Exploring the intersection between the photography and design theory, this paper attempts to clarify that these media have unique materiality even in the digital society driven by information technology. For example, the study of vernacular photography, focusing on the history and use of mundane photographs, emphasizes their materiality, but their relations with digital photographs are still so obscured that eventually prompt to reinforce their opposition. For overcoming this problem, this paper will examine the essay proposed by Koji Taki and Vilém Flusser, who have developed the materialistic theory about photography and design. In particular, they have elaborated respectively the idea of “the fictive materialization” and “in-formation” as an effect of these media, and those implications would be explicated by the works in an exhibition, “Materializing” (2013-2015, Tokyo and Kyoto), featuring technologies of digital fabrication. In doing so, this paper will clarify that the materiality of photography and design as a medium, whether analog or digital, would be active as the thinking itself independent from the human actor.
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