Archive for the ‘Subject’ Category
The Gesture of Writing
Flusser, Vilém. ‘The Gesture of Writing’ 1991 Accessible online here. p.1 To write means, of course, to perform an action by which a material, (for instance chalk, or ink), is put on a surface, (for instance a blackboard or a leaf of paper), to form a specific pattern, (for instance letters). And the tools used [...]
Filed under: Analogue - Digital, Essays, Performance writing, Vilém Flusser, Web links, Writing | Leave a Comment
Screen. Image. Text.
http://rhizome.org/editorial/2012/may/16/screen-image-text/ Written by Orit Gat
Filed under: Analogue - Digital, Digital Impermanence, Online Journal/Resource, Orit Gat, Photography's Materiality, Rhyzome, Web links | Closed
Daniel Kahneman: The riddle of experience vs. memory There is an experiencing self, who lives in the present and knows the present. And then there is a remembering self. And the remembering self is the one that keeps score and maintains the story of our life [...] Those are two very different entities: the experiencing self and [...]
Filed under: Memory and reconstruction, Storytelling, Talks, Videos | Closed
The Eyes of the Skin
Pallasmaa, Juhani. The Eyes of the Skin (Chichester: Wiley, 2008) p.10 All the senses, including vision, are extensions of the tactile sense; the senses are specialisations of skin tissue, and all sensory experiences are modes of touching and thus related to tactility. pp.10-11 Our contact with the world takes place at the boundary line of [...]
Filed under: Books, Image Proliferation, Juhani Pallasmaa, Materiality, Mechanics/Politics of Vision, Phenomenology, Touch/Tactile Perception | Leave a Comment
The Memory of Touch
Marks, Laura U. ‘The Memory of Touch’ The Skin of the Film (London: Duke University Press, 2000) 127-193 p.162 Haptic perception is usually defined by psychologists as the combination of tactile, kinesthetic, and proprioceptive functions, the way we experience touch both on the surface of and inside our bodies. In haptic visuality, the eyes themselves function like organs of [...]
Filed under: Laura Marks, Materiality, Phenomenology, Touch/Tactile Perception | Closed
Picturing Vision
Snyder, Joel. ‘Picturing Vision’ Poetics of Space: A Critical Photographic Anthology ed. by Steve Yates (Albequerque: University of New Mexico Press, 1995) 157-171 p.158 Our willingness to accept photographs as natural and mechanical records of what we see underscores the power of our belief that certain kinds of pictures achieve significance because they are “natural” – meaning [...]
Filed under: Edited Books, Essays, Images and reality, Joel Snyder, Mechanics/Politics of Vision | Leave a Comment
Understanding a photograph
Berger, John. ‘Understanding a photograph’ Classic Essays on Photography ed. by Alan Trachtenberg (New Haven: Leete’s Island Books, 1980) 291-294 p.291 Certainly the vast majority of people do not consider photography an art, even whilst they practise, enjoy, use and value it. It now seems clear that photography deserves to be considered as though it were [...]
Filed under: Camera culture, Edited Books, Essays, Images and reality, John Berger, Observer & the Photograph, Photograph as Document, Pointing & Photography, Vernacular Photography | Leave a Comment
Introduction
p.1 Landscape is a social product; particular landscapes tell us something about cultural histories and attitudes. landscape results from human intervention to shape or transform natural phenomena, of which we are simultaneously a part. p.3 The act of naming is an act of taming. From its inception photography has been involved in investigating and detailing [...]
Filed under: Books, Introduction, Liz Wells, Photograph as Document, Photography and Place, Photography and Positivism | Leave a Comment
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
McCauley, Anne. ‘Overexposure: Thoughts on the Triumph of Photography’, The Meaning of Photography ed. by Robin Kelsey and Blake Stimson (Williamstown, MA: Sterling and Francine Clark Institute, 2005) 159-162 p.159 [discusses photography's acceptance into art institutions] p.160 Museums became infotainment for people who wanted to walk rather than sit in front of screens when escaping from their [...]
Filed under: Analogue - Digital, Anne McCauley, Criticism of Photography, Edited Books, Essays, Images and reality, Personal Responses to Images, Photography's Art History | Leave a Comment
The Image of the City
Lynch, Kevin. ‘The Image of the City’, Images: A Reader ed. by Manghani, Sunil., Piper, Arthur., Simons, Jon. (London: SAGE Publications, 2006) 247-249 Originally: Lynch, Kevin. The Image of the City. (Cambridge,MA: MIT Press, 1960) 1-13 p.247 Looking at cities can give a special pleasure, however commonplace the sight may be. Like a piece of architecture, the [...]
Filed under: Essays, Images and reality, Kevin Lynch, The city | 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
Schwartz, Joan M; Ryan, James R. ‘Photography and the Geographical Imagination’ Picturing Place: Photography and the Geographical Imagination ed. by Joan M. Schwartz and James R. Ryan (London: I.B.Taurus, 2003) 1-18 p.1 More than one hundred and fifty years later – despite ongoing and unresolved debates over the status of photography as a fine art and over [...]
Filed under: Anonymity/Authorship & Photography, Content vs Materiality of Photographs, Distribution (etc) of Photographs, Edited Books, Images and reality, Introduction, Invention of photography, James R Ryan, Joan M Schwartz, Photograph as Document, Photography and Place, Photography and Positivism, Photography's Art History, Photography's Materiality, Politics & Photography, Space and photography, Vernacular Photography | Leave a Comment
Wunderkammer to World Wide Web
Mitchell, William J. ‘Wunderkammer to World Wide Web: Picturing Place in the Post-photographic Era’ Picturing Place: Photography and the Geographical Imagination ed. by Joan M. Schwartz and James R. Ryan (London: I.B.Taurus, 2003) 283-304 p.283 For as long as history records, societies have formed their knowledge of past times and distant places by capturing, transporting and displaying evidence [...]
Filed under: 'As if', Analogue - Digital, Distribution (etc) of Photographs, Images and reality, Invention of photography, Nostalgia for analogue photography, Photograph as Document, Photography as Historical Witness, Post-photography Theories, Space and photography, William J. Mitchell | Leave a Comment
Sense of Location
Wells, Liz. ‘Sense of Location: Topography, Journey, Memory’ (London: I.B.Taurus, 2011) 261-302 p.261 [describing Jem Southam's 'River Hayle January 2000'] However, naturalised, this is a landscape that has been subject to extensive human intervention – the markers are there for our information, whether we are physically present, or viewers of photographs which operate in observational [...]
Filed under: Anonymity/Authorship & Photography, Books, Essays, Liz Wells, Memory & Context, Memory & Photography, Memory and reconstruction, Observer & the Photograph, Performance & Photography, Photography and Place, Space and photography, Touch/Tactile Perception | Leave a Comment
To Abstract
Flusser, Vilém. ‘To Abstract’ Into the Universe of Technical Images trans. by Nancy Ann Roth (Minneapolis: University of Minnesota Press, 2011) 5-10 p.5 Since human beings depend for their lives more on learned and less on genetic information than do other living things, the structure through which information is carried exerts a decisive influence on [...]
Filed under: Books, Images and reality, Post-photography Theories, Vilém Flusser | Leave a Comment
Warning
Flusser, Vilém. ‘Warning’ Into the Universe of Technical Images trans. by Nancy Ann Roth (Minneapolis: University of Minnesota Press, 2011) 3-4 p.3 Utopia means groundlessness, the absence of a point of reference. We face the immediate future directly, unequivocally, except inasmuch as we cling to those structures generated by utopia itself. That is what has [...]
Filed under: Books, Images and reality, Politics & Photography, Post-photography Theories, Vilém Flusser | Leave a Comment
Landscapes without memory
Fontcuberta, Joan. Landscapes without Memory (New York: Aperture Foundation, 2005) 4-7 Batchen, Geoffrey. ’Photography by the Numbers’ Landscapes without Memory (New York: Aperture Foundation, 2005) 9-13 p.9 [referring to Joan Fontcuberta new landscape images and the first pictures sent from the surface of Titan, Saturn's largest moon] Worlds apart, the two pictures nevertheless share a common conceptual infrastructure. [...]
Filed under: Ambiguity and Photography, Analogue - Digital, Anonymity/Authorship & Photography, Banality & Photographs, Essays, Geoffrey Batchen, Images and reality, Indexicality & Photography, Joan Fontcuberta, Photography and Place, Photography's Art History, Post-photography Theories, Review essay, Vernacular Photography | Leave a Comment
Ectoplasm
Batchen, Geoffrey. ‘Ectoplasm’ Each wild idea: writing, photography, history (Cambridge, Mass.; London: MIT, 2002 [essay originally published in 1994]) 128-144 p.129 This [current] sustained outburst of morbidity appears to stem from two related anxieties. The first is an effect of the widespread introduction of computer-driven imaging processes that allow “fake” photos to be passed off [...]
Filed under: Analogue - Digital, Books, Essays, Geoffrey Batchen, Images and reality, Indexicality & Photography, Invention of photography, Magic/Uncanny & Photography, Mechanical Reproduction, Melancholy/Death & Photography, Nostalgia for analogue photography, Peirce, Photograph as Document, Time and photography | 1 Comment
Mayer-Schonberger, Viktor. ‘The Role of Remembering and the Importance of Forgetting’ Delete: The Virtue of Forgetting in the Digital Age (Princeton, Oxford: Princeton University Press, 2009) 16-49 p.17 Contrary to popular belief that we only use a small fraction of our brain’s power, the entire network of neurons and synapses is active in healthy human beings. But [...]
Filed under: Analogue - Digital, Books, Forgetting, Invention of photography, Memory & Photography, Memory and reconstruction, Memory Objects, Storytelling, Viktor Mayer-Schönberger | Closed
Mayer-Schönberger, Viktor. ‘Failing to forget the “Drunken Pirate”‘ Delete: The Virtue of Forgetting in the Digital Age (Princeton, Oxford: Princeton University Press, 2009) 1-15 p.11 What we sense is the demise of forgetting, and a fundamental shift to the default of remembering. [discussion of Panopticon, 'a prison in which guards could watch prisoners without prisoners knowing whether [...]
Filed under: Analogue - Digital, Books, Forgetting, Memory & Context, Memory and reconstruction, Viktor Mayer-Schönberger | Closed
{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
