In this book, Osborne demonstrates why and how photography as
photography has survived and flourished since the rise of digital
processes, when many anticipated its dissolution into a generalised
system of audio-visual representations or its collapse under the
relentless overload of digital imagery. He examines how photography
embodies, contributes to, and even in effect critiques how the
contemporary social world is now imagined, how it is made present
and how the concept and the experience of the Present itself is
produced. Osborne bases his discussions primarily in cultural
studies and visual cultural studies. Through an analysis of
different kinds of photographic work in distinct contexts, he
demonstrates how aspects of photography that once appeared to make
it vulnerable to redundancy turn out to be the basis of its
survival and have been utilised by much important photographic work
of the last three decades.
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