Simulacra and Simulation

Memoirs of the Blind: The Self-Portrait and Other Ruins

This chapter describes digital image compression techniques, and the JPEG image compression standard. Digital image compression techniques are based on algorithms such as the Wavelet transform, Fractal images, Vector Quantisation and Discrete Cosine Transform (DCT). The digital image compression technique developed by the Joint Photographic Experts Group (JPEG) is mainly based on the quantisation of the DCT.

Digital Image Compression Techniques

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Me The Cyborg Self And The Networked City

Enfoldment and Infinity: an Islamic Genealogy of New Media Art

Via a close navigation of a Google Street View (GSV) scene in Oslo, this article investigates the role the photographic image plays in what has come to be known as ‘locative media’ – an entire range of image software that runs on mobile devices using GPS signals to locate the user, and that emerged after the United States government decided to end the intentional degradation of the public GPS signal in 2001, fostering the development of navigable photo-maps such as GSV, photo-synths and other location-based image applications such as Augmented Reality. The authors first address the temporal discontinuities and gaps of the GSV database, which the user navigates as a spatially continuous image. Second, they show that the city is experienced as one and the same data space, simultaneously traversed both on-site and on-screen. Third, they critically interrogate the navigability of the GSV image afforded by real-time data processing based on mutual data exchanges between user location, hardware, software, netwo...

Google Street View: navigating the operative image

In the last two decades, mobile, locative and wireless media have profoundly reconfigured our experience of the image as well as our experience of the urban space. Based on a critical revision of o...

Brave New City: the image in the urban data-space

Softimage: Towards a New Theory of the Digital Image

With the digital revolution, the photographic paradigm of the image has become supplemented with an algorithmic paradigm. The result is a new kind of image capable to gather, compute, merge and display heterogeneous data in real time; no longer a solid representation of a solid world but a softimage—a program-mable database view. In today’s neurosciences and machine vision, the very concept of “image” as a stable visual entity becomes questionable. As a result, the authors propose that the need exists to radically expand the definition of image and abandon its humanist and subjective frame: The posthuman image—which the authors propose to call the postimage—is a collaborative image created through the process of distributed vision involving humans, animals and machines.

From Softimage to Postimage

For his JPEGs series started in 2002, German artist Thomas Ruff used digital photographs taken by himself and from the web, compressed using the maximum rate, and then decompressed into large-scale prints. This method of hypercompression and enlargement exposes the mathematical infrastructure of the JPEG image, i.e. the pixel blocks into which the image is split during the compression process. In so doing, Ruff turns a digital artefact (pixilation) into a default aesthetic, thereby exposing the JPEG as today's default mode of viewing images: online and on-screen. Based on a thorough study of JPEG compression and its artistic use by Ruff, we show that with this shift from geometric projection to algorithmic processing, ‘photographic’ no longer denotes a specific mode of image creation, but rather a specific mode of image processing and that the new ‘architectural order’ of the image is the mathematical matrix used during compression.

CODEC: on Thomas Ruff's JPEGs

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