Archive for the ‘Photography as Historical Witness’ Category

To Interact

06Mar13

Flusser, Vilém. ‘To Interact’ Into the Universe of Technical Images trans. by Nancy Ann Roth (Minneapolis: University of Minnesota Press, 2011) pp.51-60 p.51 Technical images are not mirrors but projectors. They draw up plans on deceptive surfaces, and these plans are meant to become life plans for their recipients. No longer people but rather technical images lie […]


Judgement Day

10Jan13

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 […]


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 […]


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 […]


Bezencenet, Stevie., Bresheeth, Haim. ‘Photographic Archives’ Photographic Practices: Towards a different image ed. by Stevie Bezencenet and Philip Corrigan (London: Comedia, 1986) 61-64 p.61 The problem is that this multiplicity of imagery [found in private and public archives] is often not accorded any significance and consequently not ‘mapped’. Such a process involves an attitude, before […]


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 […]


Ghosts

18Oct11

Cadava, Eduardo. ‘Ghosts’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 11-13 p.11 Like an angel of history whose wings register the traces of this disappearance, the image bears witness to an experience that cannot come to light. Although what the photograph photographs is no longer present or living, […]


Origins

18Oct11

Cadava, Eduardo. ‘Origins’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 5-7 p.5 Photography prevents us from knowing what an image is and whether we even see one. It is no accident that Benjamin’s 1931 essay ‘A Short History of Photography’ begins not with a sudden clarity that grants knowledge security, […]


Heliotropism

18Oct11

Cadava, Eduardo. ‘Heliotropism’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) p.5 p.5 There has never been a time with the photograph, without the residue and writing of light. If in the beginning we find the Word, this Word has always been a word of light, the ‘let there be light’ […]


History

18Oct11

Cadava, Eduardo. ‘History’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) pp.1-5 p.1 [In ‘Theses on the concept of History’] Benjamin’s consideration of the historical and philosophical questions suggested by the rise and fall of photography can therefore be understood as an effort to measure the extent to which the […]


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 […]


Sontag, Susan. ‘In Plato’s Cave’ On Photography (London: Penguin Books, 1979) 3-24 p.3 In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally the most grandiose […]


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 […]


“Photographic Anamnesia: The Past in the Present” Mette Sandbye in Symbolic Imprints: Essays on Photography and Visual Culture, edited by Lars Kiel Bertelson, Rune Gade, and Mette Sandbye, Aaphus University, Oxford, 1999. p.181 [Sandbye disagrees with Sontag’s view that ‘To possess the world in the form of images is, precisely,  to re-experience the unreality and remoteness […]