Archive for the ‘Bibliography’ Category

Kember, Sarah; Zylinska, Joanna. ‘Remediating Creativity: Performance, Invention, Critique’, Life After New Media: Mediation as a Vital Process (Cambridge, MA: MIT, 2012) pp.173-200 p.175 In the context of the previous arguments, it may seem risky or even impudent to reclaim creativity as a viable strategy for thinking about the media differently. p.176 Indeed, creativity is inevitably tied […]

Jean-Claude Gautrand, Publicités Kodak: 1910-1939 (Paris: Contre-jour, 1983). p.2 The advertised image is no less ephemeral than the newspaper, the magazine or the poster that conveys it. The need to continually  repeat the commercial message, to reassess its visual impact and to avoid visual boredom leads to making a series of images that follow one another, […]

Elspeth H. Brown, ‘Photography and Commercial Illustration’ The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884 – 1929, Studies in Industry and Society (Baltimore, Md.: Johns Hopkins Univ. Press, 2005). 159-216 p.160 Advertising matured as a profession in response to a new problem for American business: how to stimulate demand among consumers for […]

Vilém Flusser, Gestures, trans. by Nancy Ann Roth (London: University of Minnesota Press, 2014) ‘Towards a General Theory of Gestures’ pp.161-176 p.162 Gesture can be seen as a kind of movement. What separates gestures defined in this way from other movements is their epistemological overdetermination. When I lift my arm, I can explain the movement […]

Van Lier, Henri. Philosophy of Photography, Lieven Gevaert Series, 6, New ed. (Leuven: Univ. Press, 2007) ‘Part Three: Photographic Behaviours’, pp.77-78 p.77 As with all other techniques, photography poses the question of the nature of the link between equipment and human activity in general. The humanist illusion suggests that equipment is a means in the service […]

Van Lier, Henri. Philosophy of Photography, Lieven Gevaert Series, 6, New ed. (Leuven: Univ. Press, 2007) ‘Part Two: Photographic Initiatives’ p.53 Up until photography’s arrival on the scene, human beings had a sense of mastery and creation in almost every domain. Both artisans and artists were responsible for their project just as much as for […]

Van Lier, Henri. Philosophy of Photography, Lieven Gevaert Series, 6, New ed. (Leuven: Univ. Press, 2007) Part Two: Photographic Initiatives: 4. The Initiative of the Photographer: Trap and Switch Mediumism, pp.71-74 p.71 Photographs, even of psychological or social situations, are obtained through the automatic application of objectives, films, developers, and fixatives; they frequently offer interesting or even important […]

Van Lier, Henri. Philosophy of Photography, Lieven Gevaert Series, 6, New ed. (Leuven: Univ. Press, 2007) Part Two: Photographic Initiatives: I. The Initiative of Industrial Technology, pp.54-58 p.54 […] the different technical combinations inflecting the photographic processes of each epoch are divided amongst the classical masters of the history of photography, each one of them pushing […]

‘Understanding Debt as the Basis of Social Life’ The Indebted Man ( ) 13- p.14-15 “With the explosion of “precarious” work (short-term, occasional, seasonal, temporary) advantageous to business, the compensation system is now “structrually” in the red. p.18 The deepening national debt is one of the principal results of neoliberal policies, which have sought, since […]

Lorey, Isabell. ‘Becoming Common: Precarization as Political Constituting’ e-flux journal #17 (June-August 2010) 1-10 [] p.1 In the past decade, conversations concerning both the (partly subversive) knowledge of the precarious, and a search for commons (in order to constitute the political), has conspicuously taken place more often in art institutions than in social, political, or even […]

Bishop, Claire. “The Social Turn: Collaboration and Its Discontents” in Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012) pp. 11-40 p.11 [on Debord] Given the market’s near total saturation of our image repertoire, so the argument goes, artistic practice can no longer revolve around the construction of objects to be consumed by […]

Foucault, Michel. “The Prose of the World” The Order of Things (Oxon: Routledge, 2008[1970]) 19-50 p.19 Up until the end of the sixteenth century, resemblance played a constructive role in the knowledge of Western culture. It was resemblance that largely guided exegesis and the interpretation of texts; it was resemblance that organised the play of […]

Sekula, Allan. ‘On the Invention of Photographic Meaning’ Thinking Photography ed. by Victor Burgin (London: Palgrave Macmillan, 1982) 84-109 p.84 The meaning of a photograph, like that of any other entity, in inevitably subject to cultural definition. The task here is to define and engage critically something we might call the ‘photographic discourse’. A discourse is defined […]

Benjamin, Walter, ‘The Work of Art in the Age of Mechanical Reproduction’ The Work of Art in the Age of Mechanical Reproduction translated by J. A. Underwood (London, Penguin Books, 2008) 1-50 p.3 In principle, the work of art has always been reproducible. What man has made, man has always been able to make again. […]

Flusser, Vilem. ‘Exile and Creativity’ Writings translated by Andreas Ströhl (Minneapolis: University of Minnesota Press, 2002) 104-109 [1984] p.104 In exile, everything is unusual. Exile is an ocean of chaotic information. In it the lack of redundancy does not allow the flood of information to be received as meaningful messages. Because it is unusual, exile is unlivable. One […]

To Interact


Flusser, Vilém. ‘To Interact’ Into the Universe of Technical Images trans. by Nancy Ann Roth (Minneapolis: University of Minnesota Press, 2011) pp.51-60 p.51 Technical images are not mirrors but projectors. They draw up plans on deceptive surfaces, and these plans are meant to become life plans for their recipients. No longer people but rather technical images lie […]

McInnes, Marnie. ‘A Meditation on Poetry and Photography’ Photographies, 5:1 (March 2012) 19-32 p.19 In 26 lines describing a fairly ordinary landscape, Atwood encapsulates key paradoxes of photography as a medium; indeed, one way of reading her poem is as a compact essay on the ontology of the photographic image. As a poem, however it […]

Lyric poem by Margaret Atwood It was taken some time ago. At first it seems to be a smeared print: blurred lines and grey flecks blended with the paper; then, as you scan it, you see in the left-hand corner a thing that is like a branch: part of a tree (balsam or spruce) emerging […]

Centre for Fine Art Research CFAR – BCU via What is a Photograph? Part Three – YouTube. Includes discussion of Laruelle’s “Non-photography”.

Kember, Sarah J. ‘The Virtual Life of Photography’, Photographies, 1:2, 2008, pp.175 – 203 After more than 150 years, we still do not know what photography is. The reason for this, I suggest, is indeed due to the deployment of a restricted range of disciplinary and conceptual frameworks – but only in part. Memory constitutes […]