Andrew Dewdney is a research professor at London South Bank University whose current research is focused upon the intersections of art, media and technology. He is currently co-authoring a book upon how the discourses of art, media and technology play out in the contemporary art museum. From 2007 until 2010 he was the principal investigator of a major national AHRC funded project in collaboration with Tate Britain entitled Tate Encounters: Britshness and Visual Cultures. In 2014 he collaborated with Tate and The Royal College of Art on an AHRC funded research project looking at Cultural Value and the Digital in the Museum. He is an advisory board member for the peer-reviewed journals Photographies and Philosophy of Photography. He is a member of the board of trustees of Culture24. He has written, presented and published widely within media, communications and museology.
The University of YouTube: the medium, the user, photography and the search for really useful knowledge.
This short text is the result of an attempt to understand photographic theory by YouTube, which took the shape of an online errand of forking paths, full of interesting digressions, leading of course everywhere and nowhere.
Nonhuman Photography: An Interview with Joanna Zylinska [PART I]
Andrew Dewdney interviews Joanna Zylinska for Unthinking Photography, on the occasion of her recent publication ‘Nonhuman Photography’ (MIT Press, 2017). We are publishing here two excerpts from the conversation while the full interview is available to download as a pdf. In this first part, the discussion unpacks the notion of the nonhuman in image culture.
Nonhuman Photography: An Interview with Joanna Zylinska [PART II]
In this second excerpt of her interview with Andrew Dewdney, Joanna Zylinska talks about representation and post-photography while she reflects on archival as well as institutional practices in the age of the Anthropocene. As she mentions: "I am trying to develop sets of relations between images and practices across time, across species, across technologies, and identify certain old tropes that are returning today. I would like to think that my mode of looking, which involves placing images along those deep-historical lines, is also a way of showing why photography matters".