Descripciones mejoradas de Syndetics:

An essential investigation into the murky ethics of AI, one that calls into question the future of photography.

Artificial Intelligence is driving a fourth industrial revolution and, as The Synthetic Eye shows, the centre will not hold.

How can we believe or trust the images we are being shown? What role do photographers, the media and technology companies have in upholding the authenticity of photographs? Can synthetic imagery be utilized to enhance our understanding of our world?

A revelatory roadmap of today's image universe, The Synthetic Eye explores how Artificial Intelligence has fundamentally transformed our sense of the real, the possible and the actual. Arranged into seven distinct chapters, it interrogates AI's engagement with history, how it has changed our understanding of reality, and the positive opportunities and dystopian scenarios that lurk beneath the surface of artificially generated images.

Tabla de contenidos provista por Syndetics

• Preface(8)
• Chapter 1 Exiting the Photographic Universe(17)
• Chapter 2 Playing with AI(41)
• Chapter 3 Histories Transformed(73)
• Chapter 4 The Unbearable Relevance of Photography(103)
• Chapter 5 Expanding the Frame(135)
• Chapter 6 Synthetic Challenges(179)
• Chapter 7 Shifting Paradigms(203)
• Notes(234)
• Acknowledgments(238)

Notas de autor provistas por Syndetics

Fred Ritchin is a writer, educator and critic. Currently the Dean Emeritus of the International Center of Photography (ICP) School, he was previously professor of photography and imaging at New York University's Tisch School of the Arts. He has worked as the picture editor of The New York Times Magazine (1978-1982) and created the first multimedia version of the New York Times newspaper (1994-95). He was nominated by the Times for a Pulitzer Prize in public service in 1997 for Bosnia: Uncertain Paths to Peace , a non-linear online photo essay that he conceived and edited. Ritchin's previous books include In Our Own Image: The Coming Revolution in Photography (1990), After Photography (2009) and Bending The Frame: Photojournalism, Documentary and the Citizen (2013). He continues to teach and lecture widely.