Books

The Age of Total Images, Institute of Network Cultures, Amsterdam, 2019.

The Age of Total Images

In The Age of Total Images, art historian Ana Peraica focuses on the belief that the shape of the planet is two-dimensional which has been reawakened in the late 20th and early 21st centuries, and the ways in which these ‘flat Earth’ conspiracy theories are symptomatic of post-digital image culture. Such theories, proven to be false both in Antiquity and Modernity, but once held to be true in the Medieval Period, have influenced a return to a kind of ‘New Medievalism’. By tracing visual representations of the planet across Western history and culture, Peraica provides support for a media-based explanation behind the reappearance of flat Earth theories. Through an adventurous exploration of the ways the Earth has been represented in sculptural globes, landscape painting, aerial photography, and even new media art, she proposes that a significant reason for the reemergence today in the belief that the world is flat lies in processes and practices of representation which flatten it during the compositing of photographs into ‘total images’. . Such images, Peraica argues, are principally characterized by the disappearance of the subjective point of view and angle of view from photography, as the perspectival tool of the camera is being replaced with the technical perspective of the map, and human perception with machine vision, within a polyperspectival assemblage. In the media constellation of these total images, photography is but one layer of visual information among many, serving not to represent some part of the Earth, but to provide an illusion of realism.

Fotografija kao dokaz, Multimedijalni centar, Zagreb, 2018.

Fotografija kao dokaz

„Fotografija kao dokaz“ zadire u skepticizme i relativizme koje uvode teorije medija po pitanju statusa dokazivosti digitalne fotografije, dokazujući; kako je isti ili sličan materijal, a koji nije imao kapacitet dokazivosti, postojao i prethodno, u analognoj fotografiji, te kako stoga nije došlo do supstancijalne ili revolucionarne promjene. Ona analizira sklopove misli nazvane diskursima realizma, locirajući tri dominantna realistička sustava u koja se pojavljuju simultano izumu fotografije; pragmatičkog, pozitivističkog, te povijesnog realizma. Svi oni redom definiraju i/ili koriste fotografiju u svrhe dokaza. Te teorije dislociraju diskusiju o fotografiji u različita područja misli; prirodnih znanosti, humanističkih pa i društvenih disciplina. One tvrde kako: (1) fotografija može donijeti znanje ili mu barem služiti kao dodatno sredstvo (na način „filozofskog stroja“), nadalje kako je (2) fotografski referent nužno, a ne moguće postojeći (ili; ako nešto postoji to se mora moći fotografirati), te naposljetku kako (3) fotografija jedino može govoriti o nestalom vremenu. Ipak, dok svaki od pristupa afirmira sebi bliske, on redovno isključuje iz definicije druge primjene fotografije (vrlo često to su apstraktne, no i znanstvene fotografije…)...

Culture of the Selfie : Self-Representation in Contemporary Visual Culture, Institute of Network Cultures, Amsterdam, 2017.

Culture of the Selfie

COMING SOON: Translation to Croatian by Ognjen Strpić, for Jesenski i Turk

Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.

Edited by: Veena Hariharan. Editorial Support by: Leonieke van Dipten. Cover design: Katja van Stiphout. Design: Isabella Calabretta. EPUB development: Isabella Calabretta. Print on Demand. Publisher: Institute of Network Cultures, Amsterdam, 2017. ISBN: 978-94-92302-17-5.

  • Review of the book by Penesta Dika, Postdigital Art and Science, SPRINGER, 2018.
  • Chapter translated in Croatian; Izazovi nastave hrvatskoga jezika : zbornik radova, Srećko Listeš & linda Grubišić Belina (eds.), Skolska knjiga, Zagreb, 2017, Vizura 3-4 (2008), pp.18-25.
  • Parts of the book are transleted in catalogs of various artists (Stjepan Sandrk, Glorija Lizde and others...)
  • Sub/versions: Essays in Contemporary Art and Culture, Vice Versa Vertrieb and Revolver, 2009

    COMING SOON: Croatian translation by Durieux

    Tekstovi objavljivani u periodu 2004-2010 u časopisima Springerin, Issues in Contemporary Art and Cultures, zbornicima East Art Map (Afterall/MIT Press), i u drugim izdanjima, obrađuju teme autora i autorstva, te copyrighta po kojem se umjetnost u doba socijalizma, no i post-socijalističkog perioda razlikuje od umjetnosti na zapadu, posebice Postmoderne umjetnosti koja nastaje kao logika kasnog kapitalizma. U centru knjige su aktivistički pristupi političke umjetnosti, te aktivističke umjetnosti, no uvijek u odnosu na velike narative povijesti umjetnosti na Zapadu.

    Edited readers

    Intelligent Agent Reader with Patrick Lichty (in preparation)

    Smuggling Anthologies, Museum of Modern and Contemporary Art, Rijeka, 2015. Smuggling Anthologies

    Smuggling Anthologies Reader is a cultural theory reader covering many case studies on smuggling cross the same border defined throughout the XX century via Raphalo border (1920), Free zone of Trieste, divided in Zone A and B (1947-1954), and finally line of division between Italy and Yugoslavia (all appearing at the same place) finally vanishing with the integration of Slovenia and Croatia into EU. The reader uncovers many sites of illegal connection in the history of division, defining the smuggling as an integral part of the common history of Europe. The reader was produced after the serial of cultural events (exhibitions,conferences and projections) at three locations; Trieste in Italy, Rijeka in Croatia and Idrija in Slovenia. It offers art projects, personal witnessing,interviews and analysis of different disciplines; history, art history,history of literature, sociology, digital humanities etc.

    Victims Symptom - PTSD and Culture,Institute for Network Cultures, Amsterdam, 2009. Victims Symptom

    Victims’ Symptom is a collection of interviews, essays, artists’ statements and glossary definitions, which was originally launched as a Web project (http://victims.labforculture.org). Produced in 2007, the project brought together cases related to past and current sites of conflict such as Srebrenica, Palestine, and Kosovo reporting from different (and sometimes conflicting) international viewpoints. The Victims Symptom Reader collects critical concepts in media victimology and addresses the representation of victims in economies of war.

    Texts:: Sezgin Boynik, Adila Laidi Hanieh, Geert Lovink, Ana Peraica, Stevan Vuković. Interviews by: Ana Peraica (with Enrique Arroyo, Noam Chomsky, Agricola da Cologne, Anur Hadžiomerspahić, Joseph de Lappe) and Marko Stamenković (with Peter Fuchs, Jonas Staal, Carlos Motta, Neery Melkonian and Tomas Tomlinas). Artists’ statements: Mauricio Arango, Alejandro Duque, Andreja Kulunčić, Marko Peljhan and Martha Rosler

    Edited by: Ana Peraica, Copy editing: Vicky Anning, Michael Dieter, Image on the front-page and project design: MANNSCHAFT, Glossary: Tihana Jendričko and Tina Peraica, Commissioned by: Lab for Culture, Amsterdam, 2008. Design: Katja van Stiphout. Printer: ‘Print on Demand’. Publisher: Institute of Network Cultures, Amsterdam 2009. ISBN: 978-90-78146-11-7

  • Parts republished and translated in Turkish; War Profiteers in art, in: Madra B. (ed.).Afterall : Focusing on global biennale and curatorial practices / Herseydensonora: Küresel etkînlîklere bakis ve kuratoryal deneyimler, Istanbul: Minar Sinan Güzel Sanatlar Üniversitesi Yayinlari, 2008, pp.40-6.
  • Republished with summary translation in Russian: Simptome Zrtvi, in: Ionesov, Vladimir (ed.) Transformations, Risks, Crisis, Adaptation Samara: Samara Scientific Centre for Cultural Studies, 2009, pp.165-176.
  • Translated in Croatian; O umjetnosti osvete i eksploataciji smrti : Žrtve u razmjeni politicka iskorištavanja i politike osvete, Vizura 3-4 (2008), pp.18-25.
  • Žena na raskrižju ideologija,HULU i Vladin ured za ravnopravnost spolova, Split, 2007.

  • Translated in English; Woman at the crossroad of ideologies, in Gržinic, M. and Reitshamer, R. (eds.) New feminism, queer and networking conditions. Vienna: Erhard Loecker Verlaag, 2008: pp.201-15.
  • Parts republished as; On Woman @ The Crossroad Of Ideologies in Carbi, G. (ed.) Third CEI Venice forum for Contemporary Art Curators - Proceedings of Continental Breakfast. Outposts : Trieste Contemporanea, Central European Initiatives, Trieste, 2008, pp.47-52.
  • Essays / Chapters (selection)

    In print:

    ‘Selfies as augmentation of (disappearing) reality’, Fear and Loathing of the online self, eds. Peter Serram, Teresa Numerico, Geert Lovink and Donatella della Ratta, Palgrave MacMillan (due 2021).

    ‘Reality effect of [abstract] maps in post-digital era’ , Kresimir Purgar (ed), The Iconology of abstraction - Non-Figurative Images and the Modern World’, Routledge (in print)

    ‘Selfies and the world behind our back’, Membrana 4 (2018) 48-54

    (with Petar Jandrić, Ana Kuzmanić), Interview with Kathy Rae Huffman - Curating with Heart and Reason, Petar Jandrić(ed), Learning in the age of Digital Reason, Sense Publishers, Amsterdam, 2017 , pp. 299-331. Republihed (with Petar Jandrić and Ana Kuzmanić) Interview with Kathy Rae Huffman : Curating digital art with heart and mind’, N Paradoxa, volume 40 (7. 2017)

    ‘Self-Portrait Hanging between Personal and Social Grimace’, Membrana 2(Grimace, 2017),88-90.

    ‘From Anthropological to Ethnological Approach in Photojournalism. Interactions Between French and Croatian Photography in the 1950s and Early 1960s’, in; Ljiljana Kolešnik and Tamara Bjažić Klarin, French Artistic Cultures, Institute of Art History, 2017, 264-278

    “Selfie” as the Paradigm of Cultural Change, Creative Economics and Social Inovations 2 (7/2014), pp. 10-22.

    The specificities of intermediaity of painting and technology of photography: Some theories and examples, Creative Economics and Social Inovations 2 (11/2015), pp 11-23.

    Sublimno i fotografija, Fotografija 60/61 (2014), pp.46-52.

    Mass Spamming, in; Medak, T. and Milat, P., Idea of Radical Media / Ideja Radikalnih Medija, Multimedijalni institut, Zagreb, 2013, pp.236-253.

    Kriptofotografija in metasistemi fotografskih slik, Fotografija 50/51 (2012), pp.41-52.

    Šezdesetinka sekunde za slavo, Fotografija 49/50 (2012), pp.46-50.

    Exploitation of victims desire for revenge, Leonardo 1 (44/2011), pp.55-60.

    Strah pred negotovim in velike oci fotografije, Fotografija 44/45 (2011), pp.15-25.

    Morgante, Eyemazing (Spring, 2011), pp. 72.-78.

    Photography, truth and metaphysics, Eyemazing (Summer, 2011), pp. 50.-59.

    Time travel and photographic negatives: Theory of postnegative world. 2011 Art and Education Papers

  • Translated in Croatian as: Putovanje kroz vrijeme, Svjetovi fotografije, ULUPUH, 2012.
  • Republished in Croatian as: Putovanje kroz vrijeme i fotografski negativi, u Kontejner (ed.) Teorija postnegativnog svijeta, Ekstravagantna tijela: Ekstavagantne godine, Kontejner, Zagreb, 2013. pp.294-295+295-306.

    The aesthetics of the negative or; the negative dialectics of photography Journal of Physics.: Conference serial. Ser. 2010, 231 012013, DOI: 10.1088/1742-6596/231/1/012013

    Mind the film: Photographs and films with lost narratives. Afterimage 37 (2/2009), pp. 45-49.

    Smugglein / Smuggling, Springerin 2 (2009), pp. 13-15.

    Commercialization of images of Revolution (1968-2008), Pavilion, 2009, pp.78-86

    Chauvinist And Elitist Obstacles Around Youtube And Porntube, A Case Study Of Home-Made Porn Defended as “Video Art”, in; Lovink G. i Niederer S. (ed.), Video Vortex Reader, INC Reader 4, Institute for Networked Cultures, Amsterdam, 2008, pp. 189-96.

  • Republished as; Chauvinist And Elitist Obstacles Around Youtube And PorntubePolitics of feelings / Economies of Love in Nataša Bodrožic (ed.) Slobodne veze / Loose associations, 2014
  • Censored Images: Women in the Army, Censored Images, Performative Gestures-Political Movements, Mesto Žensk, Ljubljana, Red Athena University Press, Zagreb, 2010. pp.139.-148.

    Merely a Photographer, Milevska: Renaming Machine, P.A.R.A.S.I.T.E, Ljubljana, 2008.

    AVI-und DivX Kunst / Avi and DivX Art. Springerin 2 (2007), pp.9-10.

  • Republished as; AVI-und DivX Kunst Vi deokunst am Rande des Uberlebens. http://magazines.documenta12.de/frontend/article.php?IdLanguage=5&NrArticle=1363"

    Ein Wandel in der Repräsentation des Arbeiters Vom Sozialistischen Realismus zum »Soros-Realismus« / A shift in the Repreeentation of the Worker, Springerin 3 (12/2006), pp.30-2.

  • Corruption of a Grand Narrative of Arts. IRWIN (eds.): East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006, pp.472-7.

    Anonymous authors, Nameless Heroes, Unknown Histories (A local overview of strategies and motifs of variable x’. IRWIN (eds.) East Art Map. London / Los Angeles: Afterall Publishing / MIT Press, 2006, pp. 163-74.

    Citation, falsification, expropriation (East and West from the original), in; Klobucar N. and Karabogdan G. (eds.), Enigma objekta / Enigma of an object, Rijeka: Muzej moderne i suvremene umjetnosti Rijeka, 2006, pp.80-7.

    Auf nach Sarajevo, Ferdinand! Symptome des »Wienerischen« und/oder des »Balkan« in der gegenwärtigen Kulted / Ferdinand, Let's go to Sarajevo!. Springerin 2 (11/2005), pp.38-40.

    Leere Podeste / Empty Pedestals, Springerin 1 (11/2005), pp.28-30.

  • Republished as: Empty Pedestals, Pavilion 10-11 (2007) pp. 142-8.
  • Medien von Gericht, Über das kürzlich wiederbelebte Genre der Gerichtszeichnung - im Milosevic-Prozess / Media on Trial, Springerin 4 (10/2004), pp.26-30.

    Ostereuropische ©opymanie. Springerin 2 (10/2004), pp.26-30.

    On Indifference, Inhabiting In-Between As A Territory / O indiferenciji], Con/Front! Kessi A, Miraztchiev E, Sevova D. (eds.), Communication Front 2000 international project of electronic and media art and cultural Crossing Points East – West. Plovdiv : Art Today Association, 2002, pp. 17-8.

    (with Lovink G.) Con/Front! Radio-Active Ideological Junk [Second Hand Truths About East And West]’ / Kon/front, u; Kessi A, Miraztchiev E, Sevova D. (ed.). Communication front 2000, international project of electronic and media art and cultural Crossing Points East – West. Plovdiv : Art Today Association, 2002, pp.20-3.

    A Place Where Everything Has A Sense. Pandilovski M, Šarkacevic B. (ed.). Understanding the Balkans Conference. Skopje : CAC, 2002, pp.64-70.

    The making and unmaking of para-history: or from photomontage to digital sabotage. Issues in Contemporary Arts and Aesthetics 12 (2001), pp.91-8.

    Reviews

    Immediations: The Humanitarian Impulse in Documentary by Pooja RanganLeonardo Reviews, May, 2018.

    Code + Clay, Data + Dirt: Five Thousand Years of Urban Media by Shannon MatternLeonardo Reviews, March, 2018.

    Museum and Archive on the Move: Changing Cultural Institutions in Digital Era by Oliver Grau, Wendy Coones and Viola Rühse, EditorsLeonardo Reviews, December, 2017.

    Nonhuman Photography by Joanna ZylinskaLeonardo Reviews, March, 2017.

    Dying in Full Detail: Mortality and Digital Documentary by Jennifer MalkowskiLeonardo Reviews, September, 2017.

    Utopia: From Thomas More to Walter Benjamin by Miguel Abensour; translated by Raymond N. MacKenzieLeonardo Reviews, September, 2017.

    Here / There: Telepresence, Touch, and Art at the Interface by Kris PaulsenLeonardo Reviews, August, 2017.

    Finite Media: Environmental Implications of Digital Technologies by Sean CubittLeonardo Reviews, June, 2017.

    Mirror Affect: Seeing Self, Observing Others in Contemporary Art by Cristina AlbuLeonardo Reviews, March, 2017.

    Philosophy of Language by Vilém Flusser Leonardo Reviews, February, 2017.

    The Camera Does the Rest: How Polaroid Changed Photography, by Peter Buse,Leonardo Reviews, February, 2017.

    Iconology, Visual Culture, and Media Aesthetics by W.J.T Mitchell, Leonardo Reviews, January, 2016. and Leonardo 49, Number 3, 2016, p. 285

    Control Digitality as Cultural Logic by Seb Franklin,Leonardo Reviews December, 2016

    When I Was a Photographer by Félix Nadar, Leonardo Reviwes, May, 2016

    Provenance Unknown by Sara Angelucci, Leonardo Reviews, January, 2016

    Medium, Messenger, Transmission: An Approach to Media Philosophy by Sybille Krämer, Leonardo Reviews, September, 2015

    Big Data, Little Data, No Data: Scholarship in the Networked World by Christine L. Borgman. Leonardo Reviews, June, 2015 and Leonardo Journal, Volume 49, Number 1, 2016, pp. 91-92

    Formalism and Historicity: Models and Methods in Twentieth-Century Art by Benjamin H.D. Buchloh. April, 2015 Leonardo Reviews 49 (3/2016), pp. 285-285

    The Unleashed Scandal: The End of Control in the Digital Age by Bernhard Poerksen and Hanne Detel. Leonardo Reviews, March, 2015

    No Conflict: Paris Photo, Afterimage 38 (4/2011), pp.27-28

    Editorial boards

    The role of Artist and scientist in times of War, Leonardo Journal.

    Membrana, Ljubljana.

    The International Journal of the Arts in Society 2 – Arts in Society, Art and Education Conference, Documenta, Kassel 2007. (associate editor)

    New Moment Artforum in New Moment 2001, Ljubljana (associate editor)

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