Arthur Miller

Collectie / Archief : Fotocollectie Anefo Reportage / Serie : [ onbekend ] Beschrijving : Arthur Miller Datum : 2 oktober 1961 Persoonsnaam : Arthur Miller Fotograaf : Fotograaf Onbekend / Anefo Auteursrechthebbende : Nationaal Archief Materiaalsoort : Glasnegatief Nummer archiefinventaris : bekijk toegang 2.24.01.09 Bestanddeelnummer : 912-9998

Arthur Miller, American playwright

Actress Marilyn Monroe is accompanied by her husband, playwright Arthur Miller, as she arrives at International Airport from New York to start work on a 20th Century-Fox picture.

Arthur Miller

Collectie / Archief : Fotocollectie Anefo Reportage / Serie : [ onbekend ] Beschrijving : De Amerikaanse toneelschrijver Arthur Miller op Schiphol Datum : 28 september 1966 Locatie : Noord-Holland, Schiphol Trefwoorden : aankoms en vertrek, portretten, schrijvers Persoonsnaam : Miller, Arthur Fotograaf : Koch, Eric / Anefo Auteursrechthebbende : Nationaal Archief Materiaalsoort : Negatief (zwart/wit) Nummer archiefinventaris : bekijk toegang 2.24.01.05 Bestanddeelnummer : 919-6131

Arthur Miller

In his prescient 1992 project dis: the power of information he foresaw digital technology’s potential to empower, subjugate or censor societies or the individual. Evans proposed that the truth would become hostage of this fledgeling technology, flawlessly facilitating mis and disinformation. Truth would become a commodity traded for power with information the currency of exchange.- reaping the rewards from the sowing seeds of distrust. In dis Evans anticipated the potential for digitally enabled deep-fakery, Artificial Intelligence and the weaponisation of media. dis was the first artistic project to directly address digitally enabled disinformation used in the war on truth. Inspiration for dis was derived from Evans' pivotal experiences working with artists amid the prelude to war in the former Yugoslavia. He observed a stark disconnect between the narratives disseminated to Western European and American audiences and the realities unfolding on the ground in the Balkans. Evans critically recognised how strategic manipulation of information—through selective presentation, deliberate omission, and calculated framing could be weaponised to shape public perception and political narratives. In this new frontier of media distortion, truth itself became a casualty of mis and disinformation. To create dis, Evans employed an analogue camera at a time when professional digital cameras were still a decade from widespread availability. He then scanned and digitally manipulated the photographs using a Quantel Paintbox—an early, groundbreaking digital imaging system that predated Photoshop. Once created Evans then invited ten artists and writers to contribute prose in response to their prescribed image. Esteemed literary giants and Nobel laureates including Arthur Miller, Yevgenij Reine, Joseph Brodsky, and Wole Soyinka embraced his invitation. Their faith in Evans's vision culminated in a collaborative venture that continues to resonate and remains significant even thirty years later. Technology has evolved exponentially since Evans first used the Quantel Paintbox in 1992. The rise of AI marks the beginning of a new chapter in digital manipulation- introducing sophisticated and unprecedented tools that further challenge our ability to discern truth. The foresight behind dis remains more relevant than ever in this era of digital deception.

Arthur Miller

De Amerikaanse toneelschrijver Arthur Miller op Schiphol