Archive for the ‘Medium Specificity’ 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 […]

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 […]

Coleman, A.D. ‘The Hand With Five Fingers: or, Photography Made Uneasy’ The Digital Evolution (London: Nazraeli Press, 1998) 81-85 p.82 Up until 1888 – that is, for the first half-century of the medium’s existence – anyone who wanted to make photographs had to practice photography. p.83 George Eastman changed all that, permanently, when he introduced the first […]

Campany, David. ‘Safety in Numbness: Some remarks on problems of ‘Late Photography’’ Where is the Photograph? ed. by David Green (Brighton; Kent: Photoforum; Photoworks, 2003) 123-132 p.123 [In the news report of Joel Meyerowitz’s large format photographing of the aftermath of 9/11] There was a suggestion that photography, rather than television might be the better […]

“Theories of Photography: A Short History” Sabine T. Kriebel pp.3-49 in Photography Theory, edited by James Elkins, published by Routledge, London. p.4 […] a clear definition of intrinsic, universal qualities of a photograph would appear to be, at the very outset, hampered by its dependance on technological change. To speak of “the photograph” would be […]

“The Medium is the Memory” pp134-149, by Florian Brody, in The Digital Dialectic, edited by Peter Lunenfeld, published by The MIT Press, London, 2000.  p.136 […] the book has the quality of captured memory […] the book is a personal item, an extension of an individual’s memory. p.138 The homepage is […] the ultimate form […]

Techniques of the Observer: On Vision and Modernity in the Nineteenth Century Jonathan Crary Massachusetts Institute of Technology Press, London, 1992 “Modernity and the Problem of the Observer” p.1 [film, photography and television] until the mid-1970’s, were generally forms of analog media that still correspond to the optical wavelengths of the spectrum and to a […]

“Indexicality and the Concept of Medium Specificity” Mary Ann Doane in The Meaning of Photography. Edited by Robin Kelsey and Blake Stimson, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 2008 p.3 The lure of the indexical is linked to its intimate collusion with what Didi-Huberman calls the “fantasy of referentiality,” with the inert stability […]