Archive for the ‘Phenomenology’ Category

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 […]


Pallasmaa, Juhani. The Eyes of the Skin (Chichester: Wiley, 2008) p.10 All the senses, including vision, are extensions of the tactile sense; the senses are specialisations of skin tissue, and all sensory experiences are modes of touching and thus related to tactility. pp.10-11 Our contact with the world takes place at the boundary line of […]


Marks, Laura U. ‘The Memory of Touch’ The Skin of the Film (London: Duke University Press, 2000) 127-193 p.162 Haptic perception is usually defined by psychologists as the combination of tactile, kinesthetic, and proprioceptive functions, the way we experience touch both on the surface of and inside our bodies. In haptic visuality, the eyes themselves function like organs of […]


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 […]


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, […]


Flusser, Vilem. ‘The Gesture of Photography’ Towards a Philosophy of Photography (London: Reaktion Books, 2000) 33-40 p.33 The acts of resistance on the part of culture, the cultural conditionality of things, can be seem in the act of photography, and this can, in theory, be read off from photographs themselves. In theory, cultural conditions seem, […]


Edwards, Elizabeth ‘Thinking photography beyond the visual?’ Photography: Theoretical Snapshots ed. by Long, J.J., Noble, Andrea, and Welch, Edward (Oxon: Routledge, 2009) pp.31-48 p.31 [Edwards wants] to consider ways in which we might extend our understanding of photography beyond the visual itself and thus extend our theory of photography beyond the dominant semiotic, linguistic and […]


p.3 Barthes ‘wanted to learn at all costs what Photography was “in itself,” by what essential feature it was to be distinguished from the community of images. p.4 What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially. p.5 The Photograph is never anything but […]


Regis Durand, pp.141-151 in Petro, Patrice. ed., Fugitive images, from photography to video (Bloomington: Indiana University Press, 1996) p.142 [On photographs and film stills] How can the same image (or same type of image) carry values so radically opposed: viscosity, suture, globality for the one; tremor, inchoation, fragmentation for the other. There have to be, […]


Hirsch, Marianne., Family Frames: Photography, Narrative and Postmemory (London: Harvard University Press, 1997) p.2 Barthes cannot show us the photograph because we stand outside the familial network of looks and thus cannot see the picture in the way that Barthes must. To us it would be just another generic family photograph. The picture of his […]