eprintid: 1450
rev_number: 4
eprint_status: archive
userid: 2
dir: disk0/00/00/14/50
datestamp: 2010-12-09 11:06:43
lastmod: 2013-11-06 10:27:51
status_changed: 2011-01-27 10:12:52
type: article
metadata_visibility: show
creators_name: Zawojski, Piotr
title: Daniel Lee, czyli hybrydyczność fotografii cyfrowej. Teoria i praktyka
title_en: Daniel Lee or hybridism of digital photography. Theory and practise
ispublished: pub
subjects: ddc-770
divisions: i-9
cterms_swd: Lee, Daniel
cterms_swd: Digitale Photographie
abstract_translated_text: The article deals with the issue of hybrid nature of digital photography, which in a model way meets the criteria presented by Lev Manovich in the context of description of new media. Apart from digital representation, modularity, automation, and variability, its characteristic feature is the possibility to transcode, idiosyncratic inter-mediality. The author depicts the theoretical horizon of the reflections on aesthetic and artistic consequences of the breakthrough caused by digital photography and adoption of new digital technologies in art. Digital photography participates in the formation of modern cyberculture - a new paradigm of media culture resulting from the development of computer technologies. Beside the theoretical ruminations, the author presents the works and ideas of Chinese-born American photographer, Daniel Lee. His works, such as the "Manimals" (1993), "Origin" (1999), "Nightlife" (2001), he treats as a sui generis exemplification of the possibilities offered to the artists by a new, digital devices to create the works representing a totally new approach to the photographic medium. Digital photography is an example of cyberart, which very often refers to the synthophy of art, science and technology. Its hybridism manifest itself in the practices of "cultural (re-)mix" consisting in continuous processing of both visual material within the range of individual work and re-working of photographic tradition. Over twenty-year tradition of this medium reveals that it is a border phenomenon - traditional, analogue photography based on photo-chemical processes is now increasingly often replaced by photographic digital images, which does not mean, however, that the era of post-photography, photography after photography, stands for the end of the art of photography. On the contrary - digital technology becomes a remarkable ally of such artists as Daniel Lee, who in original, creative and unique way create the universe of digital photography as a new medium.
abstract_translated_lang: eng
date: 2006
date_type: published
id_scheme: DOI
id_number: 10.11588/artdok.00001450
collection: c-4
ppn_swb: 1650694172
own_urn: urn:nbn:de:bsz:16-artdok-14505
language: pol
bibsort: ZAWOJSKIPIDANIELLEEC2006
full_text_status: public
publication: Rocznik Historii Sztuki
volume: 31
pagerange: 269-283
oa_type: green
themen: T17
title_lat: Daniel Lee, czyli hybrydycznosc fotografii cyfrowej. Teoria i praktyka
citation:   Zawojski, Piotr  (2006) Daniel Lee, czyli hybrydyczność fotografii cyfrowej. Teoria i praktyka.   In:  Rocznik Historii Sztuki, 31 (2006),   pp. 269-283      
document_url: https://archiv.ub.uni-heidelberg.de/artdok/1450/1/Zawojski_Daniel_Lee_czyli_hybrydycznosc_fotografii_cyfrowej_2006.pdf