The organisation of movement across border structures shows unequal treatment of different groups of people. Privileged passengers can move easily and swiftly across the globe and may, even in developing countries, remain in secure and familiar environments. The journeys of migrants, who are travelling under dissimilar pretences, are usually 3 exhausting and dangerous. They frequently strand in different places at various stages of their journey – their movement is slowed down or “petrified” (2011, p.201).
Read MoreA Visual Narrative of the Ukrainian Conflict
History has been created through stories and the memories of individuals having witnessed certain events. Today, however, the media no longer exist as narratives but rather as flashes and images. History is therefore being reduced to images.
Paul Virilio to David Levi Strauss. (2003, p.167)
This essay investigates the ability of photographs to bear witness to historical trauma and how differing approaches to visualisation, forms of distribution and presentation may affect how an audience is called to perceive a historical trauma. This is examined through the analysis of selected images captured by photographers Jerome Sessini and Donald Weber during the protests in Kiev in February 2014 and immediately after the MH17 Flight was shot down while flying over Eastern Ukraine on the 17th of July in 2014. I assert that despite the aesthetic differences and dissimilar visual strategies, both the images of Sessini and Weber are the result of an active process of documentation that has the potential to bear witness to the events and historical trauma in Ukraine.
Read MorePhotography and Machine Learning: when Images Become Data Images
The increasing number of digital images produced and distributed today has been an argument of investigation for numerous scholars as well as the subject of vast literature on the usage and impact of such images on our society. While the pressing issue to the majority of scholars concerns the ability of the digital image to represent reality, an increasing amount of literature questions the role of digital images in the broader, networked context of artificial intelligence and machine learning. This paper traces the evolution of traditional photography to data images to describe the shift in the essential nature of images from the way they were consumed by the public to becoming a source of raw material to feed sophisticated autonomous learning machines that are able to recognise, categorise and classify objects, humans and spaces.
The paper analyses the use of image as evidence tracing a chronology of photography in relation to technological progress. The ability of computer vision combined with the continuous stream of images and machine learning capabilities offer a wide range of beneficial possibilities, but this technology can also be misused and raises numerous ethical questions. This paper, rather than attempting to ascertain an answer to this question, seeks to display its complexity to underscore and reiterate the risks of relying entirely on machines. Unconditional trust in technology not only does not protect us from the probability of human error, but it also reduces our critical capabilities.
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