Providing a wide-ranging account of the narrative properties of photographs, Greg Battye focuses on the storytelling power of a single image, rather than the sequence. Drawing on ideas from painting, drawing, film, video, and multimedia, he applies contemporary research and theories drawn from cognitive science and psychology to the analysis of photographs. Using genuine forensic photographs of crime scenes and accidents, the book mines human drama and historical and sociological authenticity to argue for the centrality of the perception and representation (...) of time in photographic narrativity. (shrink)

Following the socialist revolution, a colossal shift in everyday realities began in the 1920s and '30s in the former Russian empire. Faced with the Siberian North, a vast territory considered culturally and technologically backward by the revolutionary government, the Soviets confidently undertook the project of reshaping the ordinary lives of the indigenous peoples in order to fold them into the Soviet state. In Agitating Images, Craig Campbell draws a rich and unsettling cultural portrait of the encounter between indigenous Siberians and (...) Russian communists and reveals how photographs from this period complicate our understanding of this history. Agitating Images provides a glimpse into the first moments of cultural engineering in remote areas of Soviet Siberia. The territories were perceived by outsiders to be on the margins of civilization, replete with shamanic rituals and inhabited by exiles, criminals, and "primitive" indigenous peoples. The Soviets hoped to permanently transform the mythologized landscape by establishing socialist utopian developments designed to incorporate minority cultures into the communist state. This book delves deep into photographic archives from these Soviet programs, but rather than using the photographs to complement an official history, Campbell presents them as anti-illustrations, or intrusions, that confound simple narratives of Soviet bureaucracy and power. Meant to agitate, these images offer critiques that cannot be explained in text alone and, in turn, put into question the nature of photographs as historical artifacts. An innovative approach to challenging historical interpretation, Agitating Images demonstrates how photographs go against accepted premises of Soviet Siberia. All photographs, Campbell argues, communicate in unique ways that present new and even contrary possibilities to the text they illustrate. Ultimately, Agitating Images dissects our very understanding of the production of historical knowledge. (shrink)

From Ansel Adams to Carleton Watkins, Diane Arbus to Weegee, Richard Avedon to James VanDerZee, American photographers have recorded their vast, multicultural nation in images that, for more than a hundred years, have come to define the USA. In Photography and the USA, Mick Gidley explores not only the medium of photography and the efforts to capture key events and moments through photographs, but also the many ways in which the medium has played a formative role in American culture. Photography (...) and the USA encompasses the major movements, figures and works that are crucial to understanding American photography, but also pays attention to more obscure aspects of photography’s history. Focusing on works that reveal many different facets of America, its landscapes and its people, Gidley explores the ambiguities of American history and culture. We encounter images that range from an anti-lynching demo in 1934 to Dorothea Lange’s poster “All races serve the crops in California;” an early photographic view of Niagara Falls against the painstaking detail of Edward Weston’s Pepper, No. 30; a fireman’s fight in the San Francisco earthquake of 1906 to the Ground Zero images of 2001 by Joel Meyerowitz; an 1890s “Wanted” image to Elliot Erwitt’s shot of the Nixon–Kruschchev “Kitchen Debate.” Organizing his narrative around the themes of history, technology, the document and the emblem, Mick Gidley not only presents a history of photography, but also reveals the complexities inherent in reading photographs themselves. A concise yet comprehensive overview of photography in the United States, this book is an excellent introduction to the subject for American Studies or visual arts students, or for anyone interested in US history or culture. (shrink)

In Photography and Anthropology, Christopher Pinney presents a provocative and readable account of the strikingly parallel histories of the two disciplines, as well as a polemical narrative and overview of the use of photography by anthropologists from the 1840s to the present. Walter Benjamin suggested that photography “make[s] the difference between technology and magic visible as a thoroughly historical variable,” and Pinney here explores photography as a divinatory practice that prompted anthropologists to capture the “primitive” lives of those they studied. (...) Early anthropology celebrated photography as a physical record, whose authority and permanence promised an escape from the lack of certainty in speech. But later anthropologists faulted photography for failing to capture movement and process. Anthropology as a practice of “being there” has thus found itself entwined in an intimate engagement with photography as metaphor for the collection of evidence. Through numerous examples from the annals of anthropological photography, Photography and Anthropology examines the history of anthropology’s enchantment with photography alongside the anthropological theory of photography and documentation. (shrink)

"Photography and travel go hand in hand-landmarks and scenic vistas everywhere are thronged by tourists with their eye to the view finder, trying to capture their memories on film or in megapixel. When the pioneers of photography, Henry Fox Talbot and Louise Daguerre, made their inventions public in 1839, advocates for the new technology immediately recognized photography's capability to vividly present the spectacles of the world and make famous sights accessible to those unable to experience them in person. In this (...) lively account of the partnership between photography and travel, Graham Smith explores the diverse ways mobility and cameras have been partnered from the mid-nineteenth century to today. His subjects range from seaside holidaymakers with a Kodak Brownie to American artists on the road exploring their own country and culture, to the canals of Venice and men on the moon. From France and Italy, to Egypt, Japan, and North America, we see how photography was both influenced and encouraged by new forms of transcontinental travel, including railways, cars, ships, and planes. Then as now, photographers often went to great lengths and faced considerable dangers to record exotic destinations, from the summit of the Great Pyramid of Giza to that of Mount Everest. As travel has become more democratized, the methods and experiences of it have developed in unexpected directions to create new photographic narratives. Packed with images from around the globe, Photography and Travel is the perfect book for intrepid photographers and armchair travellers alike"--Jacket. (shrink)

Goya's and Manet's painted images, and Jean Renoir's cinematic image of historical executions have the power under the ideology of the image to reveal the truth of a moment outside of historical narrative. At the same time, these images are pulled back into the narrative from which they have been removed. The works of these three artists can be used to trace changes in the relationship of the image to historical narrative and its connection to photography and cinema. Goya, working (...) in the early nineteenth century, uses the power of the scopic drive in a strategy which can be called the "witness effect." He deploys the traditional codes of post- Renaissance art in his composition, leading to a detemporalization of his image. Fifty years later, Manet's scene of execution includes an element outside the domain of codes, an element not symbolic, but indexical-the smoke coming out of the soldiers'gun barrels. The conception of the smoke as a sign of actuality is made possible by the invention of photography, which asks of the historical narrative, "Could such a fact, as it is narrated, have been photographed?" The third scene of execution, a still from a history film, is in a state of narrative nonexistence. The execution will be thwarted as the film continues. Renoir accommodates the historical imagination through allowing the image to assert both its presence and its absence. He articulates the gap between the reality and theatricality of visual representations of history. (shrink)

The aim of the study presented in this paper was to understand the lifeworlds of children who experience immigration and whose lives are marked by dramatic changes in their being-in-the-world. More specifically, the study proceeded from the question: What does it mean for an immigrant child to enter school in a new country? Two methodological questions were also explored, namely How does one conduct a phenomenological investigation of a childhood phenomenon when the researchers and the participants do not share a (...) common language? and How does one engage children in the research process so that they provide not only "thick" descriptions of their experiences using alternative, non-linguistic means, but also make meaning of these experiences? In the current study, still photography was used to help the immigrant children recall and make meaning of what they experienced on their first day of school in a new country. In the process, they were enabled to become conscious photographers who came to see the world in such a way that photographic seeing became phenomenological seeing. Two examples of the children's visual narratives in the form of fotonovelas are presented to illustrate a methodology that involves fusion of the horizons surrounding the children, captured images of situations they encountered as they entered the classroom, and how the viewer saw the created image. The expanded notion of text and the use of digital technology in developing the text opened a space not only for visual representation of the children's lived experiences, but also for phenomenological analysis of these experiences. It is suggested that, although the written and visual texts produced as a result of the study differ, they are similar in the way in which they allow for phenomenological reflection and in their ability to show the phenomenon so as to evoke the reader's "phenomenological nod". (shrink)

Abstract:Photographic representation promises the possibility of an identical reappearance, which has often been labeled as a window to the past moment, as if one were just looking through the image surface to the moment itself. But the represented past present is actually always already different in every present in which it is presented.In the story of Butades’s daughter, in which a young woman traces the shadow of her lover, who will soon march off to war, the drawing will only become (...) visible once the person throwing the shadow has left his place. Thereby, the present in which the shadow had been traced becomes the past of the presently visible, traced shadow on the wall.The same applies to photographs, as by its technical condition, a photograph appears always in the future of the recorded moment. In both, the tracing of the shadow and the recording of a photographic image, the image develops what I want to call a post-visibility in reference to the present of the traced moment.Post-visibility is what photography has in common with a constructed historical remembrance. History is written retrospectively. In the present one can only anticipate what will be considered important in future retrospection. As Emil Angehrn observes, that which becomes history is not predetermined by the past and its present-day testimonials and residues, but is ultimately entrusted to the writing of history.As a particular field of historical commemoration I compare specifically the remembrance constituted by German war memorials before WWII, when the memorialization became more anonymous, with photographic memory. The essential difference between photographs and historical remembrance is that the photograph is necessarily recorded in the moment of a present perception in expectation of an event, its course unknown on recording, while historical narratives tell the story from its end. (shrink)

Though photography reaches as far back as the sixteenth-century’s camera obscura projects, it wasn’t until the British colonial period that amateur photographers introduced their technology to the Indian subcontinent. By the end of the nineteenth century, however, India was at the center of a representational revolution. Was photography in India simply a void, waiting to be filled by pre-existing cultural and historical practice? Or was it disruptive, throwing up new opportunities, prophesying new social formations, and bringing anxieties about formerly secluded (...) events and practices into a newly visible sphere? The Coming of Photography in India transcends traditional cultural and technological narratives in order to present a subtle and compelling account of the limits, possibilities, and consequences of photography. Examining technology in order to explain the dynamic incarnation of photographic practice as cure, poison, and prophecy, Christopher Pinney presents a bold account that will reward anyone with an interest in India, photography, or the history of the book. Accompanied by beautiful illustrations and a large number of previously unpublished images, this volume presents a sophisticated account of the “disturbance” that photography has brought to all of our lives. (shrink)

Munich-based "03 Architects" have in recent years developed a distinctive way of working for urban spaces. No matter if the task is a warehouse for building materials, a kindergarden, or planning an entire new neighbourhood, "03 Architects " designs always look closely at the narrative qualities of the city. For this book the architects have invited the photographer Walter Mair for a dialogue on their work, concepts and methods. Mair documents "03 Architects " work with great sensitivity for their ideas, (...) but also for the context which the buildings reflect and enable, and thereby reaches beyond the classic architectural documentation. The architects respond to Mair s images in brief, associative texts. An introductory essay on the fundamental questions and problems of architectural photography by the renowned architectural critic and curator Hubertus Adam rounds out this book with its particular haptic and manufacturing quality. ". (shrink)

This article examines the pedagogic vision of audiovisual archives in Ici et ailleurs ( Here and Elsewhere, 1974/1978) (shot by Sonimage and drawn from the abandoned project Jusqu’à la Victoire [1970]) in terms of the stratification of images and sounds. Drawing on Gilles Deleuze and Michel Foucault, Tom Conley writes that a diagram that depends upon the division between the visible and the enunciable may be comprehended in terms of a map and as a line of forces. Such strata can (...) act as signposts for diverse and multilateral readings of film, as viewers “read” cinematic landscapes and time-images. In Ici et ailleurs, stratigraphic shots juxtapose the Western, static home life of a family in France with the nomadic life of Fedayeen troops in Jordan and Palestine. This article argues that Sonimage’s narrative specificity relies upon an “in-between” method that defines an inter-space between semantic orders. (shrink)

This study examines adults’ postings of photos of children on social media and offers a unique methodological approach to studying visual data. A major innovation of this study is first, to enact the concept and method of narrative inquiry to the digital photographs. Having applied this method, the study also offers findings about the diverse values that emerge across two specific digital parenting cultures organized via Instagram hashtags of #fashionkids and #letthekids. Values analysis of 500 photographs indicated that these hashtags (...) constitute cultures defined by distinct values of ideal childhoods. While #fashionkids photos emphasized children’s attendance to the photo making activity with stress to their possessions, #letthekids photos expressed mixed values of freedom and domestic happenings with a strong emphasis on unawareness of the photographing and togetherness. While the qualities of childhood images collected in the same period hint at meaningful patterns, the way those qualities interact with each other in distinct cultures suggest that there is not one ideal image that could represent childhood in the best possible way and the photographers’ values very much influence the visual sense-making of what’s being portrayed in children’s photographs. (shrink)

A Byzantinist specializing in the history of the Empire of Trebizond, the author presents four books of different genres written in English and devoted to the medieval state on the south coast of the Black Sea. The most spectacular of them is a novel by Rose Macaulay, Towers of Trebizond. Dąbrowska wonders whether it is adequate to the Trebizondian past or whether it is a projection of the writer. She compares Macaulay’s novel with William Butler Yeats’s poems on Byzantium which (...) excited the imagination of readers but were not meant to draw their attention to the Byzantine past. This is, obviously, the privilege of literature. As a historian, Dąbrowska juxtaposes Macaulay’s narration with the historical novel by Nicolas J. Holmes, the travelogue written by Michael Pereira and the reports of the last British Consul in Trabzon, Vorley Harris. The author of the article draws the reader’s attention to the history of a rather unknown and exotic region. The Empire of Trebizond ceased to exist in 1461, conquered by Mehmed II. At the same time the Sultan’s army attacked Wallachia and got a bitter lesson from its ruler Vlad Dracula. But this Romanian hero is remembered not because of his prowess on the battlefield but due to his cruelty which dominated literary fiction and separated historical facts from narrative reality. The contemporary reader is impressed by the image of a dreadful vampire, Dracula. The same goes for Byzantium perceived through the magic stanzas by Yeats, who never visited Istanbul. Rose Macaulay went to Trabzon but her vision of Trebizond is very close to Yeats’s images of Byzantium. In her story imagination is stronger than historical reality and it is imagination that seduces the reader. (shrink)

This participatory study, conducted in an introductory psychology class, recounts self-reflections of 22 undergraduate students and their instructor engaging in an GenAI-mediated storyboard generation process. It relies on Gordon Pask’s conversation theory, structuring out the nature of interactions between students, instructor, and GenAI, and then uses a qualitative narrative to describe these conversational feedback loops constituting the creation of draft and final storyboards. Results suggest students engaged in cyclical feedback driven processes to master their creations, used elements of photography related (...) to the relationships between objects in frame, image processing, and cultural objects/themes to generate narratives. Issues were faced with generating text on images, and the consistency and style of generated frames as they interacted with GenAI tools. This study provides guidelines to university teaching professionals to design effective activities mediated by text-to-image GenAI. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and C), 2008 Diasec print, (...) 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

Resumen: Este trabajo muestra que el discurso fotográfico está en estrecha conexión con la historia e ideología jurídicas. Las cuestiones que atañen a qué es una imagen, la relación entre imagen fotográfica, verdad y objetividad, o el poder de construcción narrativa de la imagen atañen directamente al concepto de Derecho. Como una fotografía, el Derecho moderno nació con el mismo afán de verdad y fe absoluta en la ciencia. Bajo el velo de la neutralidad y objetividad, buscaba la seguridad y (...) control de las relaciones humanas, con la misma aspiración de poseer, cosificar y comercializar la naturaleza y lo humano. Como sucede con las primeras fotografías, el Estado y el Derecho modernos consiguieron acercarse supuestamente a la verdad al fundarse en lo empírico y también en lo espiritual, si bien una vez asentado el discurso narrativo burgués, con promesa de duración y permanencia, se olvidó el fundamento moral. Sin embargo, la otra faceta de la fotografía es subjetiva y creativa, y también lo es la del Derecho. Por eso, el Derecho no puede ser neutral. Muestra y genera un determinado discurso ideológico verosímil acerca de la forma de organización justa. Hablar del poder narrativo del Derecho, pone de manifiesto la capacidad jurídica de inventar la Justicia y, por tanto, sus peligros ideológicos y sus posibilidades emancipadoras. Abstract: This work shows that the photographic discourse is in close connection with the legal history and ideology. Questions that concern on what an image is, the relationship between photographic image, truth and objectivity, or the power of narrative construction of the image directly concern the concept of Law. Like a photograph, the Modern Law was born with the same zeal for truth and absolute faith in science. Under the veil of neutrality and objectivity, he sought the security and control of human relationships, with the same aspiration to possess, reify and commercialize Nature and Humanity. As it happens with the first photographs, the Modern State and Law managed to approach the truth by basing themselves on the empirical facts as well as on the spiritual ideas, although once the bourgeois narrative discourse was established, with promise of duration and permanence, the moral foundation was forgotten. However, the other facet of photography is subjective and creative, and so is that of Law. Therefore, the Law cannot be neutral. It shows and generates a certain credible ideological discourse about the form of just organization. Speaking of the narrative power of Law shows the legal capacity to invent Justice and, therefore, its ideological dangers and its emancipatory possibilities. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

This article takes as its focus the concept of the ‘afterimage’ and its relationship to memory, the synaesthetic experience of perception and the multisensory turn within the study of photographic images. Afterimages have consistently been described as phenomena of visual persistence where, optically, a recorded moment of the past leaks into the present and remains visible before us on our retinas. By recasting this originary understanding of an afterimage as simply a ghostly, optical occurrence and insisting that the phenomenon exceeds (...) the visual and is rather an intersensorial occurrence, I seek to present how encounters with images stay with us in powerful ways and across many senses at once. As an intervention within the field of image theory and photography studies that builds upon the relatively recent turn away from prioritizing visuality and instead shifting towards multisensoriality – what we might also term as the ‘more-than visual’ – this piece proposes that if images exceed the visual and carry with them physical, haptic, sonic and affective qualities, then perhaps the afterimage is not something that we merely see but also what we can feel and hear and move-with. Perhaps the afterimage carries an intensity and an afterlife which lingers in our minds and can take hold of our entire body and our senses, composing and recomposing them over time. By pairing such inquiries alongside the narrative, literary and poetic works of Dionne Brand and Nathaniel Mackey – both of whom write of the intersensorial quality of photographs and afterimages with a particular kind of lively openness – I am hoping to intervene into the ongoing ‘more-than visual’ turn within the field of image theory by infusing it with a narrative-oriented synaesthetic vocabulary. (shrink)

If narrating—the feeling of stories, fictional or otherwise—is an inherent possibility of motion pictures , then Kracauer's distinction between the realist and formative tendencies must be questioned and, in effect, the two must be synthesized. Wasn't the practical problem for the earliest films how to construct a formative sequence of events within an absolutely real-looking visual context? Wasn't the paradox of film narrative the combination of an obviously unreal sequence of events with an obviously real visual and social setting? And (...) isn't that paradox the most intriguing and complex problem of narrative film today, when the visual and social setting have become increasingly real-seeming? And doesn't this paradox have something to do with the fact that narrative film today seems richer and more important than it did a decade ago, at a time when various admirers of both cinéma vérité and cinéma pur had announced the death of fictional filmed narrative? Kracauer's realist aesthetic, concentrating exclusively on the photographic surfaces of things in the material world , overlooks this paradox altogether. It overlooks the fact—extremely relevant to the cinema—that the term "realist" means one thing in its common application to a painting or photograph and quite another thing in its equally common application to a novel or play. A realistic visual image is one that is said to "look like," "resemble," "reproduce," "iconically represent" the surfaces of the visual world. We see—or think we see—in a painting what we see—or think we see—in the real world.1 But a realistic story is one that is said to chronicle "credibly," "probably," and "believably" the way we think people feel, think, or act, the way things happen, and the reasons they happen, all of which are consistent with the reader-audience-society's beliefs about psychology, motivation, and probability. The standard of one sense of realism is primarily visual while the standard of the other is primarily psychological. One might see the early films groping, then, toward a synthesis of the visual realism of late-nineteenth-century painting/photography with the psychological realism of late-nineteenth-century novel/drama. · 1. This equivocation deliberately avoids the question of whether there is anything actually real about what one sees in a painting or photograph. The fact is that a very large number of viewers operate in this assumption because they think there is something real about what they see, despite the theoretical imprecision of their holding such a belief. Gerald Mast is the author of, among other works, A Short History of the Movies, The Comic Mind: Comedy and the Movies, and Film/Cinema/Movie: A Theory of Experience. His previous contribution to Critical Inquiry, "What Isn't Cinema?," appeared in the Winter 1974 issue. (shrink)

Since the early 1990s, high-resolution satellite imagery and imagery data, made by a vast system of architectures that were formally developed and monopolized by the U.S. military—industrial command economy, have become more widely available to the civilian public through a combination of declassified data sets, commercial satellite operators and imagery vendors, and value-added resellers of imagery data. In the various discourses surrounding imagery and the systems that collect, interpret, and construct them, this wider availability is associated with an increasing ‘‘global (...) transparency.’’ This article suggests that, specific to fields like nuclear non-proliferation, these techno-discursive discourses have a common narrative theme associated with mechanically augmented visual systems, that of the transparent window on the world. First, the author considers an epistemological problem of satellite imagery that has been contemplated for both the map and the photographic image, which is, does the image/map constitute a window or a text? Next, through a historical comparison between map making, photography, and satellite imagery interpretation, the author briefly explores different articulations of transparency, with a contemporary focus on the use of satellite imagery in the discourses surrounding nuclear non-proliferation. Finally, the author suggests that the discourses of satellite imagery, which include practices and what these practices are imagined to produce, are a crucial site where sociotechnical articulations of a modernist, positivist, or realist narrative are played out. These narratives account for the relation between subjective experience and the external ‘‘real’’ world and are associated with various and often contradictory concepts of transparency. (shrink)

The twentieth century began with the deconstruction of the image, as it is ending with the effort to restore it. Cubism, dada, and abstract expressionism took apart what, in their various ways, pop art, magic realism, and neoexpressionism have tried to put back together. Tonality in music and narrative in literature have undergone similar change.1 What has been at stake in each case has been the redefinition of a center, a normative or ordering principle as such. Yeats intuited this general (...) phenomenon in his famous observation that “the center cannot hold,” and though whether one applauds or, with Yeats, condemns the result, it is undeniable that the crisis of contemporary culture has been in large part experienced as a deprivation of norms.This sense of deprivation has been most apparent in the plastic arts. The fashioning of images has been one of the primary impulses of human art. It has been the basis of most systems of visual representation and constitutes the earliest record we have off art itself. Its loss or abandonment has been in good part responsible for the bewilderment and hostility much of the general public continues to express toward modern art.The experience of this loss, however, has not been confined to the public alone. For many artists, the sense of modern art’s expressive potential has been tempered by an anxiety about its ultimate direction.2 For these artists, the image had not been transcended but rather rendered inaccessible, and implicitly or explicitly they sought its restoration. At the same time, they were keenly aware that there could be no return to exhausted modes of representation, no looking back except as parody or quotation.3 1. Among the studies comparing changes across the arts in the early twentieth century are Georges Edouard Lemaître, From Cubism to Surrealism in French Literature , and Bram Dijkstra, The Hieroglyphics of a New Speech: Cubism, Stieglitz, and the Early Poetry of William Carlos Williams . More recently, visualization in cubist art and relativity theory has been compared in Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art . For a general overview, see Stephen Kern, The Culture of Time and Space, 1880-1918 . Marxist critics, notably Walter Benjamin, have long insisted on the relationship between modernism in the arts and the crisis of the traditional order.2. This is clearly visible in the work and writing of pioneers such as Kandinsky and Klee or, to take a later case, Adolph Gottlieb. The correspondence between Kandinsky and Schönberg is illuminating as well.3. Much of the neoimagistic art of the past twenty-five years falls into these categories, and thus signals a prolongation rather than a resolution of the crisis. Pop art was clearly an art of parody, while work of an artist such as Malcolm Morley might almost be taken as an illustration of Benjamin’s thesis about the work of art in an age of mechanical reproduction. His “imitations,” like those of Robert Lowell in verse, betray a deep anxiety about mastery and tradition. Much the same can be said for such musical compositions as Lukas Foss’ “Baroque Variations” and “Phorion” or Luciano Berio’s “Sinfonia,” to name but a random few among many. Robert Zaller is professor of history and head of the department of history and politics at Drexel University. He was formerly on the faculties of Queens College , the University of California at Santa Barbara, and the University of Miami. His books include The Parliament of 1621: A Study in Constitutional Conflict and The Cliffs of Solitude: A Reading of Robinson Jeffers. (shrink)

In 1943 Dr J.C.B. Grant, of the University of Toronto, published the first anatomical atlas ever fully produced in North America, An Atlas of Anatomy. Within the history of biomedical teaching, the publication of this textbook is remarkable for at least two reasons, both connected to the themes of animation and automation. The visual narrative of the anatomical body found in Grant’s Atlas encapsulated a paradigmatic shift in gross anatomy from a systemic approach (dividing the body into its systems) to (...) a regional anatomy (dividing the body into areas containing interlocking systems). The contextually contingent reasons for this shift in medical training are represented in the production of this textbook. What is crucial is that anatomy is thus conceived as directly applicable to surgical practice, which intervenes on the bodies of the living, rather than the dead. The second important dimension of Grant’s Atlas was his rigorous, yet invisible, incorporation of photography into the practice of medical illustration. Grant’s Atlas systematically deployed hand-drawn tracings of photographic images in the production of his bestselling textbook to affirm an indexical connection to a ‘real body’. At the same time, this use of photography is erased within the visuals, which rely instead on hand-drawn illustrations (line-drawings and carbon-dusting) to produce this particular pedagogy of the anatomical body. The production of ‘textbook anatomy’ is thus articulated to changes in technical modes of representation (photography) and to the new techniques in print-technologies from the late 19th until the mid 20th century. (shrink)

This text analyses how generative AI systems are being employed in current artistic practice to question certain historical visual narratives, creating representations that challenge some conventional perceptions of the past and thus opening up new perspectives on the experience of temporality. In this regard, special emphasis will be placed on some artistic projects based on generative historical photography practices. These are works that develop new ways around ‘archival aesthetics’ (Sekula in October 39:3–64 1986; Buchloh in Deep storage. collecting, storing and (...) archiving in art [Exhibition catalog]. P.S.1, Nueva York, 1999; Guasch in Arte y archivo, 1920-2010. Genealogías, tipologías y discontinuidades. Akal, Madrid, 2015, etc.) by producing visual archives that do not exist or are alternatives to others. We will therefore analyse works that critically examine how these generative systems can contribute to a revision and re-evaluation of the past, as well as to the problematisation of the ways in which photography has been used for the historical record. These poetics invite subtle reflections on the role of the visual archive in the processes of shaping subjectivity and personal and communal identity. In the final part of the text, we will deal with the study of some artists who, through appropriationist strategies and remakes assisted by generative AI models, revise artistic works from the past, specifically from the photoconceptualism of the 1970s. In these strategies, the thematisation of the relations between photographic register and temporality also plays a leading role. (shrink)

Roland Barthes, the French critic and semiotician, was one of the most important critics and essayists of this century. His work continues to influence contemporary literary theory and cultural studies. Image-Music-Text collects Barthes's best writings on photography and the cinema, as well as fascinating articles on the relationship between images and sound. Two of Barthes's most important essays, "Introduction to the Structural Analysis of Narrative" and "The Death of the Author" are also included in this fine anthology, an excellent introduction (...) to his thought. These essays, as selected and translated by Stephen Heath, are among the finest writings Barthes ever published on film and photography, and on the phenomena of sound and image. The classic pieces "Introduction to the Structural Analysis of Narrative" and "The Death of the Author" are also included. (shrink)

Tarot cards are one means to unlocking an image. In this article, the image is that of the Albanian writer and political dissident Musine Kokalari at her 1946 trial. Her photograph features in Albanian discourses about its communist past. I argue that the image provides clues as to the manner in which the country has faced up to its own history. For what is certain is that the Albanian account of the Enver Hoxha dictatorship remains incomplete. Drawing on Walter Benjamin’s (...) notion of ‘here-and-now in a flash’, and Roland Barthes’ and Italo Calvino’s reflections on photography and the power of the visual, we can identify at least two distinct memory regimes in the relevant historical, legal and political narratives. (shrink)

In this article we outline two different ways of ‘seeing’ autonomous driving (AD) cars. The first corresponds with the technological innovation narrative, published in online industry, policy, business and other news contexts, that pitches AD cars as the solution to societal problems, and urges users to trust and accept them so that such benefits can be accrued. The second is a narrative of everyday improvisation, which was visualized through our video ethnography and participant mapping exercises. Our research, undertaken in Sweden, (...) involved possible future everyday users of AD cars. We argue for a research and intervention agenda that examines how the visual narration of how AD cars might participate in human futures, could be shifted to create new modes of trust and reassurance for publics. (shrink)

*******Résume en français plus bas****** Karl Kraus’s favourable and conceptually complex comments of the portrait drawings byOskar Kokoschka in 1910 put us on the trail of a host of different phenomena of pictorial representation. Based on close-readings of several aphorisms by Kraus and drawings by Kokoschka, I suggest that there is something like realistic distortion and that the traditional concepts of style cannot account for all essential stylistic variations that are important in pictures. I argue that we need to introduce (...) the concept of subject specific style. This must be distinguished from other concepts such as signature style. I try to show how these conceptual distinctions are connected to the difference in representational range displayed by media that are based on traces, like photography, and by media based on testimony, like drawing or writing. *********** Résumé En 1910, Oskar Kokoschka produit une série de dessins pour la revue expressionniste berlinoise Der Sturm. L’un des portraits représente le satiriste Karl Kraus, un autre l’architecte Adolf Loos. Au même moment, Kraus fait paraître une série d’aphorismes qui commentent le travail de Kokoschka. Kraus part du travail de Kokoschka pour arriver à des principes généraux sur la représentation picturale. Une analyse des réflexions de l’écrivain et des deux dessins faits par Kokoschka nous permet non seulement de mieux comprendre comment un dessin peut saisir le caractère d’un modèle au-delà du physique, mais aussi de forger des concepts pour enrichir les notions de style traditionnelles. Nous soutenons dans notre article qu’il faut introduire l’idée d’un style à l’oeuvre pour compléter les notions de style habituelles.Le style à l’oeuvre peut être spécifique au sujet traité. Nous montrons en particulier comment le dessin permet des distorsions réalistes, difficiles à obtenir dans des médias basés sur la trace comme la photographie. (shrink)

Cet article analyse le rôle des vêtements dans la métamorphose d’esclaves afro-américains en soldats de l’Union pendant la Guerre civile (1861-1865). Il explore la manière et la raison pour laquelle les uniformes militaires portent un tel poids narratif dans les portraits de ces hommes. Les textes, images, objets, gravures et photographies sont étudiés dans le contexte de la perception du corps au xixe siècle et des nouvelles théories de l’anthropologie physique et de la phrénologie. L’article souligne le rôle de ces (...) images dans la construction d’un discours cohérent sur la rédemption de l’esclavage et d’une catégorie « homme » plus inclusive, plus universelle, fondée sur le service militaire. (shrink)

Este artigo objetiva a inserção crítica na prática poética da artista contemporânea francesa Sophie Calle, proeminente em uma trajetória que perpassa diversos gêneros artísticos como artes visuais e literatura compreendidos em uma variedade de suportes como fotografia, publicação em livro, instalação, performance. Analisa procedimentos de criação em que estão articuladas imagem fotográfica e verbal em relação a narrativas pessoais. Aporta questões provenientes da inter-relação entre os campos do real e do ficcional, entre visibilidade e vazio, entre deslocamento e perseguição, entre (...) memória e fio. Esse trabalho se estabelece na análise ensaística de suas obras e escritos em articulação com bibliografia pertinente do campo artístico, crítico, filosófico e antropológico, como também, investiga suas estratégias de criação através de novos desdobramentos conceituais e teóricos.Palavras-chave: Imagem. Fotografia. Escrita. Deslocamento. Fio. AbstractThis article aims the critical insertion in the poetic practice of the French contemporary artist Sophie Calle, prominent in a trajectory that crosses several artistic genres such as Visual Arts and Literature comprised in a variety of supports such as photography, book publishing, installation and performance. It analyzes her creation procedures in which photographic and verbal images are articulated in relation to personal narratives. It raises questions from the interrelationship between the fields of the real and the fictional, between visibility and void, between displacement and shadowing, between memory and thread. This work is established in the essay analysis of her works and writings in conjunction with pertinent bibliography from the artistic, critical, philosophical and anthropological fields, as well as it aims to investigating her creative strategies through new conceptual and theoretical developments.Keywords: Image. Photography. Writing. Displacement. Thread. (shrink)

In examining the visual culture of Victorian London during the years 1855–1870, Lynda Nead in her book Victorian Babylon explores the difficult and restless narrative of modernization that any of us who have read D. G. Rossetti's “The Burden of Nineveh” will recognize as crucial to the Victorian imagination. As Nead promptly establishes, Babylon for the Victorians was a trope evoking gain and loss, triumph and hubris, future and past ruination. Taking this ancient city as her titular image, then, Nead (...) aims to rearticulate urbanism and modernity, indeed challenging us to reconceive what we mean by “modernity.” Positioning her own arguments against the influential architectonics of Marshall Berman's All That Is Solid Melts into Air and favoring instead the writings of Michel Foucault, Walter Benjamin, and Michel de Certeau, Nead recasts modernity as an “untidy experience,” a “constant struggle with history” . Near her book's end, Nead provocatively claims: “Ruin is the resolution of the contradictory impulses of modernity” .Victorian Babylon explores the spaces of mid‐Victorian London and, more important, the experience of inhabiting those very spaces. This textual tour is divided tidily into three sections: a first on mapping and water, a second devoted to gas and light, and a third on obscenity, which Nead calls “improvement's other” . As Nead herself claims about the metropolitan travel literature she examines, her book speaks well to the eye. Victorian Babylon is a vicarious tour of London thanks to Nead's deft and abundant use of fresh images, which she has culled assiduously from private collections, archives, and especially illustrated nineteenth‐century periodicals. Her study thus takes us to fascinating places: readers travel along with John Hollingshead on his journey down to London's sewers; we are invited into Joseph Paxton's dreamscape of the Great Victorian Way; and we play for a night at Cremorne Pleasure Gardens, witnessing Madame Poitevin's balloon ride. We hesitantly enter the haunted and obscene Holywell Street.The catalogic abundance of Victorian Babylon works both to Nead's advantage and disadvantage. Surely the sheer range of Nead's material proves her points about the frenzy and incomprehensibility of modernity and the promiscuity of Victorian commercial culture. But invariably the variety of topics results in too much cursory analysis—a paragraph on photography followed by a paragraph on the International Health Exhibition; brief excursions into the realms of advertising, illustrated sheet music, and music halls. Subsequently, a reader might grow eager instead for book‐length studies of these issues. Yet the most egregious omission of an adequate treatment is the two‐page cursory overview of the picturesque. Here, Nead misses an opportunity to offer a more extended, theoretical treatment of the “metropolitan picturesque” and how this aesthetic category relates—or not—to the other psycho‐aesthetic touchstones for her work, which are the sublime and the urban uncanny. One might also rue the absence of an extended treatment of the relic versus the ruin at the book's close.The analysis of the book does grow stronger as it unfolds. The Cremorne Gardens in the second section make for interesting reading, and Nead is best at discussing London at night, the uncanny, and what she calls a poetics of gas. The final section on obscenity is most promising, for here the Babylonic polyphony of Victorian London—what Nead calls the twin mission, to build and destroy—hits the reader with full force. One might wish that Nead had spent a bit more time on obscenity before extending her treatment to the more symbolic, architectural expression of obscenity‐cum‐obsolescence, the Temple Bar. However, the fate of the Temple Bar is nicely evocative of the ruin and, thus, takes the reader full circle back to the ambiguities of modernity. (shrink)

As narrativas sobre mulheres, mesmo dentro dos estudos feministas, podem ser entendidas como normativas e colonizadoras, especialmente quando se dão a partir de um olhar ocidental sobre as mulheres do terceiro mundo. A partir da análise do pensamento da autora indiana Chandra Talpade Mohanty, este artigo busca relacionar seu discurso com exemplos de mulheres fotógrafas que buscaram desconstruir essa estrutura hierárquica do olhar, como Claudia Andujar, Graciela Iturbide, Nair Benedicto e Susan Meiselas, além das reflexões da artista interdisciplinar Grada Kilomba, (...) em diálogo com outros autores do campo da imagem. A fotografia pode ser considerada, assim, uma ferramenta de escrita de novas narrativas de resistência.Palavras-chave: Feminismo. Fotografia. Mulheres fotógrafas. AbstractNarratives about women, even within feminist studies, can be understood as normative and colonizing, especially when they are done from a western perspective on third world women. Based on the analysis of the thought of Indian author Chandra Talpade Mohanty, this article seeks to relate her discourse to examples of female photographers who sought to deconstruct this hierarchical structure of the gaze, such as Claudia Andujar, Graciela Iturbide, Nair Benedicto and Susan Meiselas, in addition to the reflections of the interdisciplinary artist Grada Kilomba, in dialogue with other authors in the field of image. Photography can thus be considered a tool for writing new narratives of resistance.Keywords: Feminism. Photography. Women photographers. (shrink)

The Spoken Image considers the nature of photography, examining the language used in titles, captions and commentaries, particularly as they relate to documentary photography, photojournalism and fashion photography.

Alinder provides calibrated readings of the photographs from this period, including works by Dorothea Lange, Ansel Adams, Manzanar camp inmate Toyo Miyatake (who constructed his own camera to document the complicated realities of camp life) ...

This article examines the way in which selfhood is constructed in direct-to-consumer advertisements for antidepressant medications. The sample consists of advertisements that appeared in nine popular magazines between 1997 and 2005, television commercials that ran between 2003 and 2005, and online promotional Web sites. The analysis is divided into three sections. First, it is argued that the ads rely on metaphors of communication, information exchange, and plenitude to construct a relationship between biology and selfhood. Second, in offering the choice for (...) antidepressant treatment, the ads grant individuals a new capacity for the exercise of personal agency. Third, the author describes antidepressants as pills that perform a narrative “magic.” In contrast to religious and psychoanalytic narratives that required individuals to incorporate disavowed elements of their selves into an ongoing life narrative, antidepressants are medications that allow individuals to put aside, or jump over, inexplicable and painful moments in their life. (shrink)

Since 2015, the ‘refugee crisis’ is possibly the most photographed humanitarian crisis in history. Photographs taken, for instance, in Lesvos, Greece, and Bodrum, Turkey, were instrumental in generating waves of public support for, and populist opposition to “welcoming refugees” in Europe. But photographs do not circulate in a vacuum; this book explores the visual economy of the ‘refugee crisis,’ showing how the reproduction of images is structured by, and secures hierarchies of gender, sexuality, and ‘race,’ essential to the functioning of (...) bordered nation-states. Taking photography not only as the object of research, but innovating the method of photographìa— the material trace of writing/grafì with light/phos—this book urges us to view images and their reproduction critically. Part theoretical text, part visual essay, "Reproducing Refugees" vividly shows how institutional violence underpins both the spectacularity and the banality of ‘crisis.’ This book goes about synthesising visual studies with queer, feminist, postcolonial, post-structuralist, and post-Marxist theories. "Reproducing Refugees: Photographìa of a Crisis" offers theoretical frameworks and methodological tools to critically analyse representations, both those circulated through hegemonic institutions, and those generated from ‘below’. It carves a space between logos and praxis, ways of knowing and ways of doing, by offering a new visual language that problematises reified categories such as that of the ‘refugee’ and makes possible disruptive, alternative, resistant perceptions. The book contributes to the fields of migration and border studies, critically engaging visual narratives drawn from migration movements to question dominant categories and frameworks, from a decolonial, no-borders, queer feminist perspective. (shrink)

Walter Benjamin’s work stands out because of the different topics he collects and presents as pieces of a puzzle that cannot always reach the same image. This paper collects his approach to photography in an effort to show the relation between this topic and his concept of history. In other words, we are regarding the space of photography as a source able to unbend –according to Benjamin’s dialectics– new forms of telling, perceiving and studying history. For this purpose, three key (...) moments are proposed: First, the achievement of a method that, through a narrative instrument, privileges the concept glance for its development; second, the presentation of the topic photography and its characterization in Benjamins’s thinking, and finally, the exposition of the relation between photography and history, in an attempt to point out the possibilities of the photographic glance to provide images with historical sense. (shrink)

While law and justice issues are well represented in the vast and diverse world of Japanese Manga, the medium’s predilection for fantasy tends to produce futuristic or overblown fiction far removed from everyday life. Fantastic treatments may also reflect relatively low awareness of legal matters in a society of low crime and litigation. One law and order institution that most people are familiar with, however, is the network of community police boxes that covers Japan, and this has spawned a gag-ridden (...) yet somewhat more realistic genre of justice-related comics. This article focuses on Ishikawa Chika’s KOBAN, whose humour revolves around the contrasting personalities and petty squabbles of two cops in their dealings with mundane police work. The characters, plots and conversations are visually supported by juxtaposing the weaponry and equipment of law enforcement with childlike facial features and cute mascots, thereby constructing the police box as a halfway house between local neighbourliness and state bureaucracy. (shrink)

Photography in Colorado was encouraged as early as 1861, when newspaper editor William Byers wrote in the Rocky Mountain News, "Secure the shadow, ere the substance perish," and roused the citizenry to take photographs of their families, friends, landscape, homes, and mills in order to document their lives and share them with others. The revised edition of Colorado: A History in Photographs draws on this rich legacy, portraying Colorado's history in images taken from the frontier era to the present, all (...) accompanied by a vivid, updated narrative. Presenting a broad view of countless aspects of life in Colorado and including 270 black-and-white photographs, this book will inform, entertain, and inspire all those who delight in learning more about the history of the Centennial State. (shrink)

This paper takes as its point of departure Roland Barthes’s proposition in La Chambre claire that the nineteenth century “invented History and Photography,” that the era of photography is one of revolutions, and that the photograph’s “testimony” has diminished our capacity to think in terms of “duration.” Barthes also asserts that the French photographer Nadar is “the greatest photographer in the world,” but takes no account of Nadar’s acute receptivity to the history of the nineteenth century. The paper argues that, (...) though he fully recognized the unique properties of the new medium, Nadar himself was overridingly preoccupied with assessing photography’s role in a period when war and revolution were compromising the onward march of social and economic progress. Throughout his life, he was committed to the progressive ideas that he assimilated while growing up in Paris and Lyon in the 1830s. He wrote of the emergence of a Bohemian culture in the Latin Quarter of Paris, and remained keenly aware of the visual impressions that he had received in his youth from the popular lithographs of the pre-photographic era. He became a supporter of the artistic avant-garde, which led him to purchase important work by the landscape painter Daubigny. In his art criticism, he excoriated the later portraits of Ingres, which might have competed with his own reputation as a photographic portraitist. Yet, in his admiration for Delacroix, he emphasized the lengthy initiation necessary for the appreciation of the master’s paintings, implying a direct contrast with the “instantaneity” of the photographic process. By common consent, the period of Nadar’s great success as a portraitist, which secured his posthumous fame, occupied a short phase in his career as a whole. But his writings show that it was his lively intuition of the wider ramifications of photography that impelled him to move on—experimenting successfully with the first aerial photographs and documenting the catacombs of Paris with the aid of magnesium lighting. Though he could never experience television, he left a narrative in which the feasibility of transmitting images over a distance was presented as being startlingly realistic. In short, Nadar’s published work can be viewed as a sustained meditation on the interaction of historical experience and the media, which not only records but anticipates photography’s impact within the wider framework of visual culture. (shrink)

Popular Indian cinema provides a test case for examining the limitations of Gilles Deleuze's categories of movement-image and time-image. Due to the context-specific aesthetic and cultural traditions that inform popular Indian cinema, although it appears at times to be both movement- and time-image, it actually creates a different type of image. Analysis of Toofani Tarzan (1936) and Dilwale Dulhania Le Jayenge (1995) demonstrates how, alternating between a movement of world typical of the time-image, and a sensory-motor movement of character typical (...) of the movement-image, popular Indian cinema explores the potential fluxing of identities that emerge during moments of historical complexity. (shrink)

Ever since we first came across it, art has allowed us to see a sight enriched with the impression of entering a territory of our own. From its very beginning, art is the visible expression of the passages between images, the making visible of its own laws, its analogies and affinities. Walter Benjamin already shed light on the “auratic” value of such transformations, and while he is known for stating that photography causes a degradation of the aura, it is no (...) less true, though less known, that that loss is redeemed by the aura photography carries in itself. Image’s secret, its potency and splendour, lies precisely in that distance between image and thing, between word and thing. In photography – as a medium inheriting water’s and mirror’s powers of reflection – the leaning over one’s own reflection is ‘magically’ reinstated. (shrink)

The Italian philosopher Giorgio Agamben has always been an original reader of texts, understanding their many rich and multiple historical, aesthetic, and political meanings and effects. In Profanations, Agamben has assembled for the first time some of his most pivotal essays on photography, the novel, and film. A meditation on memory and oblivion, on what is lost and what remains, Profanations proves yet again that Agamben is one of the most provocative writers of our time. In ten essays, Agamben ponders (...) a series of literary and philosophical problems: the relation among genius, ego, and theories of subjectivity; the problem of messianic time as explicated in both images and lived experience; parody as a literary paradigm; and the potential of magic to provide an ethical canon. The range of topics and themes addressed here attest to the creativity of Agamben's singular mode of thought and his persistent concern with the act of witnessing, sometimes futile, sometimes earth-shattering: the talking cricket in Pinocchio; "helpers" in Kafka's novels; pictorial representations of the Last Judgment, of anonymous female faces, and of "Rosebud," the infamous object of obsession in Citizen Kane. "In Praise of Profanity," the central essay of this small but dense book, confronts the question of profanity as the crucial political task of the moment. An act of resistance to every form of separation, the concept of profanation reorients perceptions of how power, consumption, and use interweave to produce an urgent political modality and desire: to profane the unprofanable. Agamben not only provides a new and potent theoretical model but describes it with a writerly style that itself forges inescapable links among literature, politics, and philosophy.Giorgio Agamben is Professor of Aesthetics at the University of Venice. His many publications include Homo Sacer: Sovereign Power and Bare Life, Remnants of Auschwitz: The Witness and the Archive, The Coming Community, and State of Exception. (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)

Late nineteenth-century German anthropology had to compete for intellectual legitimacy with the established academic humanities (Geisteswissenschaften), above all history. Whereas humanists interpreted literary documents to create narratives about great civilizations, anthropologists represented and viewed objects, such as skulls or artifacts, to create what they regarded as natural scientific knowledge about so-called 'natural peoples'-colonized societies of Africa, the Pacific, and the Americas. Anthropologists thus invoked a venerable tradition that presented looking at objects as a more certain source of knowledge than reading (...) texts. Visual representations, especially of the colonized, not only allowed anthropologists allegedly objective insight into humanity but also put them in direct contact with popular audiences of ethnographic spectacles, exotic photography, and even pornographic images. Anthropologists thus sought to create a peculiar kind of anthropological vision that both differentiated them from humanists as 'objective' natural scientists but also distinguished them from the leering 'Schaulust' that they believed characterized popular consumption of exotic images. To do so they invented technologies of visual representation that eschewed the subject position figured by linear perspective. These novel optics dispensed with the leering subject posited by popular spectacles and the knowing subject posited by humanism and created an anti-humanist form of knowledge. (shrink)

Working in Germany between the two world wars, John Heartfield developed an innovative method of appropriating and reusing photographs to powerful political effect. As a pioneer of modern photomontage, he sliced up mass media photos with his iconic scissors and then reassembled the fragments into compositions that utterly transformed the meaning of the originals. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of a brilliant, radical artist whose desire to (...) disclose the truth obscured by the mainstream press and imperial propaganda made him a de facto prosecutor of Germany’s visual culture. Zervigón charts the evolution of Heartfield’s photomontage from an act of antiwar resistance into a formalized and widely disseminated political art in the Weimar Republic. Appearing on everything from campaign posters to book covers, the photomonteur’s notorious pictures challenged well-worn assumption and correspondingly walked a dangerous tightrope over the political, social, and cultural cauldron that was interwar Germany. Zervigón explains how Heartfield’s engagement with montage arose from a broadly-shared dissatisfaction with photography’s capacity to represent the modern world. The result was likely the most important combination of avant-garde art and politics in the twentieth century. A rare look at Heartfield’s early and middle years as an artist and designer, this book provides a new understanding of photography’s role at this critical juncture in history. (shrink)

Spanning some twenty-five years of work, an intriguing study of the photography of Charles Lutwidge Dogson presents a rich array of more than 450 images that capture diverse facets of Victorian society, his relationship with the children he photographed, portraits of famous personalities of the time, narrative tableaux, and bizarre studies of anatomical skeletons.