Abstract
In a post-photographic era, the evolving nature of image making and engagement and associated practices, cultural and semiotic codes, communicative and artistic applications, ideological capacity, and artificiality presents us with the challenging ontological and epistemological questions: What do we know of images now? What can they do? These questions position this creative practice-based research not so much as providing direct answers but to demonstrate the intersemiotic and multimodal potentialities of the image to create meaning, making the invisible visible. Using the multimodalities of image, voice, text and AI, historical prisoner of war (POW) photographs and letters will be animated and spoken, making visible a forgotten part of history that past institutional and cultural hegemonic practices reinforced through popular culture had made invisible. This project draws from creative practice-based methodologies, including photographic enquiry, autoethnography, the interpretive methodologies of phenomenology and hermeneutics and semiotic theory, to explore, through the creative artefact, the intersection of generative AI, video, digital and analogue image-making techniques and the temporal flows of images from the past, present, and future to make the invisible visible. The methods employed transcend restrictive historical image-making pedagogies and demonstrate the fluidity of post-photographic practices and the ability of the image as the primary orchestral element that, when used with multiple semiotic modes, performs a rich socio-cultural narrative, facilitating highly affective meaning-making. The image is us; we make, say, feel and see and present through the image; we prompt the image; we imagine, realise and understand ourselves and the world through the image.
Presenters
Thomas MarottaLecturer, Creative Industries, University of Technology Sydney (UTS College), New South Wales, Australia
Details
Presentation Type
Theme
KEYWORDS
Intersemiotic, Multimodality, Artificial Intelligence, Autoethnography, Historical, Hegemony
