continued from page 21! Take the work of Wendy McMurdo as an example. Her digital portraits explore "the shifting rela- tionship between the subject/object and the viewer which has been brought by the introduction of the ele- ment of the digital."*? A seamless montage of multiple images of the same sitter is constructed to create a sense of unease in the viewer. It is the seamless quality of the images that produces a digitally referenced space. Thus the work is focused not on the sitter but on the space incorporating the sitter, a space of the "synthesis of the known and the new."” Furthermore, this space exists within the photographic and its association with the ‘real’ - the result being "an impossible fusion of times and spaces which elicits a strong feeling of the uncanny."** We understand that only one of the images of the sitter in each of McMurdo's portraits can actually exist, but which one? Doubts arise as to whether or not what is presented is real — whether the represented is animate or not. This creates a sense of the uncanny which stems from, as Freud explains, fear of the automaton, and furthermore, fear of loss of sight, and fear of the double or doppelganger.”? In McMurdo's images, such as Neal Berge 14.11.1994, the sitter is dig- itally arranged to "subvert the comfortable laws of the mirror" in order to give a sense of, simultaneously, ani- mation and the uncanny.” It is this desire to experience the uncanny through the use of digital space that is a Wendy McMurdo, Neal Berge, 14.11.94. direct extension of the mimetic instinct to recreate and thereby confront conceptions of our own nature. We intend to suggest an evolutionary change signifying the loss of individuality in the face of advancing technology and the progressive disappear- ance of face to face human interaction. — Aziz + Crucher’” Digital space infers an emerging hybridity of perception in which the new image is entirely narrative constructing. Image making of this kind then, is merging recorded with created reality. Fiction and truth, or per- haps more appropriately, truthful fiction, is the hybrid result. In other words, a collaboration occurs between the real and unreal to deny supremacy of either and illu- minate an ultimately more truthful subjectivity. So, the consequence of a popular move towards hybridity is that the indexical reliability of the photograph, while not lost, will be felt to be incomplete. For Druckrey "the limits of photography, like the limits of language, indi- cate that formal and self-reflexive models of expression no longer serve the symbolic imperatives of this cul- ture."*° In the case of artist Moriko Mori her "pictures are responses to a world in which reality and science fic- tion lie very close together, where real and virtual images co-exist and intermingle."*? The artificial within the artificial, Empty Dream, reveals the Japanese "colli- sion of ancient, still prevalent myths and a technological sophistication that is willingly or subcon- sciously accepted by everyone."*° Mori's work derives from this current experience and predicts its direction: the artificial is becom- ing reality. As mimetic and information-pro- cessing cognitive approaches combine, so too do analogue and digital photo- me - graphic processes in a space of new visual experience. With the introduction of digital space, the photo- graphic gives way to the electronic, illumi- nating potential for The objective truth of the photograph has, of course, always been problematic - what is of real importance here is the faith of the viewer. For artists working with digital imaging this faith is a fertile ground for probing beyond existing - representations of reality. evolution in vision, perception, self and representation. The computer reorients function towards a non-linear hybridity of interface and digital code, and therefore, with its popularization, begins to reorient human thought/operation, as we see reflected in the rise of the digital space. Inevitably, the advent-of the electronic era is changing both visual culture and the imagery that oper- ates within it. Artists have allied computer based digital- imaging technology with traditional photographic prac- tices to explore a digitally constructed photographic space. Through the construction of the tactile image, aided by the indexical reliability of the photograph, the desire to visually represent reality is taken one step fur- ther. The result is a hybrid of representation that reflects an increasingly non-linear experience of reality created by the new functional imperitives of the computer. Thus, in this expanding realm, the digital space makes the purely artificial image "real". 1 Batchen, Geoffrey, "Photogenics," History of Photography 22:1 (Spring 1998), p. 22. 2 Millar, Jeremy, “Jeff Wall: Digital Phantoms," Creative Camera 326 (Feb/Mar 1994), p. 25. 3 See Martin Lister, “Introductory Essay," in ed. Martin Lister, The Photograph in Digital Culture (London: Routledge, 1995), p.4. 4 von Amelunxen, Hubertus, Fotografie nach der Fotografie, exhibition catalogue (Dresden and Basel: Verlag der kunst, 1995), p. 118; as quoted by Peter Weiermair, “introduction,” in.eds. Mirjam Ghisleni-Stemmle and Esther Oehrli, Prospect — Photography in Contemporary Art, exhibition catalogue (Frankfurt: Frankfurter Kunstverein and Schirn Kunsthall Frankfurt, 1996), pp. 11-2. 5 Edwards, Susan H., “Post-photographic Anxiety: Bit by Bit," History of Photography 22:1 (Spring 1998), p. 4. 6 Henning, Michelle, "Digital Encounters: Mythical Pasts and Electronic Presence," in ed.-Martin Lister, The Photograph in Digital Culture (London: Routledge, 1995), p. 221. 2 7 Batchen, Geoffrey, "Phantasm: Digital Imaging and.the Death of Photography,” Aperture 136 (Summer 94), p. 50. 8 Laurel, Brenda, “On Dramatic Interaction," in ed. Timothy Druckrey, Iterations: The New Image (Cambridge Mass.: The MIT Press, 1993), p. 50. 9 Burson, Nancy, Richard Carling and David Kramlich, Composites: Computer Generated Portraits (New. York: Beech tree Books, 1986), pp. 188-9. : 10 Lovejoy, Margot, Postmodern Currents: Art and Artists in the Age of Electronic Media (Ann Arbor, Mi: UMI research Press, 1989), p. 152. - 11 Weiermair, Peter, "Introduction," in eds. Mirjam: Ghisleni-Stemmle and Esther Oehrli, Prospect — Photography in Contemporary Art, exhibition catalogue (Frankfurt: Frankfurter Kunstverein and Schirn Kunsthall Frankfurt, 1996), p. 10. 12 Stainback, Charles, "From Those Wonderful People Who Brought You Innovation," in ed. Timothy Druckrey, /terations: The , New Image (Cambridge Mass.:. The MIT Press, 1993), p. 11. 13 Batchen, Phantasm, p. 47. 14 Lister, p. 16. (@)24 eo 15 Green, Jonathan, “Pedro Meyer: Documentary Fictions," Aperture 136 (Summer 94), p. 34. 16 Meyer, Pedro, Truths and Fictions: A Journal From Documentary to Digital Photography (New York: Aperture Foundation, 1995), p. 121. 17 Green, p.34. 18 Ibid. 19 Benjamin, Walter, "The Work of Art in the Age of Mechanical Reproduction," in I//uminations, ed. Hannah Arenndt, trans. Harry Zohn, (New York: Schocken) as quoted by Michael Taussig, "Physiognomic Aspects of Visual Worlds," V.A.R. 8:1, Spring 1992. Reprinted in Art Now: Issues in Contemporary Art Coursepack (Vancouver: E.C.1.A.D., May 1999), p. 206. “20 Laurel, p. 80. 21 Taussig, Michael, “Physiognomic Aspects of Visual Worlds," V.A.R. 8:1, Spring 1992. Reprinted in Art Now: Issues in Contemporary Art Coursepack (Vancouver: E.C.1.A.D., May 1999), p. 207 22 Lawson, Sheila, “Doppelgangers," Creative Camera (April/May 1995), p. 14. 23 Ibid., p. 15. 24 Ibid., p. 14. 25 Ibid. 26 Ibid. 27 Aziz + Crucher, in eds. Mirjam Ghisleni-Stemmle and Esther Oehrli, Prospect - Photography in Contemp catalogue (Frankfurt: Frankfurter Kunstverein and Schirn Kunsthall Frankfurt, 1996), p. 36. 28 Druckrey, Timothy, “Revisioning Technology," in ed. Timothy Druckrey, /terations: The New Image, (Cambridge Mass.: The MIT Press, 1993), p. 24. 29 Weiermair, Peter, “Desire and Void: Curator's Introduction," in eds. Gerald Matt and Peter Weiermair, Japanese Photography: Desire And Void, exhibition catalogue (Vienna, Kunsthalle Wien, 1997), p. 14. 30 Ibid. y Art, exhibition ‘continued from page 21 Take the work of Wendy McMurdo as an ‘example. Her digital portraits explore "the shifting rela- tionship between the subject/object and the viewer which has been brought by the introduction of the ele- ment of the digital."** A seamless montage of multiple images of the same sitter is constructed to create a sense of unease in the viewer. It is the seamless quality of the images that produces a digitally referenced space. Thus the work is focused not on the sitter but on the space incorporating the sitter, a space of the "synthesis of the known and the new." Furthermore, this space exists within the photographic and its association with the ‘real’ - the result being "an impossible fusion of times and spaces which elicits a strong feeling of the uncanny." We understand that only one of the images of the sitter in each of McMurdo’s portraits can actually exist, but which one? Doubts arise as to whether or not what is presented is real ~ whether the represented is animate or not. This creates a sense of the uncanny which stems from, as Freud explains, fear of the automaton, and furthermore, fear of loss of sight, and fear of the double or doppelganger.” In McMurdo's images, such as Neal Berge 14.17.1994, the sitter is dig- italy arranged to “subvert the comfortable laws of the mirror” in order to give a sense of, simultaneously, ani- mation and the uncanny.” Itis this desire to experience the uncanny through the use of digital space that is a Wendy McMurdo, Neal Berge, 14.11.94. direct extension of the mimetic instinct to recreate and thereby confront conceptions of our own nature. We intend to suggest an evolutionary change signifying the loss of individuality in the face of advancing technology and the progressive disappear- ance of face to face human interaction. ~ Aziz + Crucher” Digital space infers an emerging hybridity of perception in which the new image is entirely narrative constructing. Image making of this kind then, is merging recorded with created realty. Fiction and truth, or per- haps more appropriately, truthful fiction, is the hybrid result. In other words, a collaboration occurs between the real and unreal to deny supremacy of either and illu- inate an ultimately more truthful subjectivity. So, the ‘consequence of a popular move towards hybridity is that the indexical reliability of the photograph, while not lost, will be felt to be incomplete. For Druckrey "the limits of photography, like the limits of language, indi- cate that formal and self-reflexive models of expression no longer serve the symbolic imperatives of this cul- ture.” In the case of artist Moriko Mori her “pictures are responses to a world in which reality and science fic- tion lie very close together, where real and virtual images co-exist and intermingle."® The artificial within the artificial, Empty Dream, reveals the Japanese "coll sion of ancient, still prevalent myths and a technological sophistication that is willingly or subcon- sciously accepted by everyone."* Mori's work derives from this current experience and predicts its direction: the artificial is becom- ing reality. As mimetic and information-pro- cessing cognitive approaches combine, so too do analogue and digital photo- Braphic processes in a space of new visual experience. With the introduction of digital space, the photo- graphic gives way to the electronic, ilumi- nating potential for The objective truth of the photograph has, of course, always been problematic - what is of real importance here is the faith of the viewer. For artists working with digital imaging this faith is a fertile ground for probing beyond existing representations of reality. evolution in vision, perception, self and representation. The computer reorients function towards a non-linear hybridity of interface and digital code, and therefore, with its popularization, begins to reorient human thought/operation, as we see reflected in the rise of the digital space. Inevitably, the advent of the electronic era is ‘changing both visual culture and the imagery that oper- ates within it. Artists have allied computer based digital- imaging technology with traditional photographic prac- tices to explore a digitally constructed photographic space. Through the construction of the tactile image, aided by the indexical reliability of the photograph, the desire to visually represent reality is taken one step fur- ther. The result is a hybrid of representation that reflects an increasingly non-linear experience of reality created by the new functional imperitives of the computer. Thus, in this expanding realm, the digital space makes the purely artificial image “real” 1 Batchen, Geote, “Photogenic,” History of Photography 22:1 Sping 198), p. 22 2 Mir, jeremy, “Jeff Wal Digital Phantoms,” Creative Camera 226 Feb/Ma 1998, p25. 3 See Marin ee, “ron Ej" ed Man ite The Dig Clearer: Route, 1995), pa. 44 on Ameluncen, Hubertus Fotografie ach der Ftogati, exhbiion etaogue (Dresden and Sse Veg er hurt, 1995), 'B. 118; as quoted by Peter Weer, “introduction,” n ds. Mijam Chalen: Stern and Esther Oct, Prospect = Photography in Contemporary Art exhbton catalog (Frankfurt Frankfurter Kunsveren and Sh Kunstha Frankia, 1996). pp. 112 '5 Edward, Susan H. "Post photographic Ansty: by Bi” History of Photography 22: (Spring 198), 4 Henning, Meee, “Digtl Encounters: Mythical Paste and ectronc Presence." in ed. Martin User, The Photograph in Dipta Cute (London: Rowe, 1995), p. 21 7 Batchen, Geothey "Phantasm: Digial Imaging and the Desth of Photography.” Aperture 136 Summer 94), p50. ‘8 Laurel, Breda, "On Dramatic Interaction,” ned. Timothy Drockrey, ieraton: The New Image (Cambridge Mass: The MIT Press, 1983), p50. {9 Buse, Nancy, Richard Caring and David Kramlch, Composites: Computer Generated Portas (New York: Beech ree Books, 1986), pp. 18.9. 10 Lovejoy, Margot, Postmodern Curent: Art and Artists i the Age of Electronic Mada (Ann bor, Mi: UMI research Pres, 1989), p 152 11 Wesermac Peter, “invoduton,” in eds. Miam Ghien-Stemmle and Esther Oehr, Prospect ~ Photography in Contemporary 47. exis catalogue (Fanktr: Frankfurter Kunsverin and SchinKunshal Frankl, 1996.10. 12 Stainback, Chars, “From Those Wonderful People Who Bought You mova,” in ed. Tmathy Orci, Herons: The ew image (Cambidge Mass The MIT Pest, 192) 13. 13 Batch, Phantasm, p47. aster p16 @-*4 15 Green, Jonathan, “Pedro Meyer: Documentary ions." Aperture 136 Summer 9, . 34 ‘6 Meyer, Pero, Tuts and Fictions: A Jounal From Documentary fo Dial Photography (New York: Aperture Foundation, 1995). p. 121 17 Green, 9.34 8b 19 Benjamin, Wer, “The Work of Atin the Age of Mechanic! Reproduction,” In Muminations, ed Hannah Arena, tans Harry Za, (New Yor: Schocken a quoted by Michel Tau “Phytognomle Aspect of Vaal Wot," VA R81, Spring 1902, Reprinted in Art Now: sues in Contemporary At Cousepack Vaneouver CEIAD, May 1999), p. 206: 20 Laurel p. 80. 21 Tas. Michal, “Physognomic Aspects of Visual Words” VAR. 8:1, Spring 1952. Reprinted in Art Now: sues in ‘Contemporary At Coursepack Vaneauver ECIAD. May 1959) p20? 22 Lawson, Sela “Doppelganger Creative Camera (pA/Nay 1995), p. 14 23, p 15, 24 op 14 25 26 bi 27 Ait + Cher, neds. Mijn Ghent Sterne and Esther Ochi, Prospect - Photography in Contemporary At exibton ‘atalogue (rankurt Frankfurter Kurstveren and Schn Konthal Fak, 1996), p98 28 Drckey, Tenoty,“Revoning Technology” in ed. Tethy Drckey, trator: The New image, (Cambridge Mas: The ‘MIT Pres, 1993), p28 29 Weerma Peter, "Desire and Void: Curator’ Intoducton, ne. Gerald Matt and Peter Welermay,apanete Photography Desie And Void. extibtion catalogue (Venn, Kunsthale Wien, 1997) p. 14 20}