Archive for the ‘Edited Books’ Category

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 […]


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 […]


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 […]


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 […]


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 […]


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 […]


Langford, Martha. ‘Speaking the Album: An Application of the Oral-Photographic Framework’ Locating Memory: Photographic Acts ed. by Annette Kuhn and Kirsten Emiko McAllister (Oxford: Berghahn Books, 2006) 223-246 p.223 […] attention to the photographic album since the mid-1960s can be said to constitute in itself a model ‘thought community’, an idea of album sustained by […]


Friday, Jonathan. ‘Stillness Becoming: Reflections on Bazin, Barthes and Photographic Stillness’ Stillness and Time: Photography and the Moving Image ed. by David Green and Joanna Lowry (Brighton: Photoforum; Photoworks, 2006) 39-54 p.39 Long before the invention of cinema, for example, photography was associated with stillness in a way that other pictorial media were not. The […]


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 […]


Making Meaning

10Oct11

Willumson, Glenn. ‘Making Meaning: Displaced materiality in the library and art museum’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 62-80 p.62 Although they are initially treasured for their ability to reproduce a person, an event or a location, the passage of time is not […]


Assessments

17Nov09

‘Assessments’ 205-400 in  Elkins, James., ed. Photography theory (New York; London: Routledge, 2007) Vivan Sundaran Recycling Photographs p.338 The digital tool allows the image to be recontextualized and examined in a social or psycho-analytical manner. The colonial or orientalist representation can be recoded, replayed though critiques of those positions. The digital allows the possibility to […]


The Art Seminar

17Nov09

  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 […]


The Photographic Image in Digital Culture edited by Martin Lister Routledge, London 1995


Photography Theory Edited by James Elkins London: Routledge 2007


The Digital Dialectic: New Essays on New Media Edited by Peter Lunenfeld London: The MIT Press 1999   p.XV In both the analog phone call and the analog photo, there is a proportional, continuously variable relationship between the original and the mediated copy. p.XX Nothing ages faster and becomes inaccessible quicker than electronic media. The […]


Photographs Objects Histories: On the materiality of images Edited by Elizabeth Edwards and Janice Hart London: Routledge 2004


Symbolic Imprints: Essays on Photography and Visual Culture Edited by Lars Kiel Bertelson, Rune Gade, Mette Sandbye Aaphus University, Oxford, 1999