Archive for the ‘Memory & Photography’ Category
The Virtual Life of Photography
Kember, Sarah J. ‘The Virtual Life of Photography’, Photographies, 1:2, 2008, pp.175 – 203 After more than 150 years, we still do not know what photography is. The reason for this, I suggest, is indeed due to the deployment of a restricted range of disciplinary and conceptual frameworks – but only in part. Memory constitutes […]
Filed under: Analogue - Digital, Memory & Photography, Memory and reconstruction, Personal Responses to Images, Photographies, Photography and Unconscious, Post-photography Theories, Sarah Kember, Studium/Punctum, Writing/Literature & Photography | Leave a Comment
Judgement Day
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 […]
Filed under: 'As if', Books, Essays, Giorgio Agamben, Melancholy/Death & Photography, Memory & Photography, Performance & Photography, Photography as Historical Witness, Time and photography, Writing/Literature & Photography | Leave a Comment
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, […]
Filed under: "We live to be photographed", 'As if', Analogue - Digital, Daniel Palmer, Distribution (etc) of Photographs, Essays, Familial relations & Photography, Images and reality, Memory & Photography, Memory and reconstruction, Photographies, Post-photography Theories, Vernacular Photography | Leave a Comment
Sense of Location
Wells, Liz. ‘Sense of Location: Topography, Journey, Memory’ (London: I.B.Taurus, 2011) 261-302 p.261 [describing Jem Southam’s ‘River Hayle January 2000’] However, naturalised, this is a landscape that has been subject to extensive human intervention – the markers are there for our information, whether we are physically present, or viewers of photographs which operate in observational […]
Filed under: Anonymity/Authorship & Photography, Books, Essays, Liz Wells, Memory & Context, Memory & Photography, Memory and reconstruction, Observer & the Photograph, Performance & Photography, Photography and Place, Space and photography, Touch/Tactile Perception | Leave a Comment
Mayer-Schonberger, Viktor. ‘The Role of Remembering and the Importance of Forgetting’ Delete: The Virtue of Forgetting in the Digital Age (Princeton, Oxford: Princeton University Press, 2009) 16-49 p.17 Contrary to popular belief that we only use a small fraction of our brain’s power, the entire network of neurons and synapses is active in healthy human beings. But […]
Filed under: Analogue - Digital, Books, Forgetting, Invention of photography, Memory & Photography, Memory and reconstruction, Memory Objects, Storytelling, Viktor Mayer-Schönberger | Closed
Speaking the Album
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 […]
Filed under: Edited Books, Essays, Familial relations & Photography, Family album, Found photographs, Identification & Photography, Martha Langford, Memory & Photography, Memory and reconstruction, Memory Objects, Narrative & Photography, Observer & the Photograph, Orality & Photography, Performance & Photography, Personal Responses to Images, Photography as Historical Witness, Storytelling, Vernacular Photography, Writing/Literature & Photography | Leave a Comment
Snapshots
Batchen, Geoffrey. ‘Snapshots’, Photographies, 1:2, 121 – 142, 2008. […] it could be said that snapshots are to the history of photography as photography is to the history of art; each represents a significant threat to the stability of its host discipline. [Batchen describes three vernacular photographs] It’s been said that Americans alone take about […]
Filed under: Analogue - Digital, Anonymity/Authorship & Photography, Camera culture, Familial relations & Photography, Found photographs, Geoffrey Batchen, Identification & Photography, Indexicality & Photography, Memory & Photography, Memory Objects, Narrative & Photography, Observer & the Photograph, Photographies, Photography's Art History, Photography's Materiality, Vernacular Photography, Writing/Literature & Photography | Leave a Comment
The End, Secular Aura
Price, Mary. ‘The End, Secular Aura’ The Photograph: A Strange, Confined Space (Stanford, CA: Stanford University Press, 1994) 173-177 p.173 Each of the metaphors used, whether the term is aura, mask, or language, illuminates the idea of the photograph. Benjamin, Proust, Musil, and Barthes, as well as Keats with his negative capability, are all saying, in individual poetic […]
Filed under: Ambiguity and Photography, Archive & Photography, Identification & Photography, Images and reality, Magic/Uncanny & Photography, Mary Price, Memory & Photography, Personal Responses to Images, Writing/Literature & Photography | Leave a Comment
Metaphor
Price, Mary. ‘Metaphor’ The Photograph: A Strange, Confined Space (Stanford, CA: Stanford University Press, 1994) 134-149 pp.134-135 Before photography, according to Ivins [William M, Ivins, Jr.], the syntactical analysis of a picture preceded the handmade reproduction, which became a symbolic representation of its original. references for reproduction are the woodcut, etching, or lithograph that reproduce a […]
Filed under: Ambiguity and Photography, Books, Criticism of Photography, Image Proliferation, Invention of photography, John Berger, Magic/Uncanny & Photography, Mary Price, Mechanical Reproduction, Memory & Photography, Time and photography, Walter Benjamin, Writing/Literature & Photography | Leave a Comment
Uses of Photography
Berger, John. ‘Uses of Photography’ About Looking (London: Bloomsbury, 2009) 52-67 [An essay for Susan Sontag, in reponse to On Photography] p.52 The speed with which the possible uses of photography were seized upon is surely an indication of photography’s profound, central applicability to industrial capitalism. It was not, however until the 20th century and the period […]
Filed under: Books, Camera culture, Essays, Image Proliferation, Images and reality, John Berger, Memory & Photography, Narrative & Photography, Photography as Historical Witness, Vernacular Photography | Leave a Comment
Sometime(s)
Lomax, Yve. ‘Sometime(s)’ Writing the Image (London: I.B.Tauris, 2000) 77-87 p.78 Is there any one thing that makes photography whole? Does photography have an essence? For me it isn’t a matter of setting out to find the very interior of photography and despairing when I never reach that centre; it is not a matter of authenticating, in […]
Filed under: Books, Content vs Materiality of Photographs, Image Proliferation, Images and reality, Memory & Photography, Time and photography, Writing/Literature & Photography, Yve Lomax | Leave a Comment
Lightning
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 […]
Filed under: Books, Eduardo Cadava, Melancholy/Death & Photography, Memory & Photography | Leave a Comment
Mortification
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 […]
Filed under: Books, Eduardo Cadava, Melancholy/Death & Photography, Memory & Photography, Observer & the Photograph, Walter Benjamin | Leave a Comment
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 […]
Filed under: Anonymity/Authorship & Photography, Context and photography, Edited Books, Essays, Familial relations & Photography, Identification & Photography, Indexicality & Photography, Memory & Photography, Memory and reconstruction, Observer & the Photograph, Personal Responses to Images, Politics & Photography, Shawn Michelle Smith, Studium/Punctum, Writing/Literature & Photography | Leave a Comment
Safety in Numbness
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 […]
Filed under: Allan Sekula, David Campany, David Green, Image Proliferation, Medium Specificity, Memory & Photography, Memory and reconstruction, Moving Image & Photography, Photograph as Document, Photography as Historical Witness, Time and photography, War & Photography | Leave a Comment
Joachim Schmid – Interview
In this interview with Joachim Schmid by Lens Culture, he suggests that he remembers events and places he has travelled, through the photographs he finds in those places. The project has a personal level as well […] its also my personal diary, I usually travel without a camera… so I don’t take any travel snapshots. When […]
Filed under: Found photographs, Joachim Schmid, Lens Culture, Memory & Photography, Personal Responses to Images, Photograph as object, using found photography, Vernacular Photography | 2 Comments
The Family Gaze
Haldrop, Michael; Larsen, Jonas. ‘The Family Gaze’ Tourist Studies 3 (London: Sage Publications, 2003) pp.23-46 p.24 Despite the fact that taking photographs is perhaps the emblematic tourist practice and that tourist studies have been dominated by a visual paradigm of gazing, remarkably little sustained research has explored the general connections between tourism and popular tourist […]
Filed under: Familial relations & Photography, Family album, Images and reality, Jonas Larsen, Journals, Memory & Photography, Michael Haldrop, Narrative & Photography, Performance & Photography, Personal Responses to Images, Storytelling, Tourist Studies, Vernacular Photography | Leave a Comment
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