The main purpose of this thesis is to investigate in how and why encyclopedic projects by archival based photographers, challenge and counter the figure of the digital database. The yearning for...Show moreThe main purpose of this thesis is to investigate in how and why encyclopedic projects by archival based photographers, challenge and counter the figure of the digital database. The yearning for collecting or ‘archive fever’ (as defined by Jacques Derrida) is still found in some contemporary art projects. Consequently, in a world where more and more objects, documents and photographs are stored digitally, the question remains why some photographers resort to the archive as their working method and continue to display their works through analogue techniques such as the book and the installation. In order to understand the working method these artists adopt, this thesis shares them under the position of ‘the-photographer-as-archivist’. This thesis considers two case studies, firstly Parallel Encyclopedia #1 (2007) by Batia Suter (1967) and secondly The Universal Photographer (2018) by Anne Geene (1983) and Arjan de Nooy (1965). Their projects are assessed visually as well as theoretically, using the method of visual research as proposed by Gillian Rose. This method bases itself on the three modalities of technology, composition and social elements that surround visual imagery. The research has shown that both of the explored works, contain anti-database characteristics such as physicality, materiality and narrativity as their most prominent features. This means that in terms of discourse they comment on the structure, active accumulation, the usage and functioning of the digital database.Show less
