Archive for the ‘Journals’ Category
Flusser, Vilem. ‘The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs’ Leonardo, 19:4, 329-332, 1986 p.329 The Latin term ‘objectum’ and its Greek equivalent ‘problema’ mean ‘thrown against’, which implies that there is something against which the object is thrown: a ‘subject’. As subjects, we face a universe of objects, of problems, [...]
Filed under: Analogue - Digital, Banality & Photographs, Camera culture, Content vs Materiality of Photographs, Essays, Leonardo, Post-photography Theories, Vernacular Photography, Vilém Flusser | Leave a Comment
Damisch, Hubert. ‘Five Notes for a Phenomenology of the Photographic Image’ October, 5, Summer 1978, 70-72 p.70 Theoretically speaking, photography is nothing other than a process of recording, a technique of inscribing, in an emulsion of silver salts, a stable image generated by a ray of light.This definition, we note, neither assumes the use of a camera, [...]
Filed under: Essays, Hubert Damisch, Images and reality, Indexicality & Photography, Invention of photography, October, Phenomenology | Leave a Comment
Dahlgren, Anna. ‘Dated Photographs: The Personal Photo Album as Visual and Textual Medium’, Photography & Culture, 3:2, 175-194 p.176 Unlike personal photo albums made after 1900, text is scarce in general in personal carte-de-visite albums and, especially, indications of when the images were taken are very rare. This characteristic seems to suggest a different view of [...]
Filed under: Anna Dahlgren, Archive & Photography, Camera culture, Content vs Materiality of Photographs, Context and photography, Family album, Photography & Culture, Photography's Materiality, The Collection, Vernacular Photography, Writing/Literature & Photography | Leave a Comment
Perception and Knowledge
Takvan, Monica. ‘Perception and Knowledge – In Connection to the Eye and the Senses’, Photography & Culture, 3:3, 321-330 Research in Progress p.321 Perception is often connected to knowledge and information gained through the eyes, and when saying we understand something, the term “I see” is often used. Is seeing the equivalent of understanding? And is perceiving the same as [...]
Filed under: Images and reality, Invention of photography, John Berger, Monica Takvam, Photography & Culture, Photography's Materiality, Touch/Tactile Perception | Leave a Comment
Surely Fades Away
Buse, Peter. ‘Surely Fades Away’, Photographies, 1:2, 221 – 238 [discussion of Robert Adams & Polaroid] However, far from being some sort of special case or exception to the rule, Polaroid’s relationship with Adams simply crystallizes a problematic of value that runs right through the history of instant photography: its simultaneous association with both high [...]
Filed under: "We live to be photographed", Analogue - Digital, Camera culture, Essays, Nostalgia for analogue photography, Peter Buse, Photographies, Photography's Art History, Vernacular Photography | Leave a Comment
Palmer, Daniel. ‘Emotional Archives: Online Photo Sharing and the Cultivation of the Self’, Photographies, 3:2, 155 – 171 The nature of these digital snapshots has already attracted considerable attention. For instance, there is widespread agreement among researchers that such images are both more intimate and mundane than earlier forms of personal photography (Gye; Murray). Indeed, [...]
Filed under: "We live to be photographed", 'As if', Analogue - Digital, Daniel Palmer, Distribution (etc) of Photographs, Essays, Familial relations & Photography, Images and reality, Memory & Photography, Memory and reconstruction, Photographies, Post-photography Theories, Vernacular Photography | Leave a Comment
Snapshots
Batchen, Geoffrey. ‘Snapshots’, Photographies, 1:2, 121 – 142, 2008. [...] it could be said that snapshots are to the history of photography as photography is to the history of art; each represents a significant threat to the stability of its host discipline. [Batchen describes three vernacular photographs] It’s been said that Americans alone take about [...]
Filed under: Analogue - Digital, Anonymity/Authorship & Photography, Camera culture, Familial relations & Photography, Found photographs, Geoffrey Batchen, Identification & Photography, Indexicality & Photography, Memory & Photography, Memory Objects, Narrative & Photography, Observer & the Photograph, Photographies, Photography's Art History, Photography's Materiality, Vernacular Photography, Writing/Literature & Photography | Leave a Comment
Joachim Schmid – Interview
In this interview with Joachim Schmid by Lens Culture, he suggests that he remembers events and places he has travelled, through the photographs he finds in those places. The project has a personal level as well [...] its also my personal diary, I usually travel without a camera… so I don’t take any travel snapshots. When [...]
Filed under: Found photographs, Joachim Schmid, Lens Culture, Memory & Photography, Personal Responses to Images, Photograph as object, using found photography, Vernacular Photography | 2 Comments
The Family Gaze
Haldrop, Michael; Larsen, Jonas. ‘The Family Gaze’ Tourist Studies 3 (London: Sage Publications, 2003) pp.23-46 p.24 Despite the fact that taking photographs is perhaps the emblematic tourist practice and that tourist studies have been dominated by a visual paradigm of gazing, remarkably little sustained research has explored the general connections between tourism and popular tourist [...]
Filed under: Familial relations & Photography, Family album, Images and reality, Jonas Larsen, Journals, Memory & Photography, Michael Haldrop, Narrative & Photography, Performance & Photography, Personal Responses to Images, Storytelling, Tourist Studies, Vernacular Photography | Leave a Comment
Dzenko, Corey. ‘Analog to Digital: the indexical function of photographic images’ Afterimage vol.37 no.3 (Sep-Oct 2009) 19-23 p.19 [Conpares to Marshall McLuhan's description of railway] [...] digital photography “accelerates” or “enlarges” traditional photographic processes. Digital photography challenges the historical belief that photography is representative of reality. But have viewers’ perceptions shifted in relation to theoretical [...]
Filed under: Afterimage, Analogue - Digital, Corey Dzenko, Essays, Indexicality & Photography, Post-photography Theories | Leave a Comment
pp.3-6 in: Bate, David. ‘The Archaeology of Photography: Rereading Michel Foucault and The Archaeology of Knowledge’. Afterimage. vol.35 no.3 (Sept-Oct 2007) p.3 For Foucault, the historian must excavate an archive to reveal not merely what is in it, but the very conditions that have made that archive possible, what he calls its historical a priori. In [...]
Filed under: Afterimage, Archive & Photography, David Bate, Essays, Michel Foucault, Post-photography Theories, The Archive | Leave a Comment
Archival Meaning
Volpe, Andrea L., ‘Archival Meaning: Materiality, Digitization, and the Nineteenth-century Photograph’ AfterImage, 36 no.6 May/June 2009. 11-14 p.11 By focusing on the photograph as object and the terms on which digitization is changing access to photographs as archival objects, these exhibits prompt a rethinking of the history of nineteenth-century photography as a history of what [...]
Filed under: Afterimage, Analogue - Digital, Andrea L. Volpe, Archive & Photography, Essays, Photograph as object, Photography's Materiality | Leave a Comment
Deep in the Archive
Ulrich Baer ‘Deep in the Archive’, Aperture, 193 (Winter 2008), 54–59 p.54 ‘In the silence of the archive, researchers try and grasp the texture of lives from the remains left here, on this sheet, in this box, on this clean table, and now for their eyes only.’ ‘By definition, archives always collect a bit too [...]
Filed under: Aperture, Archive & Photography, Christian Boltanski, Essays, Ilán Lieberman, Melancholy/Death & Photography, Ulrich Baer, Zoe Leonard | Leave a Comment
The Art of the American Snapshot
Andy Grundberg ‘The Art of the American Snapshot’, Aperture, 190 (Spring 2008), 10–11 [On snapshots:] ‘Once ripped from their family-album contexts they are on the whole anonymous, banal, repetitive, trite.’ ‘So much for progressivism: the snapshot was born beautiful [...] only to grow into a hyperactive but physically unremarkable adulthood. Perhaps it was the mass-media’s [...]
Filed under: Andy Grundberg, Aperture, Nostalgia for analogue photography, Review essay, Vernacular Photography | Leave a Comment
Click here to disappear
David Levi Strauss ‘Click here to disappear: Some thoughts on Images and Democracy’, Aperture, 190 (Spring 2008), 20 ‘To regain our liberty (and our distance), we must slow the images down.’ ‘Images online are both more ephemeral (in form) and substantial (in number) than ever. We spend more time collecting and sorting images, but less [...]
Filed under: Analogue - Digital, Aperture, David Levi Strauss, Digital Impermanence, Essays | Leave a Comment
{rowan lear} findings- “Lots of barbed wire entanglements” : tiny portrait of young woman
- Children playing cricket
- Squinting boy holding dog with lead
- Woman standing in kitchen, hiding behind wooden boardImage © Craigmillar Archives Trust
- Two girls and two boys, standing beside field of cowsImage © Craigmillar Archives Trust
- Woman in dress standing by building at end of driveway
- Two prints of portrait of boy with shirt and jacket
- Young girl with hat and doll sitting on chair in garden
- Landscape with tree nursery/orchard
- Man playing on ship deck under lifeboat with woman reading
- Two (twin?) boys in matching clothes standing in field
- Young man with hat and pipe standing against corrugated metal wall
- Island from sea
- Man with hat on donkey
- People standing in archway
- Man, woman and two boys paddling in water
- Two men on side street with steps
- Two women standing with twin boys and carrying girl
- Man and three women sitting on grass under trees
- Village, trees and valley
- {writings}
- Shilpa Gupta: Someone Else 22 April 2012
- TANT 4 March 2012
- Let us tell the stories of the dead 21 January 2012
- This is a photograph 10 October 2011
- My brother’s photograph 22 April 2010
- Not my mother’s album 2 February 2010
