Archive for the ‘Post-photography Theories’ 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 […]


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 […]


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 […]


Flusser, Vilem. ‘The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs’ Leonardo, 19:4, 329-332, 1986 p.329 The Latin term ‘objectum’ and its Greek equivalent ‘problema’ mean ‘thrown against’, which implies that there is something against which the object is thrown: a ‘subject’. As subjects, we face a universe of objects, of problems, […]


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, […]


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 […]


Elkins, James. ‘Selenite, Ice, Salt’ What Photography Is (Oxon: Routledge, 2011) 15-44   p.17 [On a photograph Elkins finds of a selenite window] Seen through the window, the world would look like ill-fitted pieces of mosaic crushed together, pressed and refracted by the translucent material into a nearly indecipherable pattern. The window’s inclusions, its grit and spalling […]


To Abstract

06Feb12

Flusser, Vilém. ‘To Abstract’ Into the Universe of Technical Images trans. by Nancy Ann Roth (Minneapolis: University of Minnesota Press, 2011) 5-10 p.5 Since human beings depend for their lives more on learned and less on genetic information than do other living things, the structure through which information is carried exerts a decisive influence on […]


Warning

06Feb12

Flusser, Vilém. ‘Warning’ Into the Universe of Technical Images trans. by Nancy Ann Roth (Minneapolis: University of Minnesota Press, 2011) 3-4 p.3 Utopia means groundlessness, the absence of a point of reference. We face the immediate future directly, unequivocally, except inasmuch as we cling to those structures generated by utopia itself. That is what has […]


Fontcuberta, Joan. Landscapes without Memory (New York: Aperture Foundation, 2005) 4-7 Batchen, Geoffrey. ‘Photography by the Numbers’ Landscapes without Memory (New York: Aperture Foundation, 2005) 9-13 p.9 [referring to Joan Fontcuberta new landscape images and the first pictures sent from the surface of Titan, Saturn’s largest moon] Worlds apart, the two pictures nevertheless share a common conceptual infrastructure. […]


Baudrillard, Jean. ‘The Ecstasy of Communication’ The Anti-aesthetic ed. by Hal Foster (New York: The New Press, 1998) 145-154 p.145 The description of this whole intimate universe – projective, imaginary and symbolic – still corresponded  to the object’s status as mirror of the subject, and that in turn to the imaginaery depths of the mirror […]


Dzenko, Corey. ‘Analog to Digital: the indexical function of photographic images’ Afterimage vol.37 no.3 (Sep-Oct 2009) 19-23 p.19 [Conpares to Marshall McLuhan’s description of railway] […] digital photography “accelerates” or “enlarges” traditional photographic processes. Digital photography challenges the historical belief that photography is representative of reality. But have viewers’ perceptions shifted in relation to theoretical […]


pp.3-6 in: Bate, David. ‘The Archaeology of Photography: Rereading Michel Foucault and The Archaeology of Knowledge’. Afterimage. vol.35 no.3 (Sept-Oct 2007) p.3 For Foucault, the historian must excavate an archive to reveal not merely what is in it, but the very conditions that have made that archive possible, what he calls its historical a priori. In […]


Green, David., Lowry, Joanna., ‘From Presence to the Performative: rethinking photographic indexicality’ Where is the photograph? ed. by David Green (Maidstone: Photoworks; Brighton: Photoforum, 2003) 47-60 p.47 Beginning in the late 1980s and gathering momentum with the increasing availability of these new technologies, the force of critical opinion has lain largely with those who – […]


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 […]


Rosenberg, Eric., ‘Photography Is Over, If You Want It’, The Meaning of Photography, ed. by Robin Kelsey and Blake Stimson (Williamstown, MA: Sterling and Francine Clark Institute, 2005) 190–193 p.190 What the present day allows us to see, however, is that photography’s truth is only confirmed in its romance, and its romance is utterly dependent […]


Ribalta, Jorge. ‘Molecular Documents: Photography in the Post-Photographic Era, or How Not to be Trapped into False Dilemmas’, The Meaning of Photography ed. by Robin Kelsey and Blake Stimson (Williamstown, MA: Sterling and Francine Clark Institute, 2005) 178–185 p.178 [discussion of W.J. Mitchell desciption of the ‘death of photography’] p.179 The discourse on the death of […]


“Will Image Move Us Still” by Kevin Robins, pp.29-50. The Photographic Image in Digital Culture, edited by Martin Lister, London, Routledge, 1995. p.30 The fact that technological development is seen as some kind of transcendent and autonomous force – rather than what it really is, that is to say embedded in a whole array of […]