Archive for the ‘Books’ 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 […]


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 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 […]


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 […]


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

06Mar13

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 […]


Tactile Looking

02Feb13

Olin, Margaret. ‘Tactile Looking’ Touching Photographs (London: University of Chicago Press, 2012) 1-21 p.1 Photographs are visible, but photography is not only a “visual” practice. p.2 There is a tension between looking and touching; the two activities seem to alternate like a blinking eye, as though we cannot do both at the same time. Many of us […]


Batchen, Geoffrey. ‘Ere the Substance Fade: Photography and hair jewellery’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 32-46 p.32 [On a photo-locket] Designed to be touched, this object touches back, casually grazing the pores of my skin with its textured surfaces. In this mutual […]


Savedoff, Barbara E. ‘Transforming Media: Painting, Photography and Digital Imagery’ Transforming Images: How Photography Complicates the Picture (New York: Cornell University Press, 2000) 185-209 p.185-186 [on painting and photography] the relations between these two media have undergone important changes, from the time of photography’s first struggle to define itself against painting, to the present time, when with […]


Lomax, Yve. ‘Future Politics/The Line in the Middle’ Writing the Image (London: I.B.Tauris, 2000) 39-53 p.39 I, like many others, have searched for a point of certainty. yes, I hoped to find it and I was innocent or arrogant enough to think that I could find it, but I could never have found it. But still I […]


Desiring

10Jan13

Agamben, Giorgio. ‘Desiring’ Profanations translated by Jeff Fort (New York: Zone Books, 2010) 53-54 p.53 We are unable to put our desires in language because we have imagined them. In reality the crypt contains only images, like a picture book for children who do not yet know how to read, like the Imagerie l’Epinal of […]


Judgement Day

10Jan13

Agamben, Giorgio. ‘Judgement Day’ Profanations translated by Jeff Fort (New York: Zone Books, 2010) 23-27 p.23 What quality fascinates and entrances me in the photographs I love? I believe it is this: for me, photography in some way captures the Last Judgement; it represents the world as it appears on the last day. the Day […]


Flusser, Vilem. ‘The Codified World’ Writings translated by Andreas Ströhl (Minneapolis: University of Minnesota Press, 2002) 35-41 [originally published in 1978] p.35 If we compare our situation with the one that existed before the Second World War, we are impressed by the relative colorlessness of the time before the war. Our environment is filled with color, which, day […]


Flusser, Vilem. ‘Photography and History’ Writings translated by Andreas Ströhl (Minneapolis: University of Minnesota Press, 2002) 126-131 [originally published in 1989] p.126 We should differentiate between prehistoric, historical, and posthistorical images, and we should consider the photograph to be the first posthistorical image. Prehistoric images are those that were produced before the invention of linear writing. Historical images […]


Flusser, Vilem. ‘Line and Surface’ Writings translated by Andreas Ströhl (Minneapolis: University of Minnesota Press, 2002) 21-34 [originally published in 1973] p.21 Surfaces are becoming ever more important in our surroundings. For instance, TV screens, posters, the pages of illustrated magazines. Photographs, paintings, carpets, vitreaux, cave paintings surrounded men in the past, but these surfaces did not offer themselves […]


Flusser, Vilem. ‘The Future of Writing’ Writings translated by Andreas Ströhl (Minneapolis: University of Minnesota Press, 2002) 63-69 [originally written, 1983-4] p.63 Writing is an important gesture, because it both articulates and produces that state of mind which is called “historical consciousness.” History began with the invention of writing,not for the banal reason often advanced that written texts […]


Poetry

15Dec12

Flusser, Vilem. ‘Poetry’ Does Writing have a Future? translated by Nancy Ann Roth (Minneapolis: University of Minnesota, 2011) 71-75 p.71 A distinction is traditionally made between poetry and mimicry (poesis and mimesis). But under the sway of the alphabet, this close connection between thinking and language – poetry – is usually understood as a language game whose […]