De 1965 à 1975, des travailleurs immigrés venus seuls – la plupart originaires de Turquie, du Maroc et de l’Europe du Sud – ont participé aux transformations des cultures sexuelles et de genre de l’Europe du Nord. Cependant, à partir du milieu des années 1970, l’arrivée des épouses et enfants venus de leur pays d’origine conduit à un changement d’attitude à l’égard de la liberté sexuelle. Cet article explore, dans le cas des Pays-Bas, ce tournant conservateur chez les travailleurs immigrés (...) lié au regroupement familial. Il propose l’utilisation du fonds de collections photographiques déposées par des immigrant.es à l’Institut d’histoire sociale d’Amsterdam et montre l’intérêt de ces archives personnelles pour écrire une histoire de la sexualité et de l’immigration. (shrink)

Les pronoms personnels peuvent faire référence à la représentation physique (comme une statue ou une photographie) d’une personne plutôt qu’à cette personne elle-même. L’article présente une explication de ce liage sans identité apparente. Une objection est adressée à la théorie des proxies de Reuland et Winter, fondée sur la distinction entre attitudes de re et attitudes de se. La stratégie proposée ici consiste à introduire une nouvelle modalité pour chaque nouveau support d’une représentation physique, ce qui permet d’éviter les proxies (...) et de restaurer l’identité à la base de la résolution des anaphores. Les modalités correspondent à des fenêtres modales au travers desquelles le sujet peut appréhender des objets, existants ou non, y compris lui-même. La sémantique proposée suppose de réinterpréter certains prédicats. Elle emprunte à Wehmeier l’idée de relation inter-mondaine, qui soulève en tant que telle des questions métaphysiques. L’article aborde ces questions, pour proposer finalement d’étendre la théorie des fenêtres modales à l’ensemble des relations intentionnelles. (shrink)

L'article qui précède fait suite à deux autres que nous avons publiés ici même l'an dernier¹. Nous résumons d'abord brièvemnet ceux-ci parce qu'ils fournissent à celui-là la perspective dans laquelle il convient de le lire. La valeur que peut avoir le roman pour le psychologue ne consiste pas uniquement dans la description de types psychologiques qu'il lui fournit, mais aussi et surtout en ce qu'il contribue à former et à enrichir son expérience personnelle. Expérience, non pas dans le sens technique (...) et étroit de ce mot, mais dans sa signification originellement humaine: une aptitude à pénétrer autrui, à le comprendre du dedans, cœur. La rencontre d'autrui donne lieu à une triple connaissance: connaissance discursive, connaissance par Einfühlung d'une existence humaine concrète, rencontre dans l'autre du Dasein humain en général. C'est l'union de ces trois qui constitue la connaissance par le cœur, connaissance qui ne peut s'apprendre d'une manière théorique et ne s'acquiert que par l'exercice. Elle est à la base de toute compréhension psychologique réelle. Le roman de valeur, bien qu'il soit un produit de l'« imagination », transcende l'existence concrète dans la direction de l'être et par une sorte de recréation nous fait entrevoir les fondements et les destinées de l'homme qui sont le fond et le cadre de son existence concrète. Comment le roman s'y prend-il ? Par delà l'innerweltliche être-avec de Heidegger, qui nous fait saisir l'autre intentionnellement comme un objet dans le monde du souci, Binswanger a montré la transcendence possible vers un « über die Welt hinaus sein » selon le mode de la « Wirheit ». Seule cette relation avec l'autre, haussée au plan de l'intemporel, peut être, à travers la connaissance discursive, la base d'approche pour une connaissance psychologique fondamentale. Or cette relation le roman de valeur la rend possible, parce que tout en étant à la fois une création technique et un commerce sur le mode du jeu, il transcende cependant ces deux formes fondamentales de l'existence quotidienne, par le fait que l'« imagination » de l'auteur projette l'existence comme la concrétisation de l'être-homme comme-tel, ou, si l'on veut, du Dasein. Il est une « poétisation » qui rend possible la rencontre de l'autre sur la base commune du Dasein comme « über-die-Welt-hinaus-sein ». Malgré la non-existence du monde sur-réaliste que le roman évoque, ce monde n'est cependant pas irréel. Il représente l'élaboration concrète de la connaissance vécue que prend l'auteur des possibilités de la réalité humaine par la réalisation de ces possibilités mêmes. C'est précisément parce que les situations que le roman nous décrit ne sont pas celles que la vie nous donne d'éprouver, ne sont pas des photographies, qu'elles provoquent un recul et nous donnent accès à une connaissance plus pure de l'essentiel. Et l'auteur est grand, lorsqu'il réussit à évoquer dans son oeuvre un climat qui rendra possible au lecteur de communier avec lui et de pénétrer jusqu'au fond de la réalité humaine. Le roman devient alors une source importante de cette Daseinserkenntnis dont Binswanger nous parle. Sous ce rapport les romans de Dostojewski dépassent tous les autres. Ils sont véritablement une école de formation psychologique. Ses personnages sont autant d'incarnations du problème de la signification de l'existence. Problème que l'on ne trouve nulle part exprimé explicitement, mais que l'on sent toujours présent comme l'arrière-fond sur lequel se déroule le jeu des questions et des réponses. Par sa foi en la fécondité de l'amour désintéressé, Dostojewski nous met en contact avec la source ontologique de l'amour et de la haine, de la bonté et du péché. C'est à cause de cela que la lecture de ses romans peut, en raison de leur élévation même, devenir comme un tourment. Elle provoque chez le lecteur une sorte de crise où il se voit confronté avec cet être fondamental qui est pour chacun le sien propre. En un sens, l'homme dans les romans de Dostojewski est toujours le « vieil homme », l'homme qui est seul avec son angoisse et sa culpabilité, dans un monde où la mort se dresse devant lui, mais avec dans le cœur une nostalgie de rédemption et de paix, pleine d'espérance. Dans les personnages de Dostojewski c'est notre propre Dasein que nous découvrons, dépouillé de ses contingences spatio-temporelles. Et c'est précisément parce que cette découverte est impossible dans le déroulement fugace et toujours inachevé de la vie journalière, que le roman nous oiffre ici une image plus pure de l'existence, de ses possibilités et de ses fondements. Sous la conduite de Dostojewski l'homme se découvre soi-même à travers la crise existentielle comme une liberté authentique qui transcende son « être naturel » et sa « structure psychique », et par ailleurs il y fait l'expérience de son angoisse et de son vertige en face de sa propre ifinitude et de sa mort. Mais en toute crise il y a aussi l'attente d'une rédemption, la liberté de «homme nouveau», qui se réalise par le choix de l'acceptation et par là transcende le monde de l'angoisse et du souci vers l'intimité du « Heimat ». Nul n'a réussi comme Dostojewski à esquisser une image aussi claire de la réalité humaine, et c'est pour cette raison qu'il faut considérer son œuvre comme une contribution fondamentale à la connaissance psychologique et à la formation du psychologue. L'article publié dans ce numéro veut illustrer les considérations qui précèdent par le cas typique d'Hippolyte dans L'idiot. Alors qu'il veut vivre, l'homme doit mourir. Mais qui rentre en soi-même peut se demander si, dans le fond caché de nous-mêmes, le contraire n'est pas tout aussi vrai. C'est l'un des problèmes que Dostojewski n'a cessé de reprendre dans ses romans. Hippolyte, le jeune tuberculeux qui se voit tout près de la mort, en est une très importante élaboration. Ce jeune homme à l'intelligence pénétrante, mais aigri et humilié, nous offre l'image de l'homme désemparé devant l'irréductible conflit de la mort et de la vie. Il devra mourir bientôt, lui qui aurait voulu vivre « grand ». Il ne peut accepter cette mort insensée à laquelle le livre cette maladie qui lentement l'épuisé. C'est contre cette mort « naturelle » inévitable — le mur qui fait face à son lit de malade et les terribles scorpions qui hantent son rève — que s'insurge sa liberté. Il en vient à décider qu'il se donnera la mort lui-même, afin que sa mort soit au moins un acte libre. Mais auparavant il fait à ses amis la lecture de sa confession, « l'explication nécessaire », sous la devise: « Après moi le déluge ». Ce doit être l'expression de ses convictions dernières, la preuve de l'unique liberté que la nature lui concède encore. Mais quand il décharge son arme, il apparaît qu'il avait oublié d'y mettre la balle. Mais Hippolyte n'était pas seul. Le prince Myschkin, homme naïf à l'âme d'enfant, a deviné ses luttes intérieures dès leur première rencontre. Il a essayé de montrer à Hippolyte la voie de l'abandon comfiant où il pourrait se libérer de son orgueil et de son ressentiment. Mais Hippolyte n'a pas voulu s'engager dans cette voie. Il voulait garder la vie, et c'est pour cela qu'il mourut d'une mort en quelque sorte impropre et insensée. Ce choix d'Hippolyte, le choix de la révolte et du désespoir, ne s'offre pas à l'analyse ou à l'étude comme un problème scientifique. Il ne peut être approfondi que dans la rencontre avec une existence qui s'est choisie elle-même telle. C'est le mérite de Dostojewski de nous avoir montré dans la figure d'Hippolyte qu'un homme n'apprend à se connaitre soi-même ou à connaitre autrui qu'en faisant quelque chose, et de nous l'avoir montré avec un tel respect pour le secret de l'ultime destinée de l'homme. (shrink)

A digital solution to the problems caused by US military personnel misusing their digital cameras, pixelization (the intentional post-production enlargement of pixels to obscure potentially disturbing content) has become a defining feature of newsmedia visualizations of American military atrocity during the War on Terror. Here, I consider the ethics and politics of pixelizing photographs depicting torture at Abu Ghraib, the exploits of the American ‘Kill Team’ in Afghanistan, and the carnality of US Marines urinating on the corpses of Taliban soldiers. (...) Ostensibly, as a technique applied to those parts of the photograph that reveal the corporeal truth of war most graphically, such redaction is meant to protect the victims. But it also renders their appearance variable, subject to editorial whim, and pixelization alters not only the appearance of the photograph, but how it signifies. I query whether pixelization offers any meaningful redress for the victims and the extent to which it blunts photography’s capacity to document harm. (shrink)

Ce petit livre – par son nombre de pages – est habilement composé. Ouvert par une série de photographies de diverses banderoles en noir et blanc diffusées par l’agence Magnum, il articule une série de courts chapitres analysant l’histoire matérielle de cet objet qui incarne les luttes contemporaines, avec des points de vue très personnels – en italique – sur des paysages et des événements traversés par des « écrits exposés » (Armando Petrucci) entre 1907 et 2012 dans le (...) monde entier : de Rome... (shrink)

Unlike the numerous texts devoted to the subject of Film Theory, this collection contains essays specifically about the art form of Still Photography and the ...

According to Roger Scruton, it is not possible for photographs to be representational art. Most responses to Scruton’s scepticism are versions of the claim that Scruton disregards the extent to which intentionality features in photography; but these cannot force him to give up his notion of the ideal photograph. My approach is to argue that Scruton has misconstrued the role of causation in his discussion of photography. I claim that although Scruton insists that the ideal photograph is defined by its (...) ‘merely causal’ provenance, in fact he fails to take the causal provenance of photographs seriously enough. To replace Scruton’s notion of the ideal photograph, I offer a substantive account of the causal provenance of photographs, centred on the distinctive role of ‘the photographic event’. I conclude that, with a proper understanding of the photographic process, we have good reason to re-open the question of photography as a representational art. (shrink)

Even as art theory and analytic philosophy have failed to connect in their studies of photography, the two disciplines have joined in tying conceptions of the specific character of photography to ideas about automaticity and agency.1 In rough caricature, the philosopher reasons: “An item is a work of art only insofar as it is the product of agency, so a photograph is not an art work insofar it is not the product of artistic agency. After all, in Lady Eastlake's colorful (...) words, the ‘obedience of the machine’ in photography is no ‘picturesque agent.’”2 This much is accepted both by philosophers who go on to conclude that photography is not an art and also by those who defend the contrary.3 The reasoning on the side of theory and criticism often goes, again in caricature, as follows: “Art works sometimes result from a suppression of agency, and the distinctive ‘obedience of the machine’ in photography is no ‘picturesque agent,’ so the automatism of the photographic machine shapes the distinctive profile of photographic art.” The triadic assemblage of the medium, automatism, and agency is clearly more than a trope in writing on photography; it regulates and structures reasoning about photography, even as it sends that reasoning off in remarkably divergent directions in different disciplines. In the spirit of the nudge towards convergence that this special issue represents, this afterword develops some thoughts that are sparked by and that offer a friendly challenge to the preceding papers. In brief, the triad that controls thinking about photography across disciplines depends on some rather demanding conceptions of agency and automatism. As it turns out, less demanding conceptions of agency and automatism pave the way to a new and more modest conception of the specificity of photography as an art medium. If our common ground is what keeps us apart, perhaps we should find some new common ground? (shrink)

Ansel Adams pointed to an analogy between photography and music, in particular to similarities between, on the one hand, negatives and prints in photography, and, on the other hand, scores and performances in classical music. Dawn M. Wilson uses her ‘multi-stage view’ of photography to (among other things) make the analogy more precise. She also invites others to expand on the analogy. In this piece I do so by, first, discussing darkness in photography and silence in music; and, second, covers (...) or versions in music and in photography. (shrink)

The everyday practice of photography by millions of amateur photographers - the family snapshots, the holiday prints, the wedding portraits - may seem to be a spontaneous and highly personal activity. But Bourdieu and his associates show that few cultural activities are more structured and systematic than the social uses of this ordinary art. This perceptive and wide-ranging analysis of the practice of photography brings out the logic implicit in this cultural field. The norms which define the occasions and the (...) objects of photography serve to display the socially differentiated functions of, and attitudes towards, the photographic image and act. For some social groups, photography is primarily a means of preserving the present and reproducing the euphoric moments of collective celebration, whereas for other groups it is the occasion of an aesthetic judgement, in which photos are endowed with the dignity of works of art. (shrink)

How do we know what an amoeba looks like? How can doctors see the details of our skeletons and internal organs? All of these things are made possible through the innovations of photography. The author provides a primer on the applications of photography to science as she explores the multiple facets of this complex relationship.

Not too long after photography’s grand debut in 1839, physician and inventor Oliver Wendell Holmes described the new technology as a “mirror with a memory.” What might this phrase mean for the question of African Americans and their relationship to the vicissitudes of photography and the vagaries of memory in particular? Through readings of works of art and social activism that make use of lynching photographs, this essay considers ways in which photography has functioned as a technology of memory for (...) African Americans, what the essay calls critical black memory, and proffers a mode of historical interpretation that both plays upon and questions photography’s documentary capacity.The essay makes two claims specifically. First, the mechanical reproduction of lynching by way of the photograph has been central to the recounting and reconstitution of black political cultures throughout the Jim Crow and post-Civil Rights era. From the usage of lynching photography in pamphlets by early twentieth-century anti-lynching activists, to posters created by mid-century civil rights organizations, to their deployment in contemporary art and popular culture, this archive has been a constitutive element of black visuality more broadly. Second, African American engagements with photography as a “site of memory” suggest a mode of historical interpretation in which African Americans simultaneously critique the “truth-claims” of photography while they mobilize the medium’s documentary capacity to intervene in the classification and subjugation of black life. (shrink)

On Photography: A Philosophical InquiryCOSTELLODIARMUIDRoutledge. 2017. _pp._182. £19.99__.

Digital photography is sweeping the country, and it’s easy to see why. You can take pictures of anything, do it quickly, see instantly what you got, save only the stuff you like, and share your pictures as prints, on the Web, as a slideshow, or even on things like mugs and mousepads. A digital camera and the appropriate software let you Take wide-angle or closeup shots, indoors or out Know immediately whether you got what you wanted Delete shots you don’t (...) like and retake them Improve your images on your computer Combine images into a montage Customize your pictures by adding special visual effects Digital photography is fun, but whether you’re an old hand at taking digital pictures or still picking out your first camera, there are plenty of times when you know what you want to do and just want to figure out how to do it, right now. That’s exactly what Digital Photography Just the Steps For Dummies helps you do. It’s designed so you can quickly find the task you want to perform and follow step-by-step instructions to get the job done, right now. Loaded with full-color photos to show you what you can do, Digital Photography Just the Steps For Dummies helps you Choose the camera, lenses, and flash equipment that are best for the type of photography you want to do Compose good pictures regardless of your subject Scan and digitize existing photos so you can enhance or repair them Change the size or format of an image Adjust color, brightness, contrast, sharpness, and other attributes of a digital image Repair tears, creases, or scratches in a scanned photo, remove red-eye, and restore a faded image Use layers to alter an image, add text, or change the background Photograph items you want to sell online to show them at their best Sort and organize photos on your computer Print picture albums, make photo T-shirts, create a slideshow, or burn a video CD When you’re looking for a clear set of instructions so you can get results right away, you want a Just the Steps For Dummies book. With Digital Photography Just the Steps For Dummies, you’ll find everything quickly comes into focus! (shrink)

La photographie, dès sa naissance, entretint des relations tout à la fois difficiles et opaques avec l’art. En France notamment, et cela jusqu’à l’aube du xxe siècle, nombre d’écrivains et artistes se liguèrent pour affirmer qu’entre les deux, seuls prévalaient des rapports de subordination de la première au second. L’intérêt et la possible reconnaissance de la photographie en tant qu’art ne se manifesta donc qu’assez tardivement, une fois marginalisées les productions du premier « pictorialisme » visant à aligner l’esthétique du (...) nouveau médium sur celle de la peinture. Au cours de la première moitié du xxe siècle, en partie grâce au surréalisme, la photographie entra progressivement dans le champ de l’art avant qu’au cours des années 1970, un emballement se produise, autorisant des légitimations rétrospectives rehaussées de justifications théoriques et esthétiques. L’entrée en scène du numérique contribua à l’accélération de ce mouvement de fusion – absorption par l’art contemporain, dont il n’est pas inutile de se demander s’il n’est pas une autre manière de soumettre la photographie à une identité rétrécie et réductrice. (shrink)

English summary: The authors invited eighteen artists and theorists to reflect on what is meant by contemporary photography and contemporary art. Historical issues or paradigmatic problems? The articulation of these eighteen points of view, sometimes radically different, can have a fruitful view on issues, concepts, assumptions, and current issues on the subject. French text. French description: Francois Soulages et Marc Tamisier ont invite dix-huit artistes et theoriciens a reflechir sur ce qu'ils entendent par photographie contemporaine et par art contemporain. Questions (...) historiques ou bien problemes paradigmatiques? L'articulation de ces dix-huit points de vue, parfois radicalement differents, permet d'avoir un panorama fecond sur les problematiques, concepts, presupposes et enjeux actuels sur le sujet. L'enjeu premier serait-il l'" art-contemporain " qui ne se reduirait pas alors a l'art qui serait contemporain. Que serait, alors, la " photographie-contemporaine " a l'ere du numerique? L'enjeu ultime est bien le/notre contemporain! (shrink)

Arthur Danto's quarter century as art critic for The Nation was crucial, as photography had, by the 1980s and '90s, become very much in vogue in the New York artworld that was his beat. Readers familiar with the corpus of Danto's writing might infer from the discussion that his interest in photography is peripheral to his larger investigation into the ontology of artworks. Consideration of the distinction between stills and natural drawings, or of Kantian ethical concerns, appears foreign to his (...) well‐known consideration of Warhol's 1964 Brillo Box. Danto's consideration of photography reveals that art does essentially involve craft, but it is a craft involving sensitivity to, and dexterity in relation to, aspects of a realm of human interaction, rather than necessarily to materials. Further research may be directed toward refining this new craft and, especially, toward the development of pedagogical techniques suitable to it. (shrink)

The increasing use of digital image recording devices, whether they are digital cameras or mobile phone cameras, has democratised clinical photography in the UK. However, when non-professional clinical photographers take photographs of patients the issues of consent and confidentiality are either ignored or given scant attention.Whatever the status of the clinician, the taking of clinical photographs must be practised within the context of a professional etiquette. Best practice recognises the need for informed consent and the constraints associated with confidentiality. Against (...) the background of the poverty of the current discourse of these issues, as presented during the Valentine GMC Fitness to Practice1 hearing, the paper considers the need for orthopraxy in the use of clinical photography. (shrink)

Photography has been part of Irish cultural life since 1839 but little is known of its long and sometimes complex history. Outside Ireland there has been scant attention given to Irish photography beyond picturesque tourist views of the Irish landscape and photojournalistic representations of 'The Troubles'. This book changes the picture, casting its focus between these polar, and often clichéd, extremes to address the political upheavals, social transformation and geographical re-imaginings of Ireland as a colony, a nation, a province and (...) a sovereign state. As Justin Carville demonstrates, photography has not only documented these transformations but has also helped shape how Ireland is viewed, both by itself and the rest of the world. Photography and Irelandexplores the role of the photographic image in colonial and post-colonial visual cultures of Ireland from the nineteenth century to the present day. Furthermore, it emphasises the transnational dimensions of photography in Ireland, discussing foreign photographers who have contributed to cultural imaginings of Ireland as well as indigenous Irish photographers. Beginning with a brief history of photography in Ireland the book discusses the tensions between colonial and global representations of Ireland and the formation of an indigenous photographic culture. Featuring commercial portraits and landscapes, as well as ethnographic photography, photojournalism and documentary works it explores Ireland’s photography through a number of interrelated themes. Accessibly written and accompanied by a wealth of images, Photography and Irelandis essential reading for all those interested in photography history, as well as Irish history and culture. (shrink)

Personnel Decision Making of Chosen Czech Banking Subjects During the Economic Recession The article focuses on personnel decision making of important banking subjects during the ongoing economic recession with the specialization on financial crisis in 2008. Main objective of the article is to verify the implicit contract theory and to answer the question of how the selected banks solve problem of reducing labour costs during the crisis. Four important banks in years 2005 - 2010 are examined. To identify the economic (...) crisis, is used model, which is based on the model, indicating the U. S. business cycle, which uses analytical team in Raiffeisenbank. Model used in this article is based on three variables. Employment rate is separate variable. The values of business sales are adjusted to the values of basis indices, for which the year 2005 is the basis. The development of all those three variables is similar and it is possible to determine the period from the graphical representation, in which all variables reached their maximum and reversed their trend. To support this, a trend line was added to the graphs. The trend line was determined as a moving average for the four seasons. Based on the model, the beginning of the economic recession was indentified to the turn of 2007 and 2008. The biggest slumps can be seen during the year 2009. The investigated periods are therefore the years 2008 and 2009.The calculations of other variables, describing the current condition of the studied subject, are adjusted to the values of basis indices in the same way as the business sales. The year 2005 is set as a basis. Data from chosen banks' annual reports were used to study their current condition. The basic monitored data are: labour costs, number of employees and earnings after tax. This article focuses attention on the personal decisions of banks, especially on the monitoring of costs of employees and their evolution over time in the context of economic recession. The essential conclusion is the confirmation of the implicit contract theory of the new Keynesian economics, which appeared at all observed subject. It is possible to see a year delay between the reduction of the employees and reduction of salary costs. This delay causes further costs. The reduction was observed in all subjects. (shrink)

Cy Twombly est un artiste très secret. De son vivant, il ne laissait personne entrer dans son atelier pendant qu’il peignait et seulement quelques photographes ont pu en franchir le seuil. C’est l’artiste lui-même qui offre le meilleur accès à son univers dans ses ateliers de New York, Rome, Bassano in Taverina ou Gaeta et dans sa ville natale de Lexington : une publication récente, Cy Twombly : Homes & Studios (Nicola Del Roscio, Schirmer/Mosel, 2019), nous permet d’avoir un aperçu (...) de ses lieux de travail par des clichés choisis avec soin par l’artiste. Face à ces photographies de Twombly, une question se pose : quel usage fait Twombly de la photographie d’atelier? Dans cet article, nous allons explorer ce thème à travers l’étude approfondie de ces prises de vue, et analyser trois approches et regards différents de l’artiste sur son espace créatif : les vues d’ensemble, les natures mortes et les détails. (shrink)

Essays on photography and the medium's history and evolving identity.

The affective turn in photography theory takes as its point of departure Roland Barthes’s move from semiology to affective phenomenology in Camera Lucida. This article, however, considers the way affective phenomenology is itself grounded in the semiological structure of photography. It looks at how, before Camera Lucida was even written, Thierry de Duve had already discussed the affective implications of Barthes’s understanding of photography’s indexical nature. The article then proceeds to rethink the structural affectivity of photography beyond Barthes’s and de (...) Duve’s emphasis on a direct relation between indexicality and loss. Reconsidering photography through Jacques Rancière’s conception of the aesthetic regime of art, the article rather puts emphasis on the indeterminacy of photography, which results from the way the camera captures and isolates a spatio-temporal fragment. Shifting the focus from indexicality to indeterminacy sheds a different light on the loss implied by the structure of photography, parallel to how Freud understood the difference between mourning and melancholy. (shrink)

This article takes as its starting point an exhibition of photographs of May '68 by photojournalist Bruno Barbey at the Hayward Gallery in London in 2008, in order to consider the role that photography has played in shaping the memory and the forgetting of May '68, 40 years on. The article examines the problematic of the documentation and display of protest photographs, focusing on how compositional decisions by the photographer have come to facilitate his photographs' subsequent institutional framing. On this (...) basis I argue that the predominant representational modes support hegemonic narratives of the events of May '68 and highlight questions regarding the current difficulty of attending to the representation of collective political action. (shrink)

The development of X-ray diffraction photography was central to the discovery of the helical structure of DNA in 1953. Unfortunately the story of how this technique was developed receded into the background as subsequent attention focused on the moment of discovery by Watson and Crick. As a result the importance of photography as ‘data’ and the role it plays in scientific discovery is underplayed. We seek to rectify this situation by presenting this story and by drawing conclusions about the importance (...) of this form of photography in scientific investigation as well as for the insights it gives us regarding the process of discovery. (shrink)

In Photography and Japan, Karen Fraser argues that the diversity of styles, subjects, and functions of Japanese photography precludes easy categorization along nationalized lines. Instead, she shows that the development of photography within Japan is best understood by examining its close relationship with the country’s dramatic cultural, political, and social history. Photography and Japan covers 150 years of photography, a period in which Japan has experienced some of the most significant events in modern history and made a remarkable transformation from (...) an isolated, feudal country into an industrialized, modern world power—a transformation that included a striking rise and fall as an imperial power during the first half of the twentieth century and a miraculous economic recovery in the decades following the devastation of World War II. The history of photography has paralleled these events, becoming inextricably linked with notions of modernity and cultural change. Through thematic chapters that focus on photography’s role in negotiating cultural identity, war, and the documentation of urban life, Photography and Japan introduces many images that will be unfamiliar to Western viewers and provides a broadened context for those photos that are better known. (shrink)

Numerous writers on photography and motion pictures have claimed that photographically originated pictures are essentially different from handmade pictures. Arguments made on behalf of the essential difference of photographs from other kinds of pictures generally depend upon one or another of two models of the photographic process: the visual model claims that photographs are closely allied to vision and show what we would have seen from the standpoint of the camera at the time of exposure; the mechanical or automatic model (...) claims that irrespective of what a photograph looks like, it is a reliable index of what was the case at the moment of exposure. Each of these models is examined and shown to be faulty on either or both factual and/or conceptual grounds. Stanley Cavell's assertions about the "automatic" nature of photography are examined in some detail and shown to be either equivocal or false. It is suggested, in closing, that sharp, categorial differences between photographs and handmade pictures do not exist and that questions about the differences between photographs and, say, paintings, can be solved only within the context of viewing particular photographs and particular paintings. In sum, claims about the ontological distinctions between photographs and handmade pictures cannot be warranted. (shrink)

Take the mystery out of digital photography and join the fun! You don't need to be a professional photographer or a technology expert to take great digital photos! This down-to-basics guide makes it easy to choose the right camera, understand all its dials and controls, take good pictures, make them look even better with your computer, and print them or share them online for friends and family to enjoy. Do your homework — compare camera features to choose those you need (...) at the price you can afford Practice, practice, practice — learn to use camera settings, how to compose good shots, and how light affects a picture The darkroom is now digital — use free software to organize and edit your photos Learn to share — print your pictures at home or through a service, e-mail them to friends, set up an online photo album, or show them off in a digital picture frame Open the book and find: How to pick the camera that best fits your budget and needs Tips for taking great travel photos Accessories you might want for your camera How to get really good pictures of kids and pets Easy ways to get photos from your camera to your computer Tips and tricks for editing pictures on a computer Good reasons for putting your pictures online. (shrink)

Cet article met en lumière les liens qui unissent, dans le Livres des passages de Walter Benjamin, les réflexions sur la photographie et les fragments consacrés à la philosophie de l’histoire. On y montre plus particulièrement – dans un renvoi constant à la pensée postmoderne et à la théorie des médias – les implications esthétiques, gnoséologiques et sociologiques. This article aims to investigate to investigate the textual relations that link, in the thought of Walter Benjamin, the reflections on photography and (...) the fragments dedicated to the philosophy of history. Particularly, we focus on their aesthetics, gnoseological and sociological implications. (shrink)

This is a critical survey of writing on the philosophy of photography.

Georges Didi-Huberman's study is concerned with epistemological and ethical questions that arise from visual representations of the Shoah, while Michael Fried's is concerned with the ontological possibilities explored by contemporary art photography. The books have two things in common: an argument against postmodern skepticism, and an insistence that photography has become a field in which questions of history, truth, and authenticity are being explored with particular acuity. Rather than reject even the possibility that photographs have something to tell us about (...) the Shoah, Didi-Huberman shows that they can offer important insights into the difficulties and the possibilities of apprehending some aspects of the past.Fried shows that contemporary photographic work has taken on the ambitions of high modernism by accepting the challenge of “to-be-seenness.” Photography as a “historical practice” does not escape from the difficulties of evidence and of the “constructed” nature of historical understanding; photography functions neither as a pure trace of the past, nor as a mere invitation to spectacle. (shrink)

The aim of this paper is to contribute to the understanding of imagistic violence by focusing—by means of a phenomenology open to dialogue with neighboring disciplines, from historiography to semiotics—on the particular case of photographs depicting atrocities, examples of photojournalism or images captured at crime scenes by forensic agents and presented as evidence during trials. To this end, I will implement a three-step analysis. First, I will seek to clarify the meanings associated with photography presented as evidence by adopting Husserl’s (...) phenomenological framework and by following a historiographical and juridical approach while verifying the grounds for the opposition that appears to be emerging between a paradigm of resemblance and a model of indirect, conjectural knowledge. Second, I will focus on how photography’s capacity to sustain a maximum degree of the reproduction of the real is problematized when the pictorial object is a violent scene that suspends, contradicts, and dismantles the order of the viewer’s experience. Finally, I will conclude by offering a hypothesis on the act of “seeing-with-other” and its phenomenological implications for the case of imagistic violence as evidence. Specifically, I will argue that we are more likely to understand imagistic violence at the level of a collective seeing than through a solitary gaze. (shrink)

Firstly, this contribution proposes to address synthographies – images generated through Text-to-image technologies – by deepening the epistemological shift related to the possibility of transposing the image-creation process from the analogue arts to the notational ones (or, by drawing on Nelson Goodman's terminology, from the “autographic” to the “allographic” forms of art). Secondly, the paper highlights how synthographies can be considered partly autographic and partly allographic, since the linguistic prompts constitute only the notational aspect of the generated images. Furthermore, this (...) contribution argues that the recent critiques around such images, which referenced aspects related to the absence of authorial presence and mechanicality, characterised the history of photography since its beginning. Finally, the contribution explores how the possibility to create synthographies that are almost indistinguishable from photographies easily might further separate the interaction between the detective and the depictive functions to the advantage of the latter, erasing what remains of the visual reliability and documental value of images. (shrink)

Improve your lighting technique to produce better quality photographs Digital Photography Lighting For Dummies features the tools, concepts, and steps you need to give your subjects a high-quality look and feel. Everyone from advanced beginners to aspiring professional photographers will improve their understanding of lighting basics as well as the parts and functions of their camera. Explains the different kinds of lighting that different situations require and guides you through changing the settings on your camera Shows you how to set (...) up equipment to capture the photograph you want with the proper amount of light and shadow Offers information on the latest lighting equipment and accessories Includes techniques and skills used by film photographers like David Bailey, Ansel Adams, and Annie Leibovitz Reach for Digital Photography Lighting For Dummies and take your knowledge of lighting and photography to the next level! (shrink)

Tips and tricks for capturing your canine's personality withevery click of the camera Simply snapping a picture may not capture the playfulness orspontaneity of a dog. Knowing what kind of equipment, angle, andcomposition to use while photographing a dog can make all thedifference in the character captured in the photo. DogPhotography For Dummies gives you practical and fun guidancefor capturing your dog's personality and turning ordinary shotsinto priceless memories that will last a lifetime. Covering all the latest and greatest gadgets (...) and accessoriesavailable to capture and alter photos of your favorite pooch,Dog Photography For Dummies offers techniques that amateursand intermediates alike can use to improve their photographyskills. This hands-on guide features great examples of dogportraiture, plus tons of ideas for fun new places to pose yourfurry friend, such as the beach, the park, the car, in the snow,and more. Detailed discussions of color versus black-and-white, indoorsversus outdoors, composition, and capturing movement Advice on how to get a dog to sit still Considerations for photographing a shy dog who is scared of thecamera Guidance on making the most of natural light Tips for photographing dogs with black coats How to photograph people and dogs together Whether for decorating, memories, or holiday cards, DogPhotography For Dummies makes it easy to capture the best ofyour four-legged friend. (shrink)

Cet article analyse quatre photographies qui révèlent différents modes de vie et de résistance combattante des femmes indigènes au Chiapas. On les voit ainsi s’organiser et transformer leur propre image. En même temps, elles construisent leur autonomie à la lumière du genre et à travers la conscience de leur statut social et de leur appartenance au peuple indigène de Mexico. « Personne ne peut nous prendre ce que nous sommes » (Commandante Esther, EZLN).

Photography matters, writes Jerry Thompson, because of how it works -- not only as an artistic medium but also as a way of knowing. It matters because how we understand what photography is and how it works tell us something about how we understand anything. With these provocative observations, Thompson begins a wide-ranging and lucid meditation on why photography is unique among the picture-making arts. Thompson, a working photographer for forty years, constructs an argument that moves with natural logic from (...) Thomas Pynchon to Jonathan Swift to Plato to Emily Dickinson to detailed readings of photographs by Eugène Atget, Garry Winogrand, Marcia Due, Walker Evans, and Robert Frank. He questions Susan Sontag's assertion in On Photography that "nobody" can any longer imagine literate, authoritative, or transcendent photographs. He considers the money-fueled expansion of the market for photography, and he compares ambitious "meant-for-the-wall" photographs with smaller, quieter works. Forcefully and persuasively, Thompson argues for photography as a medium concerned with understanding the world we live in -- a medium whose business is not constructing fantasies pleasing to the eye or imagination but describing the world in the toughest and deepest way. (shrink)

Dominic McIver Lopes’ Four Arts of Photography and Diarmuid Costello’s On Photography: A Philosophical Inquiry examine the state of the art in analytic philosophy of photography and present a new approach to the study of the medium. As opposed to the orthodox and prevalent view, which emphasizes its epistemic capacities, the new theory reconsiders the nature of photography, and redirects focus towards the aesthetic potential of the medium. This symposium comprises two papers that critically examine central questions addressed in the (...) two books, with responses by the two authors in defence of their respective positions. (shrink)

Extensive revision of 1998 entry (for expanded new edition of Encyclopedia of Aesthetics) to include, besides mini-essays on technology, art, depiction and the aesthetic, a development of the last in terms of facture--the materials of a work and their working there, as perceivable in the work.

Is there anything peculiarly "photographic" about photography—something which sets it apart from all other ways of making pictures? If there is, how important is it to our understanding of photographs? Are photographs so unlike other sorts of pictures as to require unique methods of interpretation and standards of evaluation? These questions may sound artificial, made up especially for the purpose of theorizing. But they have in fact been asked and answered not only by critics and photographers but by laymen. Furthermore, (...) for most of this century the majority of critics and laymen alike have tended to answer these questions in the same way: that photographs and paintings differ in an important way and require different methods in interpretation precisely because photographs and paintings come into being in different ways. These answers are interesting because, even within the rather restricted classes of critics, photographers, and theorists, they are held in common by a wide variety of people who otherwise disagree strongly with each other—by people who think that photographs are inferior to paintings and people who believe they are superior; by people who think that photographs ought to be "objective" and those who believe they should be "subjective"; by those who believe that it is impossible for photographers to "create" anything and by those who believe that they should at least try. Joel Snyder teaches criticism and history of photography at the University of Chicago and is presently compiling a book of his own photographs. His contributions to Critical Inquiry include "Picturing Vision" and "Reflexions on Las Meninas: Paradox Lost", written with Ted Cohen in the Winter 1980 issue. Neil Walsh Allen produces educational audio-visual materials and has designed eight permanent exhibits on the history and applications of photography for the Smithsonian Institution. (shrink)

This study examines new and existing photographic and lens-based art focusing upon the theme of social exchange. The text explores the history of documentary photography and maps out current solutions and strategies to problems in the discourse between photographer and subject.

Say "cheese"! Taking great pictures is a snap when you follow the tips, tricks, and techniques packed inside Photography For Dummies, which takes you all the way from choosing the right film to using your computer to turn your photos into greeting cards or Web-ready online images. Whether you're taking photos for fun or profit, you'll find expert advice on all the angles -- from taking family pictures to action, sports, and travel shots -- alongside hundreds of color and black-and-white (...) examples that show you how to make your good pictures great, and your great pictures even better. Geared for novice photographers armed with automated point-and-shoot cameras, Photography For Dummies takes you step-by-step through the entire photographic process, from choosing the right film and photo processing to using your camera's special features. And when you're ready to take the next step in photography with digital cameras, you'll find all sorts of helpful information right here, all explained in clear, easy-to-understand language. (shrink)

The art scene and print media eagerly soak up the trends it sets. Driving force behind this development is the Photography Program at the School of Art and Design Zürich, where experimental confrontations are pursued with a passion.

The aim of this article is two-folded. First, I wish to situate Baudelaire in the midst of 19th-century media, bring attention to the way he explored the new media of his day, and suggest that he developed his own media aesthetics. Second, I wish to examine Baudelaire’s relation to photography more specifically, emphasizing his love of commonplaces and clichés. I begin by contextualizing Baudelaire’s notorious attack on photography in the Salon de 1859 and then examine three poems in light of (...) the photographic culture of Baudelaire’s day. Central here is the experiment on the notion of identity that was carried out with the spread of portrait photography: the notation of a unique identity was undermined, processes of multiplication were explored, and the poetic discourse of the “soul” was radically changed. (shrink)

In recent years, photographs and visualisations of glacier retreat have become emblematic images of climate change and its ecological consequences. This paper presents glacier photography as a subtype of environmental photography. I argue that photographs and photographic projects that focus on glacial retreat are best conceived not only as strategies for proving climate change or as visual rhetoric for social transformation, but also as a practice that potentially plays an integral role in dealing and coping with human-induced environmental loss. To (...) this end, I draw on praxeological accounts in theory of photography and philosophy of art as well as some exemplary photographic projects to develop a framework to analyse glacier photography. With the help of this praxeological framework, multiple orientations in glacier photography are identified: epistemic, aesthetic, emotional and evocative, social, ethical, and political orientations. All these photographic orientations, I argue, point in their own way to the process and consequences of glacial disappearance and loss. The framework presented innovatively brings together scholarship on climate change visualisation, imagery and art, the theory of photography, and philosophical aesthetics. (shrink)

How contensted notions of modernity, civilisation and being governed were envisioned through the aid of photography.

Are you new to digital cameras? Does new technology make you nervous? Relax! You're holding in your hands the easiest guide ever to digital photography - a book that skips the long-winded explanations and shows you how things work. All you have to do is open the book and discover just how easy it is to get up to speed. * Set up your camera and learn program modes * Understand good composition and exposure * Experiment with lenses and focal (...) length * Download and organize your images * Fine-tune your photos with Photoshop Elements * Select paper and printers to make quality prints * "Simplify It" sidebars offer real-world advice * Succinct explanations walk you through step by step * Full-color screen shots demonstrate each task * Self-contained, two-page lessons make learning a snap. (shrink)

Clinical photography is an important tool for teaching practitioners and field workers about the clinical manifestations of famine an.