Tags, methodology
5. The Spectre of the Digital

I finished my last post thinking about shifting notions of ‘importance’ and ‘relevance’. This has, in part, been driven by digital technologies and the financial, socio-political and ethical pressures on institutions to give access to their collections, and in ways that connect to contemporary users. Likewise the massive and ever-increasing swirl of images in circulation is, of course, digitally-based, raising very real questions about the very nature of ‘photography’. mehr

Veröffentlicht: 20.10.2016
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01.11.–15.12.2012
6. Reflections on the Effect of Photography on the Sciences

In this last blog I want to turn the conversation toward something that has lately occupied me in my writing and thinking about photography and photographic practice. Many of the arguments put forward in the previous posts are deeply informed by the notion that photography is not passive. mehr

Veröffentlicht: 13.12.2012
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3. Photographic Practice and Photography

Since we are following a trajectory in this blog of asking what it might be like to explore photographic history from a look at particular photographic practices, I want to address one of the comments in the last blog here in a whole new thread. In the last blog, Ulla Fischer-Westhauser rightly brought up Marietta Blau and nuclear emulsions. mehr

Veröffentlicht: 22.11.2012
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3. The Question of a Medium's Identity

Last week, I attempted to draw forward a peculiar thematic in photography criticism and theory and the parallel instability of the term “photography.” At its base, a technology that has such a variance of instrumental applications and contextual meanings presents some intractable problems for art historical discourse, and its preference for discrete objects over more broadly systemic social or epistemological conditions. In other words, art history still maintains echoes of the assumption of aesthetic autonomy within its adherence to medium divisions, an interpretive schema that runs into difficulties when dealing with photographic objects, and the elasticity of the term photography to describe practices which range from fine art, to the journalistic, and cover objects as varied as platinum palladium and vegetable dye on paper. mehr

Veröffentlicht: 30.04.2012
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2. Notes on Photography and Loss

On the long flight from Los Angeles to London I undertook last week (which at the time of this posting going live, I will be completing in the reverse) I reread “The Photograph as Post-Industrial Object” by Vilém Flusser. In it Flusser asserts that “We are witnessing a cultural revolution”, a revolution consummated by digital images (what he refers to as “electromagnetized photos”) where “one can see how information abandons its material basis,” threatening to usher in “a society dominated by uncontrolled apparatus… thrown back into the terror of blind, absurd automaticity, into a pre-cultural situation.” mehr

Veröffentlicht: 23.04.2012
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