Archive for the ‘Images and reality’ Category

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 […]


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 […]


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 […]


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 […]


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. ‘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 […]


Batchen, Geoffrey. ‘Photogrammatology: Writing/Photography’ Art Document, Winter (1994), 3-6 p.3 By projecting photography as a system of representation, each individual photograph becomes an historical, and therefore mutable, artefact of meaning. This view of photography directly opposes  the one propagated since the late 1960’s by formalist scholars, such as John Szarkowski. This Kantian historiography therefore entails a continual search for “concepts […]


Belting, Hans. ‘The Transparency of the Medium’ An Anthropology of Images trans. by Thomas Dunlop (Oxford: Princeton University Press, 2011) 144-168 p.144 The photographic image is usually understood as either an object trouvé. a thing that the camera find in the world, or else as the product of a camera. In other words, a photograph is […]


Crowther, Paul. ‘The Phenomenology of Photography’ Phenomenology of the Visual Arts (even the frame) (Stanford: Stanford University Press, 2009) 139-142 p.139 [cites Bourdieu] Bourdieu’s point here is that photography is more than common visual communication, but it, nevertheless, so useful in terms of its mundane social documentary functions that these functions always subvert attempts to […]


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 […]


Savedoff, Barbara E. ‘Transformation in Photography’ Transforming Images: How Photography Complicates the Picture (New York: Cornell University Press, 2000) 47-128 p.48 Photography’s special significance lies in its documentary quality, in the fact that the photographer does not have the painter’s freedom to create and control. But if this is true, we can only evaluate photographs […]


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 […]


Damisch, Hubert. ‘Five Notes for a Phenomenology of the Photographic Image’ October, 5, Summer 1978, 70-72 p.70 Theoretically speaking, photography is nothing other than a process of recording, a technique of inscribing, in an emulsion of silver salts, a stable image generated by a ray of light.This definition, we note, neither assumes the use of a camera, […]


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 […]


Lynch, Kevin. ‘The Image of the City’, Images: A Reader ed. by Manghani, Sunil., Piper, Arthur., Simons, Jon. (London: SAGE Publications, 2006) 247-249 Originally: Lynch, Kevin. The Image of the City. (Cambridge,MA: MIT Press, 1960) 1-13 p.247 Looking at cities can give a special pleasure, however commonplace the sight may be. Like a piece of architecture, the […]


Takvan, Monica. ‘Perception and Knowledge – In Connection to the Eye and the Senses’, Photography & Culture, 3:3, 321-330 Research in Progress p.321 Perception is often connected to knowledge and information gained through the eyes, and when saying we understand something, the term “I see” is often used. Is seeing the equivalent of understanding? And is perceiving the same as […]


Palmer, Daniel. ‘Emotional Archives: Online Photo Sharing and the Cultivation of the Self’, Photographies, 3:2, 155 – 171 The nature of these digital snapshots has already attracted considerable attention. For instance, there is widespread agreement among researchers that such images are both more intimate and mundane than earlier forms of personal photography (Gye; Murray). Indeed, […]


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 […]


Mitchell, William J. ‘Wunderkammer to World Wide Web: Picturing Place in the Post-photographic Era’ Picturing Place: Photography and the Geographical Imagination ed. by Joan M. Schwartz and James R. Ryan (London: I.B.Taurus, 2003) 283-304 p.283 For as long as history records, societies have formed their knowledge of past times and distant places by capturing, transporting and displaying evidence […]