Archive for the ‘Studium/Punctum’ Category
Smith, Shawn Michelle. ‘Race and Reproduction in Camera Lucida’ Photography:Theoretical Snapshots ed. by Long, J.J., Nobel, Andrea, and Welch, Edward (Oxon: Routledge, 2009) pp.98-111 p.98 A close reading of [Camera Lucida] discovers that many of Barthes’s most important and influential insights are informed by complicated, and sometimes vexing, personal-political inclinations. Indeed, Barthes’s very conception of photography is [...]
Filed under: Anonymity/Authorship & Photography, Context and photography, Edited Books, Essays, Familial relations & Photography, Identification & Photography, Indexicality & Photography, Memory & Photography, Memory and reconstruction, Observer & the Photograph, Personal Responses to Images, Politics & Photography, Shawn Michelle Smith, Studium/Punctum, Writing/Literature & Photography | Leave a Comment
Batchen, Geoffrey. ‘Camera Lucida: Another little history of photography’ Photography Degree Zero ed. by Geoffrey Batchen (Cambridge, MA; London: MIT, 2007) 259-273 p.260 [Batchen proposes] that Camera Lucida is best read not as a book of critical theory but as a history of photography. p.261 [describing the lack of illustration of the winter garden photo] [...]
Filed under: Banality & Photographs, Essays, Geoffrey Batchen, Photography's Art History, Studium/Punctum | Leave a Comment
The Art Seminar
p.158 MI: Anyway why do only photographs have puncta? Doesn’t it have something to do with involuntariness – what Benjamin called the optical unconscious? The punctum is closely related to the found object, something found as if by chance. The as if is important because it is finally the desire or lack in the [...]
Filed under: Edited Books, Seminar, Studium/Punctum | Leave a Comment
A Short History of Photography
Benjamin, Walter., ‘A Short History of Photography’ One-Way Street (London: Verso, 1979; 1997) 240–257 p.243 Immerse yourself in such a picture long enough and you will recognise how alive the contradictions are, here too: the most precise technology can give its productsa magical value, such as a painted picture can never again have for us. [...]
Filed under: Photography and Unconscious, Photography's Art History, Studium/Punctum, Vernacular Photography, Walter Benjamin | Leave a Comment
How to See (Photographically)
Regis Durand, pp.141-151 in Petro, Patrice. ed., Fugitive images, from photography to video (Bloomington: Indiana University Press, 1996) p.142 [On photographs and film stills] How can the same image (or same type of image) carry values so radically opposed: viscosity, suture, globality for the one; tremor, inchoation, fragmentation for the other. There have to be, [...]
Filed under: Essays, Memory & Photography, Phenomenology, Regis Durand, Studium/Punctum | Leave a Comment
Olin, Margaret., ‘Touching Photographs: Roland Barthes’s “Mistaken” Identification’ in Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida ed. by Geoffrey Batchen (London: MIT, 2009) 75-89 p.75 A photograph enjoys an unusually close relationship to its referent, acording to a widespread theory about the nature of photography. As this theory would have it, the key [...]
Filed under: Essays, Identification & Photography, Margaret Olin, Memory & Photography, Personal Responses to Images, Studium/Punctum, Vernacular Photography | Leave a Comment
Batchen, Geoffrey., ‘’fearful ghost of former bloom’: What Photography Is’ Where is the Photograph ed. by David Green (Brighton, Kent: Photoforum, Photoworks, 2003) 15-29 [Batchen discovers a large 19th century photo-object combining hair, waxen flowers, wreath, words and a photograph] p.19 Memory is here given a physical manifestation. Or perhaps it would be more accurate [...]
Filed under: Essays, Geoffrey Batchen, Materiality, Melancholy/Death & Photography, Memory & Context, Memory & Photography, Memory Objects, Photograph as object, Photography's Art History, Studium/Punctum, Vernacular Photography | Leave a Comment
Family Frames: Introduction
Hirsch, Marianne., Family Frames: Photography, Narrative and Postmemory (London: Harvard University Press, 1997) p.2 Barthes cannot show us the photograph because we stand outside the familial network of looks and thus cannot see the picture in the way that Barthes must. To us it would be just another generic family photograph. The picture of his [...]
Filed under: Books, Essays, Familial relations & Photography, Identification & Photography, Marianne Hirsch, Observer & the Photograph, Personal Responses to Images, Phenomenology, Studium/Punctum | Leave a Comment
“Photographic Anamnesia: The Past in the Present” Mette Sandbye in Symbolic Imprints: Essays on Photography and Visual Culture, edited by Lars Kiel Bertelson, Rune Gade, and Mette Sandbye, Aaphus University, Oxford, 1999. p.181 [Sandbye disagrees with Sontag's view that 'To possess the world in the form of images is, precisely, to re-experience the unreality and remoteness [...]
Filed under: Christian Boltanski, Essays, Identification & Photography, Memory & Photography, Mette Sandbye, Observer & the Photograph, Photography and Unconscious, Photography as Historical Witness, Postmodernism and Memory, Shimon Attie, Studium/Punctum | 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
