The demise of the industrial age is curtains for the spectacle of representation: visual surveillance is replaced with predictive policing, industrial processes replaced with trading algorithms, armies replaced with remote controlled killer robots and perspectival geometry replaced with the flat topology of the computer screen.

These changes do not mean that suddenly, what we see in front of our eyes does not matter, but that many more things that matter are outside our human field of view. The question is, what becomes of photography when the locus of power shifts from the optical nerve to the fibre-optic cable? What becomes of the public space – the heart of any European city – when it is invisibly but relentlessly morphed by multinational capital into privately owned space with public access, and when sovereignty, citizenship and autonomy find themselves under threat from multi-national corporations and when, as Andrea Philips wrote, the changing concept of the public (space) reconfigures how we understand the performance of truth, judgement and rights?

Sadly, the answer has to be ‘not much has changed’. As a recent visit to a graduate photography exhibition confirms, photography is still, above all else, the universal face of representation. To this day photography’s carte-de-visite proudly proclaims that it can take any aspect of the world and present it to the eye as an image. Indeed, is there anything that cannot be shown in a photograph? The surface of a comet? Check. Someone’s pale ass reflected in the bathroom mirror? Check. A puddle of urine under a hospital bed in a shantytown? Check. Teenagers on the beach looking wistfully into the distance? Triple check!

But this is not all, identical images also press upon us from bus stops, magazines, mobile phones, notice boards, tablets and bags of cat food, to such an extent that it is often hard to know if you are looking at a gallery wall, or at the shop window of Primark. The astonishing diversity of subjects, events and situations that photography is able to attend to, suggests at first sight that its scope is unlimited and its reach universal. And yet, these ostensibly Technicolor riches hide their own dark secrets, perhaps best summarised by drawing an analogy to Henry Ford’s remark ‘you can have the Ford T in any colour as long as it’s black’. In the context of photography, this means that you can have any photography you like, on any device, topic or subject, as long as it is a representation of some thing or other.

The problem is that in a post-Fordist society the locus of political agency and of cultural relevance has shifted from the object – as visually arresting as it might be – to the processes that (re)produce and distribute the object. Processes, however, by their own nature, are less visible and less representational than objects. For that reason, it seems to me that if photography mainly concerns itself with representations of objects in space, it is losing its relevance in a world in which speed, acceleration, distribution and self-replication acquire a significance that overshadows the visual appearance of spaces.

In the 20th Century photography existed on a printed page, mimicking in the perspectival organisation of its elements the hierarchical organisation of a centrally governed society, with its focal point located in the subjectivity of the observer. In the 21st Century this arrangement is just as quaint as piecemeal production in the age of conveyer belt assembly. The photographic print disappeared everywhere apart from some galleries and nostalgic photography departments. In its place there is now a luminous screen that has one of its sides facing the human, bathing her in blue light, and its other side remotely plugged into an unimaginably large stream of data, constantly worked and reworked by algorithms that are written and re-written by invisible and unknown puppet masters - our real rulers.

From time to time these algorithms pluck a few data packages out of this interminable stream and give them a visual form that resembles what we used to call ‘a photograph’. But this resemblance is superficial to say the least. The four horsemen of the photographic apocalypse: Index, Punctum, Document, and Representation can no more account for this process than a printed page can explain the operation of a computer screen. This is not to suggest that the algorithmic image is somehow immaterial or inhuman, but rather to propose that both materiality and humanity must be re-evaluated in the light of these bio-techno-political developments.

And yet, there is still an image, and the image can be of something or other, for example a cat, a politician or a beheading, and this image can still be fascinating as we know many images to be. But in a meta-critical sense – a sense beyond the manner in which we normally consider and criticise images – this fascination appears to be the defining quality of photography, precisely because the word ‘photography’ today names not another visual form of representation, but an immersive economy that offers an entirely new way to inhabit materiality and its relation to bodies, machines and brains. Johnny Golding christened this new materiality ‘Ana-materialism’. We can also simply call it ‘The Now’.

Within this absorbing ‘always on’ and ‘everywhere at the same time’ ana-materiality, the world does not come before the image, nor is it produced by the image. Rather, photography is the visual figuration of a new layer of consciousness - in which new relationships to space and time, and therefore new categories of thought, play, art, and agency are emerging.

It would be hasty therefore to dismiss photography as a heritage practice from the industrial age. Above all else, photography, as the visual incarnation of the algorithm, is shaping our world everywhere, and from time to time we can even glimpse the workings of this process in the images that it throws up. But just like the pebbles scattered by an ocean wave, these images are simply the by-products of a crushing force that acts according to a logic of its own. There is, however, no need to read too much into the shapes created by these pebbles, but instead consider that the urgent task is to learn how to surf this wave. As Gilles Deleuze said: ‘There is no need for fear or hope, only to look for new weapons’.

21st Century photography is this wave, characterised as a continuous process of re-shaping visual forms out of data. It has little in common with prints in black frames - these coffins of photography. It will not be found in the ‘sixty inches from the floor to the center of the image’ rule that still passes for curating in some circles, nor in the ‘eye level’ arrangement of images on walls, that reinforces the rhetorical tropes of perspectival painting inherited from the Renaissance.

And 21st Century photography has nothing in common with the hypocritical moralism of the post-colonial document, that relies on the same representational paradigm that made colonialism possible. In short, 21st Century Photography is not the representation of the world, but the exploration of the labor practices that shape this world through mass-production, computation, self-replication and pattern recognition. Through it we come to understand that the ‘real world’ is nothing more than so much information plucked out of chaos: the randomised and chaotic conflation of bits of matter, strands of DNA, sub-atomic particles and computer code.

In photography one can glimpse how the accidental meetings of these forces are capable of producing temporary, meaningful assemblages that we call ‘images’. In the 21st Century, photography is not a stale sight for sore eyes, but the inquiry into what makes something an image. As such, photography is the most essential task of art in the current time.

— Daniel Rubinstein                                                         

Dr Daniel Rubinstein is reader in philosophy and the image, and course leader, MA Photography, Central Saint Martins. He is the editor of the journal 'Philosophy of Photography’.

Read Andrew Dewdney's response, Co-Curating in the Networks.