Membrana – Journal of Photography, Theory and Visual Culture

Current Issue

Vol. 8 No. 2 (2023)
Published December 2, 2023

Membrana – Journal of Photography, Theory and Visual Culture is a peer-reviewed journal promoting a critically informed and theoretically grounded understanding of photography as a multifaceted and divergent media. The journal is open to contributions that address photography's embeddedness in visual culture and contemporary media, its relation to technology, politics, art, tradition, and the global economy. Membrana also invites contributions that challenge prevailing notions and conceptualizations of photography, photography theory, and the history of photography.

Announcements

Call for Papers Vol. 9 No. 2

Membrana invites submissions for its upcoming issue, seeking original and thought-provoking contributions that engage with the diverse field of photography and visual practices. In Membrana Vol. 9 No. 2, we aim to provide a platform for critical reflection on the social, cultural, and artistic roles of photography within broader visual culture. Contributions may focus on contemporary or historical contexts, exploring processes of shaping and responding to visual practices, processes, phenomena.


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June 18, 2024

Call for Papers Vol. 9 No. 1 - Data

Recent developments in machine vision, algorithms, and artificial intelligence have re‑energized debates about the interplay between visualization, data, and the visual. Understanding notions of data, their visual forms, the processes of visualizing data, and not least the reconsideration of historical images and imaging as data visualizations has become relevant. These developments have also reframed and accentuated the dilemma regarding the perceived dichotomy between data extraction and data creation (echoing the dichotomy between positivism and correlationalism). This dichotomy entails both technical and ethical aspects and persists in our understanding of visual data – whether it is perceived as raw material, extracted from the visual world, or as data formulated through visualization technologies.


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January 29, 2024

Call for Papers Vol. 8, no. 2 - War

Images of war have always been torn between instrumentality (advocacy, propaganda, documentation) and operativity (visual representations as part of operational warfare). They have also been continuously haunted by the sense of inadequateness of visual representation of the real. Whether at the operative level (strategic and tactical) or at the instrumental level – it seems that especially at the latter the sense of inadequateness of the representability of violence prevailed and to some extent challenged the contribution of images to our desire to understand, avoid, or prevent wars and violent conflicts. Furthermore, on the operational level, the visualization is split between image-based algorithmic systems on one and the visualization of data on other hand (ex. interfaces).


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April 20, 2023

Call for Papers Vol. 8, no. 1 - Collaboration

In recent decades, there has been a proliferation of collaborative and participatory visual practices employed across a wide range of academic and cultural fields, not least within the arts and humanities, social sciences, international development, and community studies. Such practices often, explicitly or implicitly, base their methodological (and theoretical) frameworks on a premise that makes a claim for the empowering and revealing authority of self- and co-representation. The processes of production and consumption (or creation and reception) of photographic images and other visual artifacts created through collaborative and participatory methods are perceived to have powerful agency and as such the focus of many of these projects is weighted towards the organization of the production process itself.


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March 18, 2023

Call for Papers Vol. 7, no. 2 - Stories

Throughout its history, photography has been used to deceive, to construct, to lie, to create fictitious worlds and to convince us of their indisputable truths – both with equal impact on our notion of reality – on our experience, on the notion of society and culture. As “incomplete utterances”, photographs are inseparable from and dependent on narrative and storytelling.


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December 29, 2022

Call for Papers Vol. 7, no. 1 - Histories

Both the photographs themselves and the act of photographing anticipate the processes of storytelling, of constructing a connection between social groups and their understanding of time, of past, present and anticipated future.


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December 29, 2022
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