Tag, literature
4. Photography and Witnessing

I was looking at a collection of photo-essays on jail experience, militarization and the death penalty called Art as Witness, edited by the “photo-artist”, Parthiv Shah, and a teacher of journalism, Sana Das (Tulika Books: New Delhi, 2010). It had begun as an “ambitious and elusive project” called “Art as Activism“ at Amnesty International, India, involving “artists, writers, advocates, film-makers, activists, journalists, police officers and professionals”. more

Published: 22.03.2012
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3. Books without Words

Thank you, Martin, for this anatomy of photography’s proneness to a certain kind of mindlessness, taken by David towards a vision of what a ‘liberal’ education for a photographer might be in the future. I am also grateful to you, David, for the directness of your question to me: “What is it that photography offers you as a writer?

This question has forced me to focus my thoughts over the last few days, and to do this purely on the basis of what I am carrying inside my head and in my computer, for I have been travelling constantly. Sometimes, it is good to be away from one’s books, and to be forced to rely solely on one’s memory, eyes and ears. more

Published: 14.03.2012
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2. Theory versus Instinct

Thank you Prateek, David, Ray, Martin and Stuart for your varied responses. With each I am tempted to take the blog in a different direction; but that might take promiscuity a little too far!

The question of ‘theory’ comes up, in different ways, in the responses of both David and Stuart, and I found David’s notion of the blurring of lines between theory and literature, especially in the way Phillips reads Freud and Winnicott, particularly alluring and useful. I have always found Barthes’s Lover’s Discourse and Incidents more inspiring than Camera Lucida, for photographers as well as writers on photography – and inspiring in a more oblique, tangential way. (They could be read as Barthes’s great ballads of sexual dependency.)  more

Published: 07.03.2012
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