Archive for the ‘Eduardo Cadava’ Category

Danger

28Nov11

Cadava, Eduardo. ‘Danger’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 47-59 p.47 It is because the question of reproducibility extends far beyond the realm of art that it raises the possibility of the democratization of death. Not only does technical reproducibility change our relation to death, but the incursion of the […]


Reproducibility

28Nov11

Cadava, Eduardo. ‘Reproducibility’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 42-44 p.42 [Benjamin] suggests that technical reproducibility can only be understood by considering the historical relations between science and art – especially in terms of their relation to the historical conditions of production and reproduction.  [..] Technical reproduction is not […]


Eternal Return

14Nov11

Cadava, Eduardo. ‘Eternal Return’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 31-44 p.31 There can be no passing moment that is not already both the past and the future: the moment must be simultaneously past, present, and future in order for it to pass at all. p.32 The […]


Stars

13Nov11

Cadava, Eduardo. ‘Stars’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 26-30 p.26 Benjamin not only associates stars with a photographic language that focuses on the relations between light and darkness, past and present, life and death, reading and writing, and knowledge and representation – motifs that all belong to the […]


Lightning

13Nov11

Cadava, Eduardo. ‘Lightning’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 21-26 p.21 Linked to the flashes of memory, the suddenness of the perception of similarity, the irruption of events or images, and even the passage into night, Benjamin’s vocabulary of lightning helps register what comes to pass in the opening […]


Inscriptions

12Nov11

Cadava, Eduardo. ‘Inscriptions’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 18-21 p.18 The prevalence of techniques of reproduction within the field of photography, for example, makes it possible to replicate any given negatives an indefinite number of times. This capacity for reproduction and circulation undermines the notion of an artwork’s […]


Translations

12Nov11

Cadava, Eduardo. ‘Translations’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 15-18 p.15 The disjunction between a photograph and the photographed corresponds to the caesura between a translation and an original. […] in order to be faithful to what is translatable in the original, the translator must depart from it, must […]


Mimesis

24Oct11

Cadava, Eduardo. ‘Mimesis’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 13-15 p.13 The forgetting of the photograph’s ghostly or spectral character, of its relation to a death that survives itself, corresponds to what Benjamin refers to as “the decline of photography.” p.14 What is surprising is that photography’s […]


Ghosts

18Oct11

Cadava, Eduardo. ‘Ghosts’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 11-13 p.11 Like an angel of history whose wings register the traces of this disappearance, the image bears witness to an experience that cannot come to light. Although what the photograph photographs is no longer present or living, […]


Mortification

18Oct11

Cadava, Eduardo. ‘Mortification’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 7-11 p.7 The incunabula of photography – its beginnings, its childhood, but also its burial place, its funereal plot its relation to printing and inscription flashes the truth of the photo. This truth says, if it can say […]


Origins

18Oct11

Cadava, Eduardo. ‘Origins’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 5-7 p.5 Photography prevents us from knowing what an image is and whether we even see one. It is no accident that Benjamin’s 1931 essay ‘A Short History of Photography’ begins not with a sudden clarity that grants knowledge security, […]


Heliotropism

18Oct11

Cadava, Eduardo. ‘Heliotropism’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) p.5 p.5 There has never been a time with the photograph, without the residue and writing of light. If in the beginning we find the Word, this Word has always been a word of light, the ‘let there be light’ […]


History

18Oct11

Cadava, Eduardo. ‘History’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) pp.1-5 p.1 [In ‘Theses on the concept of History’] Benjamin’s consideration of the historical and philosophical questions suggested by the rise and fall of photography can therefore be understood as an effort to measure the extent to which the […]


Cadava, Eduardo., Cortés-Rocca, Paola. ‘Notes on Love and Photography’ Photography Degree Zero ed. by Geoffrey Batchen. (London; Cambridge, MA: The MIT Press, 2009) 105-139 p.11o Undoing every contemplative act that would presume a difference between “itself” and the image on which it focuses, Camera Lucida puts the category of an observer – as the neutral […]


Words of Light: Theses on the Photography of History 221-244 in Petro, Patrice. ed., Fugitive images, from photography to video (Bloomington: Indiana University Press, 1996) p.221 […] Benjamin persistently conceives of history in the language of photography, as though he wished to offer us a series of snapshots of his latest reflections on history. What […]