PetaPixel a lansat o serie de articole în care Joshua Sariñana ne vorbește despre Instagram și Anxietatea Fotografului. Articole ce merită citite dacă:
1. Vrei să citeşti părerea unui neurolog în 3 articole sub titlul “Instagram şi Anxietatea Fotografului”
2. Vrei să afli cum mişcarea de artă modernă s-a impus într-un mod cât mai rebel împotriva artei conservative
3. Vrei să afli de ce fotografia cu telefonul mobil poate fi inclusă în mişcarea artei postmoderne.
4. Vrei să citeşti şi altceva decât “Cum să am mai multe like-uri la o fotografie” sau “Cine sunt cei mai urmăriţi instagrammeri din România” sau “Vezi ce poză a mai pus Inna pe Instagram”
Iată mai jos fragmente luate din articolele cu pricina ca să vă facă o poftă de citit!
In this article, I will show how the modern art movement formed as a rebellion against the conservative art forms of their time. From there, I’ll show how the artists of the modern art movement were threatened by industrialization, the camera, and, relatedly, photography. I’ll end by showing that the modernists’ inability to appreciate the power the camera led, in part, to their own demise. sursa articol I
In Part II I’ll argue that mobile photography is ushering in an entirely new genre of art that is the culmination of the postmodernist art movement. I will elaborate on the development of postmodernism by tracing its lineage back to the radical Avant-Garde art movements of the 1910s and 1960s. Specifically, I’ll demonstrate how artists like Marcel Duchamp and Andy Warhol helped to create disruptive Avant-Garde techniques, in part, through the use of photography as a way to challenge the status quo. Furthermore, by linking the concepts of artists, social critics and academics during these periods, I’ll explain how photography has historically been used as an instrument to attack established art forms. My conclusion will show that during these windows of disruption there is immense social, political, and technological change that generates fear towards the unknown, that is, anxiety. sursa articol II
I’ll assert that mobile photography is inherently Avant-Garde and has resulted in data overload. Data overload causes dysfunction of two brain regions (the prefrontal cortex and amygdala), and fragments our attention towards environmental information. It is this fragmented attention that parallels the fractured sense of space-time represented by Collage. I’ll conclude by arguing that mobile devices are the source of the very problems they promote. It is this paradoxical relationship with technology that drives the anxiety of the photographer. sursa articol III
