Home

Hito Steyerl In Defense of the poor image summary

In Defense of the Poor Image by Hito Steyerl by Nisha Rama Krishnan Mediu

Hito Steyerl In Defense of the Poor Image The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed Hito steyerl in defense of the poor image Shake, noise and bad resolution: strategic uses of poor image in contemporary ethnographic documentary. Conference on abstract 2019 cinema philosophy. In its wise on the image of poverty, the artist Hito Steyerl claims that in visual culture there is a â € œthouses class of the imagesâ €, where high resolution rich images, high-end, exist i Steyerl personifies the idea of the image through a juxtaposition of the integrity of poor and rich images. The rich image is high quality, in focus, and specialized. The implications of the poor image are a mass produced, low quality, fleeting mess that does not speak to the true intent or content of the image In Defense of the Poor Image, https://aaaaarg.fail/thing/51c584186c3a0ed90b770d00 Hito Steyerl THEME #technology and society METHOD #critical inquiry FORMAT #essay. In Defense of the Poor Image was written by Hito Steyerl, where he discusses how poor images nowadays are becoming casual and being justified as good images. Poor images are referred to as your everyday image that just about anybody can take, things like instagram, twitter, and snapchat post can all be seen as poor images in most circumstances

In Defense of the Poor Image - Hito Steyerl MFA Studio Blo

  1. Reading 1: Hito Steyerl's In Defense of the Poor Image In Hito Steyerl's article, In Defense of the Poor Image, she describes and argues about how an authentic, original image transforms into a poor image through time and actions. Based on her perception on image transformation, the poor image is no longer about the real thing - th
  2. The first thing that strikes me about Hito Steyerl's idea of the poor image is her use of extraneous language to classify it. At first she describes something of what a viral meme on the Internet may be, then she describes some sort of filmic process that the poor image is a part of , but eventually is liberated from, like a proton in an unbalanced atomic particle
  3. A short summary of this paper. 37 Full PDFs related to this paper. READ PAPER. Precis_Hito Steyerl_In Defense of the Poor Image. Download. Precis_Hito Steyerl_In Defense of the Poor Image
  4. While Steyerl draws a parallel between that development and the status of the poor image, she also makes the point that digital communication is also subject to more negative influences, such as hate speech, porn, spam and aggressive consumerist forces. Poor images are thus popular images—images that can be made and seen by the many
  5. In the essay IN DEFENSE OF THE POOR IMAGE, author Hito Steyerl traces the economy of poor images, how their usage has developed and is perpetuated, and how their status within a certain hierarchy of pictures is designated. Steyerl defines the poor image as a copy in motion. Its quality is bad, its resolution substandard
  6. As the essay written by Hito Steyerl mentions, the pirated image is no longer the 'real thing', the poor image is instead a bastard copy of a long-distant original (eg, a poor-quality pirated DVD or a glitchy, pixelated video live-stream) the product of a postdigital world in which information moves according to the logic of what Steyerl calls 'swarm circulation'

Hito Steyerl - In Defense of the Poor Image. April 23, 2017 April 23, 2017 ~ indiastanbra 'The poor image is a copy in motion' a 'ghost of an image' - link this to the idea of photocopying? - image becomes a trace of itsel The poor image has transformed radically since Steyerl wrote about it in 2009, and a global internet culture has developed its own form of social currency; internet points are a way to feed human narcissism and are perpetuated from the accessibility of creating a poor image

Hito Steyerl - In Defense of the Poor Image — Victor G

In Defense of the Poor Image. by. Hito Steyerl. 4.59 · Rating details · 78 ratings · 7 reviews. The poor image is no longer about the real thing—the originary original. Instead, it is about its own real conditions of existence: about swarm circulation, digital dispersion, fractured and flexible temporalities The poor image is an illicit fifth-generation bastard of an original image. Its genealogy is dubious. Its filenames are deliberately misspelled. It often defies patrimony, national culture, or indeed copyright. It is passed on as a lure, a decoy, an index, or as a reminder of its former visual self

QCQ: In Defense of the Poor Image by Hito Steyerl Q:In the age of file-sharing, even marginalized content circulates again and reconnects dispersed worldwide audiences. C: I think the reference of the Woody Allen film was interesting in contrast with the introduction, that humanized a poor image In defense of the poor image_Hito Steyerl. Posted on November 8, 2018 November 8, 2018 by Dr. Yiyun Kang . The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates Hito Steyerl's Defense of the Poor Image brings to mind the word accessibility. Accessibility both in the way that the poor image is viewed, and in the way that the poor image is manipulated, reproduced, and commented on. It seems there is a historical hierarchy of image (a similar hierarchy is, I think, also presen

In Defense of the Poor Image by Hito Steyerl Nowadays modern society has access to a huge amount of images through the internet and other various types of media. These images often lose their identity, with copies of the original being disseminated on a massive scale, resulting in a diminishment of quality Steyerl's essay elevates the poor image as a political idea, then qualifies it; concluding that it is as much about 'defiance and appropriation' as it is 'conformism and exploitation'. The way in which images, as they travel, change in appearance and meaning is also the theme of November (2004), the film that first brought Steyerl to the attention of international audiences Although Steyerl's piece ends with the rather messianic statement that 'In short: [the poor image] is about reality', the piece articulates some of what I'm discussing in my Olympic screens writing - on the varied aesthetics of Olympic screen media, which encompasses both ultra high res and the poor image-making of the activist The text In Defense of the poor image by Hito Steyerl was read bit by bit, while thinking in the framework of a more general discussion of the interconnection between digital and analogue images, and their individual qualities as a measure of social, artistic and political tendencies

We are a professional writing service that provides original papers. Our products include academic papers of varying complexity and other personalized services, along with research materials for assistance purposes only. All the materials from our website should be used with proper references Link to article: http://www.e-flux.com/journal/in-defense-of-the-poor-image In Defense of the Poor Image by Hito Steyerl - QCQ Response. February 17, 2016 ~ vinylrose. by Amber Carlson. QUOTE The poor imageconstructs anonymous global networks just as it creates a shared history. It builds alliances as it travels, provokes translation or mistranslation, and creates new publics and debates Steyerl is the defender of poor images by explaining to us the use of them and why they are still relevant today in her piece, In Defense of the Poor Image. Hito talks about how the poor image is the aftermath if images when it is copied and pasted, gone through channels and essentially ends up as a jpg or avi Poor images are poor because they are not assigned any value within the class society of images - their status as illicit or degraded grants them exemption from its criteria. The further relating of this idea to the post-socialist and postcolonial society was rather interesting. It puts forth the poor image as almost a parallel t

As Steyerl has noted; there is a departure of the imperfect image from the author. As an image is redistributed: compressed, cropped, recoloured, layered, pirated; the authorship is diluted. Poor images are poor because they are not assigned any value within the class society of images - their status as illicit or degraded grants them exemption from its criteria Hito Steyerl defines the poor image as an image that has been copied and transformed from the original image, with poor quality, compressed, reproduced, uploaded, downloaded, or reedited. This article was published in 2009, so I find it easy to relate to the poor image just from my own interactions with images and videos on social media and the internet

article was rather fascinating to read, particularly with my own experience with widely dispersed low quality images all over the internet. I hadn't realized the history and the paradoxes behind i Read Hito Steyerl, In Defense of the Poor Image. https: Rewind by Michel Gondry 2008) How does Steyerl's concept of the poor image relate to the Internet and to contemporary forms of media-making? Use three examples taken from the reading, the screening (Be Kind, Rewind by Michel Gondry). Comments on Hito Steyerl's In Defense of the Poor Image Posted on March 20, 2018 by timzlu This reading really got me thinking about how much I disregarded poor images

Poor images are () images that can be made and seen by the many resumes Hito Steyerl, in In Defense of the Poor Image.They are low-resolution and bad quality images that are excessively shared on the networks. This kind of new images tramples on the almost sacred dimension that filmmakers and photographers have long been giving to the image Hito Steyerl, In defense of the poor image As I read this article, I realised I can't remember the last time I saw a really low quality photo on a google search. This is probably because as everyone knows, we're at the age of information overload, and things get filtered, leaving the most wanted and most used at our reach, which obviously excludes very poor images The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied an

by Tee Williams-Pope. In Hito. In Hito Steyerl's essay In Defense of the Poor Image, the author argues that older images and media of yesteryear has drifted into a digital abyss of a collectible and recyclable digital media trash-heap environment.. Further that although these images have lost their visual potency and clarity the poor image - poor because figuratively speaking it. In the reading In Defense of the Poor Image by Hito Steyerl, Steyerl talks about the role of the low quality image in technology and society, and the ranking of image quality. She talks about the low quality image as an accessible tool for widespread connection. The ultra-high quality image or film is expensive, private, and somewhat elitist This week, we read Hito Steyerl's In Defense of the Poor Image. There were two parts of this article that stood out to me. The first was the point that a poor image often means that it is an image of the people. If it has been reformatted and converted many times, this also implies that it has been seen and used by many different people The way Hito Steyerl writes In Defense of the Poor Image throws some interesting light in the way we shared images in today's world. In order of quantity we choose to loose quality, and this kind of obscure and unique low quality format is part of our daily life The poor image is an illicit fifth-generation bastard of an original image. Its genealogy is dubious. Its filenames are deliberately misspelled. - In Defense of the Poor Image, Hito Steyerl The poor image is a lot more than just a poor image. Why do movies get copied? Is it because we have a physical need to hold

Reflection on In Defense of the Poor Image - 4

  1. Response to In Defense of the Poor Image by Hito Steyerl To start off I am no film, art, or photo critic. I have very little training in these disciplines and cannot offer much information on the process of making these like the author of this essay, Hito Steyerl
  2. The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution
  3. ute, single-channel video projection. It consists of five chapters or lessons, each proposing ironic and often humorous ways in which an individual can prevent themselves from being captured visually by digital technology, and adopts the structure and tone of an instructional presentation

notes: in defense of the poor image, Hito Steyerl + the nostalgia of the young, Shreey Turkle *Low resolutions: The contemporary hierarchy of images, however, is not only based on sharpness, but also.. Hito Steyerl's article In Defense of the Poor Image produced in 2009, is to a certain extent compelling as throughout it we acknowledge many different views and opinions on In Defense of the Poor Image. However to a certain degree the introduction had the most appealing points that were highlighted out to me Hito Steyerl's article In Defense of the Poor Image discusses low quality digital images and the way they are looked down upon and considered to be substandard. Steyerl, however, sees these images as being abstracted and accessible, and uses the analogy of a family, saying that the poor image is an an illicit fifth-generation bastard of an original image

Whilst I have been looking at vlogs and online videos, I have become increasingly interested in low-quality images as a form of art in and of themselves. I recently read Hito Steyerl's In Defense of the Poor Image, in which she discusses low resolution images as an aesthetic underdog, ranked as less worthy than high quality images, but still possessing their own aesthetic quality Publication of In Defense of the Poor Image, written by Hito Steyerl Start studying NOT ok - see 1st card - Hito Steyerl - In defense of poor image. Learn vocabulary, terms, and more with flashcards, games, and other study tools Hito is a filmmaker and she teaches New Media at Unversity of Arts Berlin and this text is talking about poor image's present state. In this article, Hito describe Poor images as the contemporary Wretched of the Screen, the debris of audiovisual production, the trash that washes up on the digital economies' shores. ,their status as illicit and they are heavily compressed and. Images. The images are views of the exhibition Hito Steyerl: A retrospective. From: 12 April 2014 to 22 June 2014. Curator: Annie Fletcher (curator exhibitions) in cooperation with Nick Aikens (guest curator) Credit line: Archives Van Abbemuseum, Eindhoven, The Netherlands. Photo: Peter Cox, Eindhoven, The Netherlands

They lose matter and gain speed. - Hito SteyerlEdited in Adobe Premier Hito Steyerl In this essay titled In Defense of the Poor Image, written by Hito Steyerl, we see one of the many underlying biases in digital media that one rarely notices and questions in terms of origin. A previous example of this was in our discussion of race, its interpolation with digital media and politics

Aug 9, 2017 - Hito Steyerl In Defense of the Poor Image In Defense of the Poor Image As a MediaXArts major just beginning to make my mark on the cinematic world I found this reading, and the artist's work to be of significant relevance not only to myself, but to anyone involved with digital aesthetics, and the creation of film and media content

In Defense of the Poor Image Response (Extra Reading) Standard. December 6, 2015 Individual Assignments. Steyerl states. The huge development of the film industry was eventually extremely dependent on it's commercial aspect Hito Steyerl In Defense of the Poor Image The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped. Hito, while largely escaping classification as artist or philosopher or activist, strikes me, especially in the case of The Wretched of the Screen as a philosopher of film. Such as the case, her work would be extraordinarily valuable for filmmakers looking to experimental film or gallery bound short film (or factory bound short film); essentially it is valuable for producing an object that. Oct 7, 2014 - In Defense of the Poor Image, Hito Steyerl. Oct 7, 2014 - In Defense of the Poor Image, Hito Steyerl. Pinterest. Explore. When autocomplete results are available use up and down arrows to review and enter to select. Touch device users, explore by touch or with swipe gestures. Log in. Sign up Hito Steyerl talks about the transformation of an authentic image and how it changes through time and in the process becomes something called a poor image. In her paper Hito Steyerl gives a.

Not quite degraded 'poor images' in Hito Steyerl's (2009) terms (maybe explore this later) but a step on the way. Having worked to develop the quality of my images over the past year or so, I felt anxious working in this way, introducing limitations right at the beginning of the process and then working with them 12. Hito Steyerl, In Defense of the Poor Image 13. Rick Prelinger, The Disappearance of Archives 14. Ariella Azoulay, Revolutionary Moments and State Violence III. Power-Code . Introduction, Anna Watkins Fisher . 15. Wolfgang Hagen, Style of Sources: Remarks on the Theory and History of Programming Languages 16

Hito Steyerl's In Defense of the Poor Image Response - Imani's Blo

Hito Steyerl, In Defense of the Poor Image On Compression, Cory Arcangel; Michel Auder, Chronicles/Morocco and Morocco 1972: The Real Chronicles with Viva; Sylvère Lotringer and Paul Virillio, The Itinerary of Catastrophe; UbuWeb: Bad for Business! Sven Lütticken, Viewing Copies: On the Mobility of Moving Images; Links. WordPress.com. This text pays homage to In Defense of the Poor Image, an essay in which German artist and writer Hito Steyerl (2009) speaks of the kind of charge that the poor image - an image that has been uploaded, downloaded, shared, reformatted, and reedited - acquires while circulating through networks Hito Steyerl : In Defence of the Poor Image : When we demand HD quality projection on a cinematic screen, with perfect image and sound, we succumb to a certain, by no means indifferent and obvious ideological vision of the image

Hito Steyerl is a contemporary German artist, filmmaker, and essayist whose work challenges media by subverting it and exposing its duality. Steyerl utilizes low-resolution film, gifs, and animation to highlight the limits of technology and emphasize the speed at which data can be processed in a globalized world, as seen in her video installation Factory of the Sun (2016) German, b. 1966. Through her writing practice, films, and performative lectures, Hito Steyerl considers the status of the image in an increasingly global and technological world. Steyerl's work, which has been presented at the Venice Biennale, is part of a lineage . Represented by internationally reputable galleries Hito Steyerl, In Defense of the Poor Image e-flux journal #10, 2009 Boris Groys, Art Workers: Between Utopia and the Archive e-flux journal #45, 2013 David Joselit, After Art , Princeton University Press, 201 Steryerl, Hito (no date) The Wretched of the Screen, Sternberg Press, e-flux journal Steyerl Hito (November, 2009) 'In defense of the poor image' e-flux journal Vertov, Dziga (1984) Kino Eye trans. Kevin O'Brien, University of California Press

Defense of the Poor Image Premiere Custom Writing

As Steyerl argues, Users become the editors, critics, translators, and (co-)authors of poor images. Ownership of poor images in these instances becomes collective in 858.ma and diminishes. Hito Steyerl Immersion, entanglement, affectivity, sudden rupture and repeated breakdown. In the realm of digital circulation it's no longer about anybody being represented by something else - a culturally inflected image, for example - but about an embodied, dynamic continuum of bodies, sounds, images, actions, an audiovisual politics of intensity NN: I was re-reading Hito Steyerl's In Defense of the Poor Image and was thinking about this question of accessibility. She argues for wider accessibility at the expense of sacrificing some quality, and it seems to me that your being very fluid about translating your work into various forms is aligned with that The image quality moves between the poor and the high-resolution (and refers to Hito Steyerl's essay In defense of the poor image (2009)). Short description in Swedish : En essäfilm. I centrum av filmen står en karaktär som lever på webhotell, onanerar och drömmer om att internet ska bli som den brukade

Response to Hito Steyel's In Defense of the Poor Image - Digital Imaging

  1. For example, artist and theorist Hito Steyerl encourages artists to embrace the traces of cropping and pixilation that can affect an image as it circulates through digital networks. In her essay 'In Defense of the Poor Image', for instance, Steyerl admires the poor image for its dubious genealogy
  2. Hito Steyerl is a filmmaker and cultural critic who roots her investigative practice in the proliferation of digital images and their large-scale implications. Her practice takes a strong political stand, while being unafraid to challenge the power of the art market, the politics of images, and the state of human consciousness in the age of technologically advanced capitalism
  3. Reading: Hito Steyerl, In Defense of the Poor Image. Screenings: Dara Birnbaum - Technology Transformation (1978) Craig Baldwin - Tribulation 99: Alien anomalies under America (1991) Matthias Muller Dirk Schaefer - Home Stories (1990) Martin Arnold - Alone (1998) Brian Springer - Spin (1995) Bill Morrison - Decasia (2002
  4. ar #4: Catie, Toyah and Mackenzie . Resources: New Zealand Fashion Museu

Hito Steyerl : In Defense of the Poor Image mtap201

  1. The text considers recirculation as a process through which both visual and cultural imagery are put in motion over and over again in the current information age, especially in the context of post-Internet art. Hito Steyerl's writings and thoughts on the 'poor image', namely the low-resolution digital image bound to a perpetual wandering or 'circulationism', here serve as major.
  2. Hito Steyerl, ICA, London. Mar 5 - Apr 27, 2014. Photo: Paul Knight. Applause is audible from somewhere behind the 'Guards' screen, a sign saying exhibition continues points in that direction where the 'I Dreamed a Dream' (2013) and 'Is the Museum a Battlefield' (2013) lecture performances are playing on loop
  3. HITO STEYERL. TEXT: In Defense of the Poor Image (2009) QUOTE: In the class society of images, cinema takes on the role of a flagship store. In flagship stores high-end products are marketed in an upscale environment. More affordable derivatives of the same images circulate as DVDs, on broadcast television or online, as poor images
  4. Currently reading: Wretched of the Screen by Hito Steyerl, 2012, eflux Journal, Sternberg Press. Edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle. Part 3/5. In Defense of the Poor Image. Steyerl makes a kind of manifesto or definition for the poor image: The poor image is a copy in motion. [] The poor image is a rag or rip; an avi.
  5. References to follow up in a future post: Hito Steyerl (In Defense of the Poor Image, 2009), Paul Frosh (2015, The Gestural Image, IJ Communication, 9, 1608) and the ideal of kinaesthetic sociability, Michael Feher (2018, Rated Agency: Investee Politics in a Speculative Age), Petra Cortright (2007, VVEBCAM; 20167 i thot i wiz free), Femke Herregraven (2014, Volatility Storms), Jodi Dean (2017.
  6. In Defense of the Poor Image. The poor image is a copy in and Suler explaining personality is a series of constellations, not compartments. Steyerl suggests that the poor image could be used I will definitely be considering the concepts explored by Hito Steyerl throughout the creative process of my Final Major.

(DOC) Precis_Hito Steyerl_In Defense of the Poor Image Amy Y E M I N N E Kim

In Defense of The Poor Image ‐ Hito Steyerl Real Fictions : Alternatives to Alternative Facts ‐ Hal Foster The Yokohama Project Paperback ‐ Michael Kub The images included in this document are courtesy of Bridgeman Images. Fig 1: helpful summary to copyright and ARR and is not exhaustive, nor can it be used to • Hito Steyerl, In Defence of the Poor Image, e-flux, Journal #10, 2019 Hito Steyerl states this in her publication In defense of the Poor Image (2012). This brings up the fact that at a sacrifice to the image being accessible, this then breaks the promise of digital technology and it's assurance that we will get the best quality and resolution of everything With Steyerl, you can't always tell fact from fabulation, where the jokes end and seriousness begins, what is truth and what is a lie. A pleasure in art can unhinge us in everyday life, where we are undone by falsehoods at every turn. --Adrian Searle, Guardian Hito Steyerl's nuanced essays dissect the buckshot of digital information streams

In Defense of the poor Image & Learning to look beyond the frame: Posted on March 11, 2015 March 11, 2015 by mspostcolonialismclass. Both the articles written by Paolo Favero and Hito Steyerl, Summary. This journal. Hito Steyerl is one of the leading artists working in video today. Her work explores the divisions between art, philosophy, and politics. She has had solo exhibitions at, among others, MOCA, LA; the Reina Sofia, Madrid; and the ICA, London. She has participated in the Venice Biennale, Shanghai Biennale, Documenta, and Manifesta

Hito Steyerl, In Defense of the Poor Image On Compression, Cory Arcangel; Michel Auder, Chronicles/Morocco and Morocco 1972: The Real Chronicles with Viva; Sylvère Lotringer and Paul Virillio, The Itinerary of Catastrophe; UbuWeb: Bad for Business! Sven Lütticken, Viewing Copies: On the Mobility of Moving Images; Links. WordPress.com. List of Key Terms. Further Sites of interest. Examples of Creative Engagements. Links of Interest. ENGLISH 718: Opening the Archive. English 718 Opening the Archive. Syllabus for semester one 2018 - subject to change. Last updated 16 February 2018 . Seminars: Tuesdays 1 - 2.30pm in 206-30 Hito Steyerl - Filozofski Solely Bare Girls Nudists Picture Assortment 3570 Pics Aria Ftv Masturbates Before Taking A Swim In Please follow the hyperlink weve just In most circumstances, the applications are, apa research summary even so, typically structured. You get taught fundamentals and experience so that you can meet. SART*3470 Printmaking and Photo/Digital Technologies Winter 2021 Section(s): C01 School of Fine Art and Music Credit Weight: 0.50 Version 1.00 - November 12, 2020 _____ 1 Course Details 1.1 Calendar Description This course will introduce the use of contemporary digital imaging for printmaking applications in etching, silkscreen and lithography As Hito Steyerls explains, the poor image is the copy made for movement: the more it accelerates, the more it deteriorates. [3] Valentina Tanni explains that since xerox art to glitch art pixels, primary elements of the computerized image, have been exhibited and exalted, [] low-definition is taken as one of the multiple possibilities of the image

Hito Steyerl - In Defense of the Poor Image Dominic Fe

  1. CHID 390: Against and Between: Playing with Archives, Genres and History In this course, we will test the limits of the usual archives, genres and histories we rely on to understand creative expression. Although this course includes texts that can easily be placed in more or less distinct genres or modes of representation—such as fiction, photography, and video—, as well in distinct.
  2. COURSE DESCRIPTION: Though often overlooked, the act of projection is at the heart of cinema (the act or process of causing a picture to appear on a surface). This studio course focuses on the creation of moving image-based work, exploring how time and space are used as materials to create form and inspire content within the contemporary film genre known as expanded cinema
  3. Technically a book, but it's a series of essays about how truly sedentary our culture is compared to how our bodies evolved to move. Really changed my worldview and makes me more aware of the tiny ways we reduce movement under a guise of comfort and efficiency. posted by theRussian at 8:19 PM on June 1
  4. The works by visual artist and filmmaker Hito Steyerl (Munich, 1966), one of the most influential cultural figures of our time. Steyerl's works are critical reflections on the digital and contemporary age and focus on the pervasive role of technology and the circulation of images in the globalized world

Hito Steyerl 16 demanded for example that cultural institutions include minorities and disadvantaged majorities such as women. In this sense institutional critique functioned like the related paradigms of multiculturalism, reformist feminism, ecological move ments and so on. It was a new social movement within the arts scene lee mackinnon, University of the Arts London, Photography Department, Faculty Member. Studies Visual Culture, History of Science and Technology, and Biopolitics. www.leemackinnon.net My research is largely situated in fields of comparative medi