphorical horizons.” ⤴️
“framing screenshot as a landscape, charge it with a particularly passive character” ⤴️
“locks it into what it represents, immobilising also its interactive possibilities.” ⤴️
“expansive environments of informational architectures” ⤴️
“social, professional, aesthetic and technical practices, which are affectively entangled into a screenshot situation.” ⤴️
“screenshots never settle, even if represented in an image, as they are always liable to reproduction elsewhere.” ⤴️
this reminds me of tutorials followed with different systems, updated images from reproductions etc
“Drawing with Sound” ⤴️
could be interesting, just too far from relevant to me right now
“indicate which specific material processes mattered and how, at the moment of taking a screenshot.” ⤴️
“the proliferation of screenshots might be synonymous with the contemporary ubiquity of screens in general” ⤴️
“I am interested in tracing moments when the scientific and vernacular come together, thus accounting for the heterogeneity of screenshots as always scientific and technical, while also social and aesthetic.” ⤴️
“Mathew Allen’s study of screenshots as “central to the task of constructing a new meaning for the computer” (2016, p. 638).” ⤴️
“in the early CAD programs, “screenshots conjured an unusual situation” (Allen 2020, p. 111), demonstrating the potential of interactive computational process and in this way helped to promote the idea that a computer can be more than just a calculating device (Allen 2016, pp. 638–9).” ⤴️
“show what kind of interaction is possible, and that such interaction is already a reality ( Allen 2016, p. 641).” ⤴️
“at least four different conventions converged into a screenshot understood as “an image type that represents the interactive computer and the process of using one” (2020, p. 111).” ⤴️
“they give a second-hand impression of the experience of using an interactive computer” (2016, p. 658 my emphasis). In” ⤴️
“The screen, monitor or other forms of digital display frame a screenshot as an image usually captured with the PrtSc, or some other combination of keys, depending on the kind of the device” ⤴️
“memory boards to image compression algorithms such as JPG or PNG formats” ⤴️
“because a screen is generally considered synonymous with an image it is rarely theorised independently ( Gaboury 2021 , p. 55).” ⤴️
“One example is the project institutions of Resolution Disputes (i.R.D), by artist and theorist Rosa Menkman.” ⤴️
“engages the materiality of computer screens and histories of digital image formatting to “uncover how resolutions inform both machine vision and human perception” ( Menkman 2020)” ⤴️
""resolutions do not only impose how or what gets run or seen, but also what images, settings, ways of rendering and points of view are forgotten, obfuscated, or simply dismissed or unsupported”. Menkman” ⤴️
“the construction of digital images along five axes: habit, materiality, genealogy, institutions and scale.” ⤴️
“screen is understood as multidimensional environment that combines the technical specificity of a computer screen with deeply social, gendered and racial conditions of contemporary culture” ⤴️
“screen is deeply relational and technical” ⤴️
“Menkman’s research develops a particular form of resolution forensics, a method that reconstructs by creating “the recreation-backwards of the event from the trash and the rubble that it leaves behind” (Weizman 2015, p. 37).” ⤴️
“the desire to “refuse syntaxes of history to direct our futures,” i.R.D methodically inquires into experiences of digital spaces as resolved with dimensions, surfaces, lines, frequencies, vectors and connections between them as they render and are rendered into a digital image” ⤴️
“reveals how these technologies omit and leave behind some things while underlying and making visible others.” ⤴️
“The assumption of the objectivity of technology is a major concern when it comes to the application of these formats as they set standards by seeping into the everyday through discreet and highly distributed use.” ⤴️
“Images like Shirley cards are example of a meta-image, an image about images” ⤴️
“If objectivity is the aspiration “to knowledge that bears no trace of the knower” (Daston and Galison 2007 , p. 17), the research of i.R.D project shows how this takes place through automation that absorbs decisions into technological features” ⤴️
“the process of coding slowly disappears until it is completely transparent and difficult to trace.” ⤴️
“The exhibition Screenshots: Desire and Automated Image (2019) also takes computational image represented in a screenshot to see what is part of such an image. The curatorial question asks what happens to the image when a camera is replaced by a computer and computational process?” ⤴️
“Dictionary definitions of images describe them as physical likeness, representation or optical counterpart, but they also refer to mental representation of something previously perceived, in the absence of the original stimulus, referring to an idea and conception.” ⤴️
“the curious relation between the presence of the object and also its absence” ⤴️
“the thing represented in the image is not the thing itself (see Cox, Chapter 5).” ⤴️
“what you get with the screenshot is more than you can see. 5” ⤴️
“Construction of images is increasingly automated” ⤴️
“use affordances and constrains of these technologies to offer solutions and speculate on possibilities of image-making technologies as ways to imagine with.” ⤴️
“while Luxemburg’s work is a picture in a frame that can be hung on a gallery wall, it simultaneously exists as a series of digital files: crisis.php (a source code), crisis.txt (a text file explaining the work) and crisis.png (an image), all part of the complete artwork” ⤴️
“software art, an art format where software is not just a tool to make art with but where it becomes an artwork itself.” ⤴️
“hides an encrypted version of the novel and in this way it exists as both an original artwork by Luxemburg and, if executed, an illegal copy of a literary work by another author.” ⤴️
“it asks what kind of object is a digital image, who does it belong to, and what does it represent?” ⤴️
“Using conceptual steganography, based on the cryptographic practice of concealing messages in another message or an object, Luxemburg plays with its possibilities as conceptual artistic practice and asks: “What would an image that contains a novel actually show? What would the code look like? Could the code be the image, and the image the code? And so on….” 8” ⤴️
“The title already points towards the crisis of property, but we can see that the image is in some other crisis too.” ⤴️
“Nothing is clearly represented: each element demands that we look closer at it to see what exactly is in the picture.” ⤴️
“There are other visual elements present in the picture, which have to be seen as separate first before it is possible to understand what is assembled together to create this image.” ⤴️
“open on the fragment that discusses the changing condition of private property. The title of the artwork is taken from this fragment.” ⤴️
is this remix? direct encapsulation of a part
“Screenshots discussed here are confusing as they construct a picture as imaginary “pulsating with life” and “suggesting the motion and vitality that is captured, even in the still image, the material excess that turns the virtual image into a real picture” ( Mitchell 2005 , p.” ⤴️
“with a screenshot as a unit of measure that it is possible to account for what is in the picture beyond what we can see.” ⤴️
“read an image while conceptualising its apparatus” ⤴️
“this desktop image is a curious mise en abyme, which in this case tells stories of images by hiding them in other images.” ⤴️
“The Conceptual Crisis of Private Property as a Crisis in Practice is a noise of formats and representations that all seem to be equally important and brought to the front to capture our attention. As they are all assembled together into an image and as an image, they also create its depth.” ⤴️
“It is not much different from what is traditionally expected from an image, a representation superimposed onto a surface and nested within a frame. It is at this point that the viewer is challenged to look beyond the visual and focus on computational functions inserted in the image.” ⤴️
“The screenshot as a unit of measure maps the image as a multidimensional space between the virtual materiality of a computer, symbolism of visual culture, and wide-spanning effects of digitalisation. What is assembled exists across dimensions which are differently available to algorithms and to people.” ⤴️
multimodal as redundancy
“The fact that this image can be executed and that it contains other executable formats moves it beyond the representational dimension of what normally is defined as an image.” ⤴️
“And at the same time, it is a representation, a mirror on what an image is computationally.” ⤴️
“screenshots are situations that capture the circulation of data at the moment when data materialises as an image.” ⤴️
“I position the networked image not as a new category of images but rather as a specific and located agential force – a situation that organises relations and bodies that come together to make an image.” ⤴️
“See also Lozana Rossenova (Chapter 11, this volume), who defines screenshots also in regard to data and metadata describing screenshot images, thus making them accessible online. Rossenova locates screenshots networked potential in “relations between backend, frontend and user agent."" ⤴️