Photojournalism is rapidly reconfiguring in the digital post-media age as print media outlets shrink or cease to exist. This article will critically examine contemporary photojournalism, reframing its practice globally within the contemporary techno-creative practice of the art world. The article will focus on key photographic projects from Oculi, a collective of photographers portraying the beauty, wonder, and struggle of daily life in Australia, as the case study to reframe the definition of photojournalism. Oculi is emblematic of the normative art world and evolution within the practice of photojournalism. The photo-essay, according to theorists David Campany and Allan Sekula, does not extend beyond the print media. Although the history of photography situates the photo-essay as flourishing in the shadow of journalistic media practices, the rapid decline of traditional media print outlets indicates an urgent necessity to redefine photojournalism. Reframing photojournalism will extend the practice into a contemporary techno-creative world of art practice through ideas such as Alexandre Astruc’s metaphor “Camera Stylo” (camera pen) and David Campany’s concept of “late photography.” The article proposes that photojournalism outside the parameters of the media and the “event” as “late photography” can also include the human element, not just the empty melancholy of disaster or aftermath.
Approaching image as an audience’s perception of a rhetor, this essay considers the feasibility and efficacy of combining strategies and tactics of an image repair typology with the strategic approach outlined by inoculation theory. The work considers whether inoculation could expand the scope of conventional image repair efforts as a way to not only repair a damaged image, post-hoc, but also to confer resistance to future challenges, preemptively. Directions for future research are proposed, including preemptive image repair and reactive inoculation, and the use of image repair strategies in inoculation messages as a type of image prepare. Risks, challenges, and incidental strengths of an image prepare approach are also raised.
Landscapes and buildings are tangible witnesses to societal evolutions through the ages. The way a community experiences these can be gleaned, for instance, from its collective memory, in which landscapes and buildings feature. The present paper introduces the use of networks to trace and visualise these special relations and connections between tangible spatial entities on the one hand and societal evolutions and historical facts on the other. This research project started from two hypotheses. One hypothesis views the network as an instrument that allows us to enter physically into a community’s collective memory. The second hypothesis states that these networks can be developed as spaces. Two cases were formulated: Forges de Clabecq, an obsolete industrial site east of Brussels, and the Meirebeek Valley, a landscape west of Ghent. Research of source material and interviews yielded data suitable for network mapping. Using the appropriate software, these networks could be subjected to various interventions and presented in a number of different forms of representation. Open Ord networks, Radial networks, Concentric networks en Isometric networks were some of the formats we used. These visualisations resulted in reflection on the subject of collective memory, two hypotheses, spatial imaginings and finally some points of criticism.