Should we be worried about image abundance in the contemporary world?
In recent weeks I have heard a number of affirmative answers to this question. At both the University of Sunderland’s excellent “Versatile Image: Photography in the Age of Web 2.0” conference and the Les Rencontres d’Arles symposium on “Photography, the Internet and Social Networks,” a number of contributors voiced concerns.
Heard in presentations and conversations were declarations about the number of circulating images. We live in a time of “too many photographs” and the digital revolution is “worrying and dangerous”. Metaphors of flooding were common. We are inundated with pictures, leaving us as a “lonely figure found amongst the surfeit of images”.
This proliferation was said to have negative consequences. This “over-abundance” makes us “image bulemics” suffering from visual excess. “Quality has been exchanged for quantity”, “taste is dulled and crushed by multiplicity”, and we have arrived at a point where “nobody believes images anymore”.
This quote seems to sum up the connections between quantity, anxiety and effects:
Today the eye of modern man is daily, hourly overfed with images. In nearly every newspaper he opens, in every magazine, in every book—pictures, pictures, and more pictures…This kaleidoscope of changing visual impressions spins so rapidly that almost nothing is retained in memory. Each new picture drives away the previous one…The result—in spite of the hunger for new visual impressions—is a dulling of the senses. To put it bluntly: the more modern man is given to see, the less he experiences in seeing. He sees much too much to still be able to see consciously and intensively.
But this quote is not recent. It dates from 1932, and is from a German article on image fatigue (reference below). It shows that, in a period we regard as a time of editorial control, relative slowness, and contemplation, anxieties about visual abundance and its effects were also common.
Although few express worries about being swamped by words or text in contrast to pictures, concern about “information overload” has an even longer history. Having located concerns as far back as 1565, Vaughan Bell wrote:
Worries about information overload are as old as information itself, with each generation reimagining the dangerous impacts of technology on mind and brain. From a historical perspective, what strikes home is not the evolution of these social concerns, but their similarity from one century to the next, to the point where they arrive anew with little having changed except the label.
What is driving the contemporary concern about image abundance? In part it’s the scale of production enabled by digital production and circulation. There are probably 500 billion digital images produced each year, and more than 60 billion have been uploaded to Facebook (with 8 billion on Photobucket, 7 billion on Picasa, and 5 billion on Flickr). When the majority of mobile phones have cameras it is no wonder we take a lot of images – the iPhone 4 is now the single biggest source of Flickr uploads.
I don’t doubt that the ease of digital technology means that overall there are more pictures than ever. However, these macro statistics can be a bit misleading. As Joerg Colberg pointed out a while back, if you take the overall number of photos on Facebook and divide it by the large number of users, the average Facebook album is little more than a hundred images per person. Is that any larger than the analogue prints collected in a traditional family photo album?
The anxiety associated with image abundance condenses a range of concerns. Listening to the debates at Arles in particular, I think this anxiety is driven by a professional concern about the rise of the amateur, and the way in which this is seen as destabilising traditional frames of cultural reference. Most of the statistics cited in relation to the contemporary proliferation of pictures refer to popular production. What people fear is being swamped, I suspect, are the assumed qualities of the professional image.
Far from being a threat, I see the abundance of images as an opportunity for ‘the professional’. We live in a culture where people avidly consume photos. But in this culture there is still a scarcity of certain types of imagery – those which drive a story.
Critical, engaged and reflective photographers (as well as curators and editors) are the people who can offer in-depth, narrative explorations of important issues at home and abroad. Indeed, the general familiarity and fondness for single images in our ‘photo-op’ culture might have expanded the space and grown the demand for more complex, thoughtful visual stories.
There is much to study about photography in all its forms in the context of web 2.0. But in relation to the metaphors of excess, flooding and their assumed effects, its probably time to move on from repeating clichés of cultural anxiety to embracing new creative production.