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024 7 $a10.14361/9783839439029
035   $a(CKB)4910000000016229
035   $a(DE-B1597)481377
035   $a(DE-B1597)9783839439029
035   $a(OCoLC)1198929269
035   $a(MiAaPQ)EBC6756521
035   $a(Au-PeEL)EBL6756521
035   $a(transcript Verlag)9783839439029
035   $a(MiAaPQ)EBC6955952
035   $a(Au-PeEL)EBL6955952
035   $a(oapen)https://directory.doabooks.org/handle/20.500.12854/45128
035   $a(MiAaPQ)EBC30591512
035   $a(Au-PeEL)EBL30591512
035   $a(EXLCZ)994910000000016229
100   $a20220221d2020      uy         0
101 0 $aeng
135   $aur|||||||||||
181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 10$aDigital Image Systems$ePhotography and New Technologies at the Du?sseldorf School$fClaus Gunti
205   $a1st ed.
210   $aBielefeld$ctranscript Verlag$d2020
215   $a1 online resource (352 p.)
225 0 $aImage$v116
311   $a3-8376-3902-9 
327   $aFrontmatter    1  Contents    4  Introduction    8  A FRAMING THE DU?SSELDORF SCHOOL    20  B WHAT IS DIGITAL PHOTOGRAPHY?    31  Introduction    40  A EMERGENCE OF A GERMAN DOCUMENTARY TRADITION    47  B THE END OF PHOTOGRAPHY    77  C DISCOURSE ON DIGITAL PHOTOGRAPHY IN GERMANY    98  Introduction    116  A PRE-DIGITAL MECHANISMS IN CONTEXT: 1960S / 1970S    120  B SERIAL CONSTRUCTIONS AND COMBINATORIAL FUNCTIONS: A TRANS-HISTORICAL PATTERN    137  Introduction    154  A DIGITAL RETOUCHING TOOLS    156  B DIGITAL STITCHING    175  C EARLY DIGITAL COMPOSITIONS    203  D THOMAS RUFF'S ANALOGUE AND DIGITAL EXPERIMENTS WITH THE PORTRAIT    219  Introduction    240  A COMPLEX COMPOSITES: ANDREAS GURSKY'S GENERIC WORLD    243  B IMAGE RECYCLING AND APPROPRIATIVE POSITIONS    259  C THOMAS RUFF'S GENERATED PHOTOGRAPHS AND THE LIMITS OF REPRESENTATION    300  D GENERIC PICTURE REALITIES    314  5 Conclusion    320  A BIBLIOGRAPHY    334  B INDEX    346  C ACKNOWLEDGEMENTS    349
330   $aIn Digital Image Systems, Claus Gunti examines the antagonizing reactions to digital technologies in photography. While Thomas Ruff, Andreas Gursky and Jo?rg Sasse have gradually adopted digital imaging tools in the early 1990s, other photographers from the Du?sseldorf School have remained faithful to film-based technologies. By evaluating the aesthetic and discursive preconditions of this situation and by extensively analyzing the digital work of these three photographers, this book shows that the digital turn in photography was anticipated by the conceptualization of images within systems, and thus offers new perspectives for understanding the »digital revolution«.
410  0$aImage 
606   $aPhotography; Art; Digital; Culture; Computer; Germany; Du?sseldorf School; Thomas Ruff; Andreas Gursky; Jo?rg Sasse; Art History of the 21st Century; European Art; Visual Studies; Fine Arts;
610   $aAndreas Gursky.
610   $aArt History of the 21st Century.
610   $aArt.
610   $aComputer.
610   $aCulture.
610   $aDigital.
610   $aDüsseldorf School.
610   $aEuropean Art.
610   $aFine Arts.
610   $aGermany.
610   $aJörg Sasse.
610   $aThomas Ruff.
610   $aVisual Studies.
615  4$aPhotography; Art; Digital; Culture; Computer; Germany; Du?sseldorf School; Thomas Ruff; Andreas Gursky; Jo?rg Sasse; Art History of the 21st Century; European Art; Visual Studies; Fine Arts;
676   $a771
700   $aGunti$b Claus$4aut$0967944
712 02$aSwiss National Science Foundation (SNSF)$4fnd$4http://id.loc.gov/vocabulary/relators/fnd
801  0$bDE-B1597
801  1$bDE-B1597
906   $aBOOK
912   $a9910404104903321
996   $aDigital Image Systems$92198280
997   $aUNINA