Even the pure space of academic discourse has become infected with multimodality and creativity. Digital media marry image and text throughout. The average magazine today contains as much space devoted to images as text, and the likelihood that readers are accessing the magazine on a tablet is about as good as that they’re holding a physical magazine. Film and television greet us with moving images coupled to an audio track. Each new medium uses these two modes in one way or another. T Mitchell implies that the division between image and text has always been illusory ( Iconology 46). Just as context and text are inseparable, visual and verbal modes have become inextricable-or rather, have been revealed to have always been at best difficult to distinguish. Similarly, both words and images are almost meaningless without context. Neuroscience teaches us that ideas are not localizable within the brain but are created by neural connections (Damasio). For most of us, thought resides in the communication across this fissure. This division may indeed be hardwired into our brains, the verbal left hemisphere coupled to the visual right hemisphere by the corpus callosum. These are chosen not at random but as a means of approaching the question sidelong. Throughout this nexus, I choose two centers and watch them move: visual and verbal. Alt-scholarship is a chance to make a “ ragoût,” to borrow Barbara Cassin's term. As may seem obvious, the center lies in the middle, between not with a finis on each side, the limits waiting to be defined, but between other, older centers, centers that have been left out. I, however, am interested not in defining this change, in finding its limits, but rather in decentering it, both laying down and (re)moving its center. In this page, I'd like to point to a narrative that doesn't get enough attention: the feminist roots of alt-scholarship. And during these changes, there is a danger of us embracing easy narratives of progress or decline. Sometimes it is a technological renaissance, other times a paradigm shift. The digital revolution, the advent of visual literacy, cool media, it is called by many names. Our visual environment is becoming more and more rich. They have now become the foundation of my work.Things are changing. ( Many thanks to years of teaching from Alain Briot to get me to understand these ideas. That is the hard part of photography, if that is your desire. Those who see their work as first an artist and secondarily a photographer strive to imbue their soul in their work. Lastly they make people think that posting a nice picture online constitutes fine art. They make people think that just taking pictures with any camera can make them an artist.Ĥ. They make people think that photographic art is easy and inexpensive to produce.ģ. They make people think that photographic art is easily obtained.Ģ. Sellers of photography do several things.ġ. I am a believer that a serious photographic artist prints their own work. You spend more time processing your images than you do taking them. You alter and process and print the image to your liking, artistic style, and preferences that are uniquely yours.ģ. As of this post, I consider Lightroom and Photoshop to offer the broadest array of creative options available.Ģ. That means altering the forms and colors and contrasts in your image to fit your artistic vision as much as possible. #Paradigm shift pictures software#You do much more in Lightroom and Photoshop or whatever image processing software you have to your image than just adjust the saturation and contrast. IF you do the following, you are following a digital paradigm:ġ. You only adjust the color and contrast during processing of the image.ģ. You do nothing to the image that comes out of the camera and print without processing.Ģ. IF you do the following, you are following a film paradigm (while shooting with a digital camera):ġ.
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