2. Photo or Shop ? Truth-claim in the Photoshop-age.

3. de Mul: “The Digital photo is – even if not afterwards manipulated at all – no longer an indexical print of the depicted, but an analog picture translated into a serie of ones and zeros.”

4. Manovich: “[…] in software culture, digital media is a particular subset of the larger category information. ” photography = infography “the idea of information—a disembodied, abstract and universal dimension of any message separate from its content.”

5. Helmond: “Gates updates Daston & Galison’s notion of ‘mechanic objectivity’, which was related to photographic and other visual forms of media, to ‘computational objectivity’”

6. Gunning: “The fact that rows of numbers do not resemble a photograph, or what the photograph is supposed to represent, does not undermine any indexical claim.’”

7. Research Questions / Hypotheses Why do we still have an urge for indexicality in the current age of photoshop? Why people want to believe what they see, knowing it might be falsified? How/Why digital image falsifaction is less accessible then digital image editing. A philosophy on truthfull digital imagery.

8. Outline Introduction Theory –Manovich view on software taking command: the tranforming of photography into information. –Short history of photography and indexicality. –Indexicality and digital photography. Analysis –Why people urge indexicality. –Why its harder to falsify then to manipulate. Conclusion

9. Methods Textual / philosophical analysis of theory on truth-claim considering an updated notion of nowadays available technical knowledge on both digital photography and falsification.

10. Literature Gerry Badger, Door het oog van de lens; Hoe fotografie ons leven heeft veranderd. Arnhem: Uitgeverij Terra Lannoo, 2007. Oorspronkelijke titel: The Genius of Photography. Quadrille Publishing. Walter Benjamin, “A Little History of Photography.” In The Work of Art in the Age of its Technological Reproducibility and Other Writings on Media, red. Michael W. Jennings e.a. Cambridge (USA): The Belknap Press of Harvard University Press, 2008 Walter Benjamin, “The Work of Art in the Age of its Technological Reproducibility. Second Version.” In The Work of Art in the Age of its Technological Reproducibility and Other Writings on Media, ed. Michael W. Jennings e.a. Cambridge (USA): The Belknap Press of Harvard University Press, 2008 Vilém Flusser, “Een filosofie van de fotografie.” (voorzien van een nawoord door Marc Geerards). Utrecht: uitgeverij IJzer, 2007. Kelly Gates, 2013. “The Cultural Labor of Surveillance: Video Forensics, Computational Objectivity, and the Production of Visual Evidence.” Social Semiotics 0 (0): 1–19. doi:10.1080/10350330.2013.777593. http://www.tandfonline.com/doi/abs/10.1080/10350330.2013.777593. Larry Gross e.a. (eds.) Image Ethics in the Digital Age, Minneapolis/London 2003 Anne Helmond “Notes from #MIT8: ‘Labor and Technologies of Surveillance’ – The Aesthetics of Objectivity and Computational Objectivity” www.annehelmond.nl/2013/05/13/notes-from-mit8-labor-and-technologies-of-surveillance-the-aesthetics-of- objectivity-and-computational-objectivity/ Frank Kessler, “What You Get is What You See. Digital Images and the Claim on the Real”, in Marianne van den Boomen et al., Digital Material, Amsterdam: AUP, 2009, pp. 187- 198 Lev Manovich, “Inside Photoshop”, in Software Takes Command, 124-146 Jos de Mul, “Dataïsme. Het kunstwerk in het tijdperk van zijn digitale recombineerbaarheid.” In J. Swinnen (red.), Anders zichtbaar. Brussel: VUB Press 2010, 264-276. Jos de Mul, "De informatisering van het wereldbeeld". Rede ter gelegenheid van de Dies Natalis, Rotterdam (Erasmus Universiteit), 1997, 17 blz. J. de Mul, “The Virtualization of the World View: The End of Photography and the Return of the Aura.” In: Anette W. Balkema & Henk Slager (red.) The Photographic Paradigm. Lier en Boog, Series of Philosophy of Art and Art Theory Vol 12. 1997. William T. Mitchell, The Reconfigured Eye. Visual Truth in the Post-photographic Era, Cambridge (Mass.), MIT Press, 1992