Moire Effect : Index and the Digital Image
- Submitting institution
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The University of Huddersfield
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 37
- Type
- D - Journal article
- DOI
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10.7480/footprint.8.1.803
- Title of journal
- Footprint
- Article number
- -
- First page
- 81
- Volume
- n/a
- Issue
- 14
- ISSN
- 1875-1490
- Open access status
- Out of scope for open access requirements
- Month of publication
- April
- Year of publication
- 2014
- URL
-
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The moiré effect and phenomena are natural occurring geometric formations that appear during the super-position of grid structures. They are widely found in printing practices, or when viewed on computer or TV screens. Especially in digital image capture, moiré patterns have the effect of concentric misaligned circles, like a ripple effect. Taking as a point of departure the moiré phenomena, this paper proposes that digital photography can be understood through its “errors” or failures to register a complete image. Expanding on the applications of moiré from nature and technology, as manifested in low resolution jpeg for example, the paper proposes to revisit theories of semiotics and signifiers, or a-signifiers, in this instance, in search of an updated understanding of ‘index’ within photographic and visual art discourse. The paper examines the work of photographic artist Liz Deschenes alongside the theoretical works of philosophers Henri Bergson, Brian Massumi and Francois Laruelle, to propose a speculative understanding of the “index” of digital image.
This open access peer-reviewed paper contributes to the literature within visual art discourse pertaining to digital and analogue photography and explores a new path for considering “indexicality” of the photograph with regards to digital photography. This paper sits within the special edition of Footprint titled: ‘Asingifying Semiotics: Or How to Paint Pink on Pink,’ which explored the notion of ‘simulating and pre-producing a reality that is not yet there’.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -