Archive for the ‘“We live to be photographed”’ Category
To Interact
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 […]
Filed under: "We live to be photographed", 'As if', Books, Lived Experience, Photograph as Document, Photography as Historical Witness, Post-photography Theories, Vilém Flusser, Writing/Literature & Photography | Leave a Comment
Surely Fades Away
Buse, Peter. ‘Surely Fades Away’, Photographies, 1:2, 221 – 238 [discussion of Robert Adams & Polaroid] However, far from being some sort of special case or exception to the rule, Polaroid’s relationship with Adams simply crystallizes a problematic of value that runs right through the history of instant photography: its simultaneous association with both high […]
Filed under: "We live to be photographed", Analogue - Digital, Camera culture, Essays, Nostalgia for analogue photography, Peter Buse, Photographies, Photography's Art History, Vernacular 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
Reproducibility
Cadava, Eduardo. ‘Reproducibility’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 42-44 p.42 [Benjamin] suggests that technical reproducibility can only be understood by considering the historical relations between science and art – especially in terms of their relation to the historical conditions of production and reproduction. [..] Technical reproduction is not […]
Filed under: "We live to be photographed", Eduardo Cadava, Invention of photography, Mechanical Reproduction, Walter Benjamin | Leave a Comment
Eternal Return
Cadava, Eduardo. ‘Eternal Return’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 31-44 p.31 There can be no passing moment that is not already both the past and the future: the moment must be simultaneously past, present, and future in order for it to pass at all. p.32 The […]
Filed under: "We live to be photographed", Books, Eduardo Cadava, Melancholy/Death & Photography, Time and photography | Leave a Comment
Translations
Cadava, Eduardo. ‘Translations’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 15-18 p.15 The disjunction between a photograph and the photographed corresponds to the caesura between a translation and an original. […] in order to be faithful to what is translatable in the original, the translator must depart from it, must […]
Filed under: "We live to be photographed", Eduardo Cadava, Mechanical Reproduction, Melancholy/Death & Photography, Walter Benjamin | Leave a Comment
Ghosts
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, […]
Filed under: "We live to be photographed", Books, Eduardo Cadava, Magic/Uncanny & Photography, Melancholy/Death & Photography, Photography as Historical Witness, Walter Benjamin | Leave a Comment
The Technical Image
Flusser, Vilém. ‘The Technical Image’ Towards a Philosophy of Photography (London: Reaktion Books, 2000) 14-20 p.14 The technical image is an image produced by apparatuses. As apparatuses themselves are the products of applied scientific texts, in the case of technical images one is dealing with the indirect products of scientific texts. This gives them, historically […]
Filed under: "We live to be photographed", Books, Essays, Images and reality, Invention of photography, Magic/Uncanny & Photography, Mechanical Reproduction, Photography's Art History, Vilém Flusser, Writing/Literature & Photography | Leave a Comment
In Plato’s Cave
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 […]
Filed under: "We live to be photographed", Ambiguity and Photography, Books, Content vs Materiality of Photographs, Context and photography, Essays, Images and reality, Mechanical Reproduction, Melancholy/Death & Photography, Nostalgia for analogue photography, Photograph as Document, Photograph as object, Photography as Historical Witness, Susan Sontag | Leave a Comment
