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Disclosure Statement
No potential conflict of interest was reported by the authors.
Notes
1. Satter, “Spy used AI-Generated Face,” n.p.
2. Goldstein and Diresta, “This Salesperson Does Not Exist,” 1–15.
3. Francois and Robertson, #FFSOperation.
4. Ramesh et. al., “Zero-Shot Text-to-Image Generation.”
5. Ramesh et. al, “Hierarchical Text-Conditional Image Generation,” 1–27.
6. Chen et. al., “Image GPT,” n.p.
7. Oppenlaender, “The Creativity of Text-to-Image Generation,” 192–202.
8. Dixit, “Meet the Trio of Artists Suing Image Generators,” n.p.; Vincent, “Getty Images is Suing the Creators of AI Art,” n.p.
9. Manovich, “Automation of Sight: From Photography to Computer Vision.”
10. Halpern, “Perceptual Machines,” 328–51.
11. Zuech, “Seeing Machine Vision.”
12. Ibid; and Szeliski, Computer Vision.
13. Szeliski, Computer Vision; and Mitchell, The Reconfigured Eye.
14. Szeliski, Computer Vision.
15. Rubinstein and Sluis, “A Life More Photographic,” 9–28.
16. Ibid., 129; and Rubinstein, “Value of Nothing,” 127–37.
17. Rubinstein and Sluis, “The digital image in photographic culture,” 22–40.
18. Gómez Cruz and Meyer, “Creation and Control in the Photographic Process,” 203–21.
19. Bate, “The Digital Condition of Photography,” 77–94.
20. Hand, “Photography Meets Social Media,” 310–26.
21. Henning, “Image Flow,” 133–48.
22. Ibid., 135; and Rubinstein, “Fractal Photography,” 337–55.
23. Hoelzl and Marie, Softimage.
24. Zylinska, Nonhuman Photograph.
25. Rubenstein, “Fractal Photography.”
26. Dewdney, Forget Photography.
27. MacKenzie and Munster, “Platform Seeing,” 3–22.
28. Dewdney and Sluis, The Networked Image. .
29. Zylinska, Nonhuman Photography, 5.
30. Hoelzl and Marie, Softimage, 4.
31. Mackenzie and Munster, “Platform Seeing,” 5.
32. Bucher, “Want to be on the Top?” 1164 – 80.
33. Neumayer and Rossi, ‘Images of Protest,’ 3293 – 4310.
34. Dewdney, Forget Photography.
35. Ibid., 3.
36. Rose, “Animated Embodiment,” 139–56.
37. Ibid., 144.
38. Ibid.
39. Parikka, “The Diagrams of AI,” 148–53; and Lee, Machine Learning and Notions of the Image.
40. Rubenstein, “Fractal Photography,” 340.
41. Ibid., 353.
42. Thylstrup, “The Ethics and Politics of Data Sets,” 655–71; Crawford, Atlas of AI; Denton et al., “On the Genealogy of Machine Learning Datasets,” 1–14; and Dulhanty and Wong, “Investigating the Impact of Inclusion,” n.p.
43. Akten et. al., “Learning to See,” 1–6; Mackenzie, Machine Learners; and Gehl et. al., “Training Computers to See,” 325–44.
44. Malevé, “On the Data Set’s Ruins,” 1117–31; Roberts, Behind the Screen. .
45. Gebru et. al., “Datasheets for Datasets,” 86–92.
46. Denton et al., “On the Genealogy of Machine Learning Datasets,” 1–14.
47. Crawford, Atlas of AI.
48. Sheuerman et. al., “Do Datasets Have Politics?” 1–37.
49. Thylstrup, “The Ethics and Politics of Data Sets,” 659.
50. Heras and Blanke, “On Machine Vision and Photographic Imagination,” 1164.
51. Gehl et. al., “Training Computers to See.”
52. See for example: Benjamin, Race after Technology; and Akten et. al., “Learning to See.”
53. Sluis, “Beyond Representation,” 113–29.
54. Mühlhoff, “Human-Aided Artificial Intelligence,” 1868–84.
55. Natale and Guzman, “Reclaiming the Human in Machine Cultures,” 627–37.
56. See for example: Routhier et. al., “Automating Visuality,” 2–14; McCosker and Wilson, Automating Vision; Kember, “Face Recognition and the Emergence of Smart Photography,” 182–99; and Kember, “Ambient Intelligent Photography,” 56–76.
57. Mackenzie, Machine Learners.
58. Gerling, “Photography in the Digital,” 149–67.
59. Geboers and Van De Wiele, “Machine Vision and Social Media Images,” 1–15.
60. Rettberg, “Biometric Citizens,” 89–96; and Rettberg, Machine Vision.
61. Gerling, “Photography in the Digital”; and Gómez Cruz, “Photo-genic Assemblages,” 228–42.
62. Meikle, Deepfakes.
63. Taffel, “Google’s Lens,” 237–55.
64. Jacobsen, “Regimes of Recognition,” 1–16.
65. See note 27 above.
66. Beer, The Data Gaze.
67. See for example: Crawford and Paglen, “Excavating AI,” 1105–16; McCosker and Wilken, Automating Vision; Roberts, Behind the Screen; Noble, Algorithms of Oppression; Browne, Dark Matters; and Blas, “Escaping the Face,” n.p.
68. Uliasz, “Seeing like an Algorithm,” 1233–41.
69. Ibid., 1238.
70. See for example, Andrejevic and Selwyn, Facial Recognition; Bucher, “Want to be on the Top?” 1164 – 80; and Routhier et. al., “Automating Visuality,” 2–14.
71. Noble, Algorithms of Oppression: How search engines reinforce racism; Browne, Dark Matters: On the Surveillance of Blackness; Blas, “Escaping the Face: Biometric Facial Recognition and the Facial Weaponization Suite.”
72. Benjamin, Race After Technology.
73. Fussey et al., “‘Assisted’ Facial Recognition,” 325–44.
74. See note 32 above.
75. Heras and Blanke, “On Machine Vision and Photographic Imagination,” 1154.
76. Rose, “Animated Embodiment,” 147.
77. Ibid.
78. Catanzariti, “Facial Recognition and the Right to Appear,” 282–300.
79. Miyazaki, “Take Back the Algorithms!” 269–86; and Monahan, “The Right to Hide,” 159–78.
80. See for example: Sobel, “A New Common Law of Web Scraping,” 147–207.
81. Zuboff, The Age of Surveillance Capitalism.
82. Qadri and D’Ignazio, “Seeing Like a Driver,” 1–17.
83. See for example: Stejskalová, “The Surrogate Labor of the Eye,” 1–12; de Vries and Schinkel, “Algorithmic Anxiety,” 1–12; Agostinho, “Chroma Key Dreams,” 131–55; and Scarlett, “Interpreting an Improper Materialism,” 111–29.
Additional information
Notes on contributors
Martin Hand
Martin Hand is Professor of Sociology at Queen’s University, Canada. He writes about the unintended social and cultural consequences of digitization in everyday life. He is currently Co-Editor-in-Chief for the 3-volume Bloomsbury Encyclopaedia of Visual Culture (scheduled 2025). His publications include Big Data? (co-edited, 2014), Ubiquitous Photography (2012), Making Digital Cultures (2008), The Design of Everyday Life (co-authored, 2007), plus articles and essays about visual culture, photography, digitization, technology, and consumption.
Ashley Scarlett
Ashley Scarlett is an Assistant Professor of Media Studies at the Alberta University of the Arts (Canada) where she researches critical intersections between creative practice and contemporary media cultures. Her writing has appeared in a number of venues, including Media Theory, Parallax, Digital Culture & Society, and the Routledge Companion to Photography Theory. She is co-editor of a forthcoming special issue of Afterimage titled “Contingent Systems: Art and/as Algorithmic Critique”.