In A Photographer’s Guide to Ohio Ian Adams, Ohio’s leading landscape photographer, guides readers to some of the most photogenic sites in the Buckeye State. Natural beauty and historic architecture are prime subjects for photographers, and in a state that boasts 3,600 buildings on the National Register of Historic Places and is home to the world’s largest Amish communities, the photographic subjects seem endless. With nearly one hundred color photographs, Adams demonstrates through his own work how to capture the beauty (...) of the seasons when photographing Ohio’s covered bridges, numerous public gardens, state parks, and nature preserves. Each entry includes clear directions, related websites, and historical facts about the area, as well as Adams’s suggestions for capturing the best image. Both amateur and experienced photographers will find expert guidance in Adams’s clear instructions on digital photography and will be inspired to create their own stunning close-ups and scenic panoramas. (shrink)

In analysing Lester Beall's posters for the U.S. government between 1937-1941, Michael Golec demonstrates the twofold character of facts in art and design appearing even when they are applied to guarantee distinct messages. Commissioned by the governmental agencies to develop a series of posters to increase the electrification of rural farms, Beall introduces pictograms in his first series to represent electrification as “facts of the future.” Its simple forms facilitate the travelling of this facts without loss of their integrity. The (...) same holds true for the use of photographic images for the second campaign of 1939. Following the revaluation of photography as a means for the documentation of social reality, as represented by the FSA photographers under the guidance of Roy Stryker, the medium served here as the authentication of facts. Golec holds, that Beall by reducing the complexity of the photographic images, to create a pictorial integrity of his posters, even despite of the use of a seemingly documentary medium, reinforces the ambivalent factual character of the pictures. So, paradoxically by heightening the communicative character of the design and hence stressing the idea of facts as integral realities outside of artworks, Beall's posters reveal the ambiguous character of pictorial facts creating their own specific qualities. Golec concludes, that facts in works of art and design have a twofold character resulting from their belonging to different spaces, which although meant to accomplish and address different facts, inevitably travel, overlap and bleed into each other. Thus oddly these facts refer or represent reality and simultaneously are a thing made (factum) that present and hold their own pictorial reality. (shrink)

Violations of ethical conductThis article is about torture, power and the breach of ethical conduct among military doctors, nurses and medics in the “War on Terror”. Violations of ethical conduct have been widely recounted in academic and non-academic journals and reports.1 This paper is also a call to international boards of doctors and nurses to intervene directly to stop abuses undertaken by US military healthcare providers under the guise of the War on Terror. With evidence growing that US military and (...) security services are actively engaged in the ill treatment, torture and deaths of suspects, details about the participation of healthcare professionals in such unlawful and unethical activities remain for the most part timidly accounted for. But according to current literature on this topic, there is increasing evidence that US doctors, nurses and medics have been complicit in torture and other unethical activities in Afghanistan, Iraq and Guantanamo Bay .2–4The US government has inadequately dealt with these facts. Senior officials in the Bush administration who have played a major part in conducting the War on Terror have been either promoted or asked to remain in their posts. More seriously, despite worldwide condemnation of the reality behind the photos, allegations of torture continue at Guantanamo Bay, Cuba.5 The graphic and appalling nature of several photographs are by no means the only evidence of abuses conducted by the US on its own territory and abroad. But the complicity of healthcare professionals in many venues , such as in capital punishment procedures in the US, exacerbates the already disturbing extent of bio-political abuses by the US government.Doctors and nurses often top the polls as caring and trustworthy professionals.6 Indeed, so strong …. (shrink)

This article sets out to substantiate an understanding of the photographic image as a constellation of scaled relations, with a focus on the significance of historically neglected questions of scale in and for the present. It explores two recurrent themes in Walter Benjamin’s writings: his celebrated methodological-epistemological concept of constellation and his less often remarked fascination for relationships of scale, processes of scaling and the scale effects these produce. These are investigated in light of the mutable and composite character of (...) the contemporary photographic image and its unprecedented scale as a mass form. Key phenomena and prevalent conceptions of photography are approached as already structured by intercalated facts, operations and experiences of scale, scaling and scalability. On this basis, a constellation of three historical essays that examine questions of scale in photography is constructed. The guiding aim of this construction is that such a constellation might stand as a pre-history of scale and its significance in and for photography today. (shrink)

The idea that looking at a photograph is akin to face-to-face perception and that photographs provide genuine perceptual access to the objects they depict was notoriously defended by Kendall Walton in “Transparent Pictures.” Walton’s main thesis is that photographs are transparent in the sense that we can see objects through them. The main goal of this article is to support Walton’s view by providing a full account of photographic transparency. I will argue that the transparency that characterizes photography is not (...) metaphorical but in fact exhibits all the essential properties of transparent materials. To understand how a photograph can be transparent, one must understand the special type of causal connection between a photograph and what it shows. Building on Fritz Heider’s work, I will argue that photography is a visual medium, like air, water, glass, or mirrors, capable of transmitting the visual properties of distant objects to the perceiver. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionCynthia Damo and Sarolta TakácsThe present special issue of the American Journal of Philology is devoted to the Senatus Consultum de Cn. Pisone Patre ( SCPP). 1 It grew up around the APA/AIA Joint Seminar on that subject which was part of the program at the annual meeting in Chicago in 1997. In addition to the three papers presented at that seminar and the formal response to them, this (...) collection contains a critical text of the document, an English translation, photographic plates of the most complete version of the text (Copy A), a bibliography of editions, reviews, and discussions of the document, a new review of the inscription’s initial publication, an essay on a closely related text, and an essay on a literary account of the events that generated the document.The SCPP is a substantial document, running to 176 lines in Copy A, a bronze tablet of approximately 118 3 45 cm. Six or seven copies have been found in Spain alone. The inscription reports the Senate’s decisions in the trial of Cn. Calpurnius Piso and his associates in Rome in the year a.d. 20. A lengthy text on a crucial event from a central period of the Principate will naturally offer information for and reveal problems in our understanding of many areas of Roman history. The SCPP thus joins the Tabula Siarensis to give us a glimpse, unseen before the 1980s, of the Senate’s corporate self-presentation in this period: the Senate addresses in turn the immortal gods, the emperor, members of the imperial family in descending importance, the equestrian ordo, the populace, and the soldiers, positioning itself carefully (and differently) vis-à- vis each. The Senate ensures that the decree will be seen throughout the empire by ordering publication in the most frequented spot of the most populous city of each province and in the winter quarters of every legion (lines 165–72). Furthermore, because the decree responds to events to which Tacitus devoted an important section of his first three Tiberian books, it provides an external (though far from unproblematic) check on Tacitus’ account of the trial and the events that led up to it. [End Page 1]Copies A and B were found in the modern province of Sevilla. Copy A’s provenance seems to point to the ancient Irni. Copy B’s place of origin was initially believed to be ancient Olaurum, but a location in the vicinity of El Tejar has now surfaced as another possibility. Like the remaining fragments (Copies C, D, E, and F, containing only a few letters each), all pieces of A and B came to light during illegal “excavations.” This circumstance will most likely render more precise localization impossible, but all the available information about the various copies points at present to the Roman province of Baetica as their original source. All the pieces are now housed together in the Archaeological Museum of Seville.Copy A begins with the heading “Decree of the Senate Concerning the Elder Cn. Piso, put up for view when N. Vibius Serenus was proconsul” ( senatus consultum de Cn. Pisone patre propositum N. Vibio Sereno procos.). This is inscribed across the top of the tablet’s four columns in letters much larger than those used for the text of the decree (see Plates I–VIII). This heading is not found in Copy B, where the first three lines of the text itself are simply written in letters larger than those of the remaining lines, with the first line displaying letters somewhat larger than the second and third. Copy A’s heading offers us a glimpse at the procedure involved in displaying a decree composed in Rome for an empire-wide audience; it was the governor of the province who initiated the process of public display at the provincial level. Yet the fact that Copy B lacks this heading suggests that the process that resulted in the creation of these two (and presumably other) copies was not entirely uniform.Further discrepancies between the two copies include their physical layout—Copy A consists of four columns with 176 lines of text, Copy B of two columns with 127 lines—and... (shrink)

Because Arthur ‘Weegee’ Fellig’s crime scene photographs have become the standard for visually representing crime scenes in popular culture, this paper examines the extra-legal lives of two of his images, both of which were produced at the site of a gangster’s death in 1936. To decode the crime scene photograph is to interrogate the ways in which we make sense of crime through seeing and narrating. To that end, this paper charts how these two crime images were contextualized first in (...) a tabloid narrative that invited viewer identification with the law enforcer, and later in Weegee’s own autobiographical narrative as a hardboiled photographer. In contrast to these human ways of seeing and narrating, the images are then examined through computer vision. By moving across these different ways of human and nonhuman seeing, we are arrested anew by the crime scene photograph as different narrators make clear, often for different audiences, who and what it is that we are looking at. Our visual point of focus, in turn, tells us how we engage with crime images at the mediated intersection of law and popular culture; it reveals how viewers identify with the law as a result of an image’s visual structure, as well as through representational exchanges that blur the edges between fact and fiction. (shrink)

The Swiss photographer and filmmaker Rudolph Burckhardt came to New York City in 1935 and experienced the awe that many first-time visitors to the city share. The grandeur, the energy, the vitality, the sheer movement of this American metropolis all drew Burckhardt in, and he made New York his home for the rest of his life. Equally inflecting his career as a photographer and filmmaker, the city and its vibrant cultural life became Burckhardt's muse. Rudy Burckhardt—New York Moments is a (...) rare collection of his photographs from the 1940s and 1950s. It includes not only street scenes and details of city life—“The tremendous difference in scale between the soaring buildings and the people in the street astonished me,” he wrote—but also the portraits he made of the New York School painters, most notably Jackson Pollock, Mark Rothko, and Willem de Kooning. As a photographer for ArtNews in the 1950s, Burckhardt had an insider’s view of the burgeoning art scene. But he also recognized the limits of photography—“a photograph, when it gets printed and comes out a picture, becomes like a fact, you know”—and turned his hand to filmmaking. For the rest of his career, photography and film would work together to capture his unique vision. Including photographs, film stills, and interpretive essays, Rudy Burckhardt accompanies an exhibition of Burckhardt's work at the Kunstmuseum Basel in Basel, Switzerland, and is a fitting tribute to the Swiss photographer who most poignantly captured the energy of mid-century New York. (shrink)

Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking a (...) questionable project. The present article aims to address this omission and to provide a conception of Heideggerian cinema that does not ignore, but answers, Heidegger's criticism. It argues that it is not the technological nature of cinema that is the source of Heidegger's hostility towards the medium but his conception of the film-photographic image as a transparent copy of the world. It is on this basis that cinema is denied the ca... (shrink)

Freud’s formal work on mourning would indicate that in order to be successful at it you must detach from your cathexis to the loved object; yet he said to the poet Hilda Doolittle that he remembered the last war year very well, as that year he lost his favourite daughter, Sophie, to the Spanish flu epidemic, but that, in fact, she was not lost. ‘“She is here”, he said, and he showed me a tiny locket he wore, fastened to (...) his watch chain’.The ‘blameless physician’ did not want to let go of Sophie and would have held a photograph in his hand many times every day as he checked the time, closed the locket, put it back into his pocket. This article investigates a social media site as that contemporary ‘pocket’ in which we might place a cherished photograph, thus the tension between the durational time of the artefact and the time-in-motion of the networked image. (shrink)

"Charles Marville is widely acknowledged as one of the most talented photographers of the nineteenth century. Accompanying a major retrospective exhibition at the National Gallery of Art in honor of Marville's bicentennial, Charles Marville: Photographer of Paris surveys the artist's entire career. This beautiful book, which begins with the city scenes and architectural views Marville made throughout France and Germany in the 1850s, also explores his portraits and landscapes s before turning to his photographs of Paris made both before and (...) after the city's dramatic modernization in the 1850s and 1860s. Commissioned to record the city in transition, Marville created one of the earliest and most powerful photographic series documenting urban transformation on a grand scale. Despite the importance of his work, Marville has long been an enigma in the history of photography, in part because many of the documents about his life were thought to have been lost in a fire that destroyed Paris's city hall in 1871. Based on meticulous research, this volume reveals many new insights into Marville's personal and professional biography, including the central fact that he was born Charles-Franðcois Bossu. He shed this name and adoptedthe pseudonym Marville when he began his career as an illustrator in the 1830s. With five essays by respected scholars, this book offers the first comprehensive examination of Marville's life and career and delivers the much-awaited public recognition his photographs so richly deserve"--. (shrink)

Photographs and optical images, whatever their contents, are imprints of the electromagnetic waves in the (human) visible range of wavelengths, we refer to as light. Furthermore, they are designed to portray different parts of the visible light in terms of different colours, in analogy with the human eyes, however imperfectly. The world outside our eyes and cameras, however, is permeated by electromagnetic waves with much wider spectrum of wavelengths than those in the visible range. Importantly also, colour is a construct (...) of our eye‐brains: the Universe itself has no colour, independently of us. I ask how does the knowledge of these facts change the way we perceive the colour in optical images and photographs, whatever their relationship to the world in a representational sense may be? By employing three images, with very different origins and vistas ‐ one a direct photograph, the other two synthetically constructed images using real cosmological observations ‐ I demonstrate the extent to which colour in such images can hide the underlying phenomena of which they claim to visually speak, both due to its nature as a coarse-grained visual index, and by being restricted to the visible range. The aim is not to belittle the important role that our (restricted) vision together with our perception of colour have played in the evolution of our species, and still play in the way we relate to the world informationally, aesthetically and emotionally. But rather to show that recognizing the limitations of our vision and complementing it with the knowledge of the phenomena underlying optical images and photographs can allow us to perceive them anew and provide additional tools (both conceptual and visual) to imagine and envision such images outside the bounds of the visible range and colour. (shrink)

In recent years, the problem of value has been drastically pushed away towards the periphery of the discipline of literary studies. More and more, this fact has come to be experienced as a source of frustration and misunderstandings.1 In this article, I would like to show the great extent to which a value-oriented approach is in fact inevitable. By the same token, however, I will also indicate the disturbing ambiguities that the consideration of the value-dimension may reveal. The (...) example I will use for my demonstration, the case of the French photographic novel , is fairly straightforward , but at the same time it betrays my slightly polemical intentions, since this genre is undoubtedly held in low esteem both within and without the domain of literary scholarship.It seems reasonable to assume that our twentieth century, with its turbulent successions of competing fashions and trends, has radically affected the concept of value, that is, the dialectical game of valorization and devalorization. The notion of value has of course become subject to “devaluations” on the content-level, as the mixtures and the instabilities of the criteria called on clearly lattest.2 In addition—and more important—value has been disobjectified, that is, snatched from the object of the judgment and located on the side of the judging subject. Jan Baetens teaches French at the Vlaamse Economische Hogeschool . He is the author of three books: Aux frontiers du récit: “Fable” de Robert Pinget comme “nouveau nouveau roman” ; Hergé écrivain: microlectures de Tintin ; and Les Mesures de l’excès: notes pour un traverse de “Eglogues” de Renaud Camus et al. . He is currently at work on the various aspects of grammatextuality in literature and the comics. (shrink)

The world of factories and industry is a crucial yet oft-forgotten fact that undergirds the bustling prosperity of contemporary American life. Photographer Andrew Borowiec has spent his career exploring the industrial fields of middle America, and he now turns his camera's eye southward in Industrial Perspective, exploring the panoramic landscapes along and near the Gulf of Mexico where oil and gas industry workers live and work. Borowiec gained permission from oil corporations to enter their high-security sites and was thus (...) able to photograph the delicate balance of land, life, and industry along the Gulf. The region's immense concentration of oil, chemical, and paper plants has created one of America's most unique and misunderstood contemporary landscapes, and Borowiec unravels its complexity in his evocative images. The visual sequence of Industrial Perspective reveals a continually evolving area that was transformed after World War II from a plantation system into an intricate and vast industrial complex built to accommodate the demands of a surging American economy. As Borowiec reveals through his striking images, this world of iron, oil, and heat enabled the American dream to come to fruition, yet its unyielding and stark character is virtually alien to those who do not live near the region. Industrial Perspective is a compelling and vibrant collection of images that offers a unique and powerful view of the industrial realities of American abundance. (shrink)

This essay sets out from a reading of two photomontage projects by South African artist Jane Alexander, ?Adventure Centre? (2000) and ?Survey: Cape of Good Hope? (2005?09), one of Alexander's ongoing ?survey? projects, and remarks on the overwhelming impulse on the part of critics and interpreters to anthropomorphize the figures appearing in the photomontage images. It goes on to explore the hypothesis that Alexander's work in fact resists or refuses these attempts at anthropomorphization, and that this resistance is connected (...) with the more openly political aspects of her work, as well as with a more general refusal of anthropomorphism by photography. The second part of the essay frames a possible engagement with Alexander's photomontages through terms offered by Walter Benjamin's ?Little History of Photography,? and looks at Benjamin's peculiar concern with a kind of anti-portraiture: a photographic genre that would feature the human face in an anonymous way, without being concerned with identity. The essay closes with a consideration of the genre of the photographic survey historically, and traces an impulse, evident in the survey, to treat the human as only one of many figural elements composing the crypto-industrial landscape. (shrink)

Optical media were instrumental in transforming the conception of facts, objectivity, and the »real.« This paper considers their role in structuring understandings of counterfactuals and states that could not be real. By returning to Ernst Mach’s photographic ballistics experiments, writing on thought experiments (a term he coined), and his dispute with Max Planck about the nature of the Weltbild, the article shows that, despite his legacy as a positivist, Mach’s epistemology of mechanical images opened a legitimate space of indeterminacy, contingency, (...) and counterfactuality. (shrink)

Initially commissioned to record the progress of Pittsburgh’s Renaissance I, these unforgettable black-and-white photographs of Roy Stryker's Pittsburgh Photographic Library capture the city in a state of flux. They reveal a union of opposites—the suited wonderment of the downtown businessman with the easy grace and competence of a shirtless construction worker balanced high over his head; the anonymity and isolation of planned housing with the belief in expansion and renewal; the energy and excitement of a city on the move with (...) the traditions of the established elite; the juxtaposition between the growing optimism about the ability of technology to improve our lives; and the traditional steel and other heavy smokestack industries that still dominated the region. The Renaissance was seen as a way for Pittsburgh to keep abreast of modern urban life and to preserve its economic position, but the rapid development of a white suburban middle class was sapping the very essence of the personalized downtown neighborhoods. These photographers have captured the convergence of destruction and rejuvenation that is the essence of an urban renaissance—all the anxiety and hope of the decade is reflected in these poignant photographs. Constance Schulz's fascinating essay on the story of the PPL, in order to present a full picture of the political and civic goals, achievements, and failings of the project, provides a thorough discussion of the background of the Pittsburgh Photographic Library, putting into perspective the Allegheny Conference's purpose for initiating the PPL, Roy Stryker's own vision and work, as well as those of the photographers who worked for Stryker on the project, and the politics that undermined the full implementation of it. Clark M. Thomas's accompanying narrative offers an eclectic range of facts and fascinating bits of the city's history and neighborhood lore, as well as noting important political and economic episodes. It also provides a glimpse into the often underrepresented lives of minorities and women in the region's development. Anyone moved by the incredible social upheaval and expansion that occurred in cities across the nation in the 1950s following years of depression and war will want to have this collection. (shrink)

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was fascinated by the (...) power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought. (shrink)

This article proposes a re-reading of the chromolithographic algorithm on the front cover of Fox Talbot’s seminal photographic work Pencil of Nature, 1844. The wet and dry of analogue and digital photography are proposed to both be in fact unfixed. A third, fluid, intermediary state is identified. The practitioner in this alternate zone is receptive to the isomorphic potential of the elements and is able to utilize a form of remote viewing – or rather remote perception – to both (...) upload and download. (shrink)

Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created (...) the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. (shrink)

This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as argued (...) by Heidegger and his inheritors, is that technology is ontologically problematic; rather than technology being evidence of performative knowledge, it is instead existentially threatening by virtue of the fact that it changes the tenor of our relationship with the world-as-given. Despite the fact that these claims seem prima facie incompatible, I argue that they may be successfully reconciled by introducing a third body of scholarship: the philosophy of photography. For it is the case, I argue, that although we, qua human beings, occupy lifeworlds that are necessarily constituted by technology, technology also induces a kind of phenomenological scepticism: a concern that mediated action precludes us from the possibility of authentic experience. Arguing in favour of the sentiment that photographs serve as a kind of phenomenal anchor—a kind of machine for living—I claim that photographic images provide a panacea to this existential concern: despite being epistemically problematic, it is this selfsame epistemic “specialness” of photographs that forces us to phenomenologically recommit, if only temporarily, to the world in a serious way. Consequently, it is my belief that an analysis of our artefacts and the way they function is fundamentally incomplete without an analysis of the epistemic and ontological problems introduced of the photographic image; as I will demonstrate, the photographic image casts an extremely long shadow over the philosophy of technology. (shrink)

This article discusses the photographs of torture conducted by American soldiers in Iraq, at Abu Ghraib prison, with a focus on the novelty of the phenomenon in which the participants seek to produce a collective representation of themselves performing the act of torturing prisoners. If one considers that these activities were, in many respects, staged for the camera, it is possible to interpret these images of atrocities as belonging to the tradition of amateur photography, particularly pornography. The publication of this (...) material is of immense ethical and political significance, as it shows the hidden side of American values as exported to Iraq. Although the Abu Ghraib archives represent something which is inherently unspeakable, ineffable, the images are enough to reveal what otherwise would have been denied. This seems especially evident in light of the fact that recent wars have been conducted with an unprecedented degree of visual censorship and government manipulation. (shrink)

The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines (...) the public and public sphere of the High Line. However, these imaging practices have also taken increasingly regulated form, and endorse conservative forms of community, personhood and publicness. The new park’s imaging practices may be understood as supplementary to neoliberal forms of property accumulation, in fact diminishing public space even as they purport to represent it. Drawing from the historical avant-garde, feminist critiques of representation and anti-capitalist urban theory, the following photographic series critiques the High Line’s photographic apparatus, from within a practice of photography, and from a position within the field of contemporary art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Picture Is a Patchwork of Color Laid Out in a Private Space in Which Lie Flat Imitations of LifeDavid Socher, Independent ScholarThe fish to be fried has an ontological head, an epistemic belly, and an aesthetic tail.1 A picture is a patchwork of color laid out in a private space in which lie flat imitations of life. Such a patchwork constitutes a make-believe visual field. I roll out (...) this suggestion under the following headings: Intention, Form and Content, Ontology, Picture Space, Make-believe, Photography, and Resemblance (see Figure 1).In Annie and Alfred's house the wallpaper has daisies, the linoleum has pine trees, the carpet has tigers, and the upholstery has sailboats. In Betty and Bill's house the wallpaper is plaid, the linoleum is checkerboard, the carpet is paisley, and the upholstery herringbone. Annie, Alfred, Betty, and Bill all have a few one-dollar bills and a few five-dollar bills. As you of course know, the ones have Washington on them and the fives have Lincoln on them. It goes without saying that these daisies, pine trees, tigers, sailboats, Washingtons, and Lincolns are, in fact, pictures, a word I have not used until now. The absence of that word was not particularly noticeable. That is just the way a daisy is on wallpaper and that is just the way a president is on currency. (The word picture is not the only word to act this way, to drop out in this fashion. Take the word name. When I am on a list it is because my name, or perhaps my number is on the list.) For starters let us bring aboard the term picture to include these daisies, trees, tigers, sailboats, and presidents. And let us note that there are no pictures in Betty's wallpaper, linoleum, carpet, and upholstery.Some pictures work harder than Annie's daisies. Consider, for example, the use of pictures in pedestrian traffic lights. The pedestrian WALK sign pictures (in plain white light) a walking figure. And the DON"T WALK sign pictures (in flashing red light) an upraised hand enjoining us to stop.2 The first directs us to walk by showing us an example of walking, by picturing a walking person. We do what the figure does. It walks, we walk. In the second picture we sort of make-believe it is the hand of a traffic officer holding [End Page 105] his hand up for us to stop. This picture does not operate by example. We are certainly not expected to hold up our hand; we are expected to stop. With this sign a picture is used to command by picturing a command. In the WALK sign a picture is used to command by picturing compliance. So these are two ways of using a picture to direct our actions—picturing compliance and picturing a command. Here is a third sign—a picture of a cigarette is overlaid with a red X. The sign tells us not to smoke. It does not picture either command or compliance. It pictures, rather, the prohibited thing. This sign has a non-pictorial content, the X. It signals the prohibition. Click for larger view View full resolutionFigure 1.Annie's daisies, sailboats, and presidents are not to be imitated like the walking figure, nor obeyed like the halting hand, nor avoided like the prohibited cigarette. In merely displaying their subject these pictures fulfill their mission (see Table 1).IntentionBut what is the subject of a picture? What determines who or what is pictured? The Cracker Jack box features a boy in a sailor suit. Shortly before that [End Page 106] confection went into production, the founder's young grandson died, and the founder put that picture on the box in his memory. Since, whatever the founder had in mind, we do not take the sailor boy on the box to be that grandson, it is not him. Excluding the important special case of photographs we require, as Wolheim put it, intention fulfilled to specify the subject of a picture.3 In this case, even if the founder regarded his memorializing gesture as one of putting his grandson... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Graffiti and Colonial Unknowing:A Comment on Mishuana Goeman's "Caring for Landscapes of Justice in Perilous Settler Environments"Anna Cookin "caring for landscapes of justice in Perilous Settler Environments," Dr. Goeman shows how the NDN Collective's initiatives, Chemehuevi photographer Cara Romero's Tongvaland project, and the works of Gabrieliño Tongva artist Mercedes Dorame "exemplify communities of care" that work toward "the unmapping of settler terrains" ("Caring for Landscapes" 51). Her address highlights (...) how these cartographic art productions are processes of (re)mapping that challenge colonial spatialities. Drawing on Michi Saagig Nishnaabeg scholar Leanne Betasamosake Simpson's poem "i am graffiti," Goeman frames these art works as Indigenous graffiti, insofar as they are everyday acts of resurgence1 that resist erasure and enact rematriation.My comments aim to articulate how Romero's and Dorame's works both reveal and disrupt a colonial unknowing by showing the cracks of settler colonial spatiality. I take Goeman's address to illustrate that the changing of minds and unsettling of settler identity will not occur through argumentation, facts, and figures alone, but rather through aesthetic and cartographic practices that "provide a way of seeing Indigenous futurities and relationalities" ("Caring for Landscapes" 52).Maps as Tools of Settler ColonialismIn order to highlight how these art practices enact a kind of (re)mapping that breaks through the veneer of colonial permanence, we first need to consider the way mapping transforms land into property in the service of Indigenous erasure and land dispossession. In her address, Goeman offers a short history of what is now called Los Angeles through the lens of dispossession that occurs through "international claiming of property and burgeoning US property law" ("Caring for Landscapes" 53). Tovaangar was divided into Spanish (and [End Page 64] then Mexican) land grants that, after 1846, were "registered under the US as property" (Goeman, "Caring for Landscapes" 53; emphasis added). The Land Act of 1851 "established the domestication of the California landscape under US governance" by legitimating existing Mexican land rights and mapping out territory yet "unclaimed" ("Caring for Landscapes" 54). The mapping of this so-called "unclaimed" territory propelled a violent erasure of California Indians by "establishing new and ongoing commerce centers" ("Caring for Landscapes" 53). Land was transferred into property—as a thing owned—without "the consent of those who … lived on the land since time immemorial, following the settler structure of passing land between Christian nations" ("Caring for Landscapes" 53). By showing how property rights legitimate conquest and violence, Goeman illustrates how mapping has been (and continues to be) an "essential settler-colonial tool to domesticate land in Southern California and propel development" ("Caring for Landscapes" 54). While she demonstrates how the mapping of Tovaangar using 493 hand-drawn Diseños maps served to sever Indigenous communities (and their relationships with land, such as the Gabrieliño Tongva with the San Gabriel Mountains), she emphasizes that this is an ongoing process that has not been left in a distant past. Newer maps that may seem more objective and scientific with "better models of scale or a more realist representation" remain, at their core, maps of dispossession ("Caring for Landscapes" 54).The very desire to objectively determine location by assigning latitude and longitude reveals a colonial spatiality, which "territorialize[s] the physical landscape by manufacturing categories and separating land from people" and conceives of space in terms of property logics (Goeman, "[Re]Mapping Indigenous Presence" 296). In addition to Indigenous land dispossession, this colonial spatiality rejects relationality by creating dualist boundaries between human and non-human, in which land is the raw material for human development and the creation of culture. Cherokee philosopher Brian Burkhart speaks of relationality in terms of locality, which he defines as "being-fromthe-land, knowing-from-the-land, and meaning-from-the-land" (Indigenizing Philosophy xvii). The severing of locality can be understood in terms of the transformation of land as relative to inert matter to be acted upon. Mapping serves as a tool of settler colonial erasure insofar as it delocalizes "land as the relational ground of kinship" into "land as a mere object that only has meaning or value in relation to people" ("Indigenizing Philosophy... (shrink)

This article is concerned with the question of whether, and to what extent, the concept of metaphor properly applies to pictures (e.g., paintings or photographs). The question is approached dialectically through an examination of the views of Sonia Sedivy, who advances the following 4 claims: (a) that pictures possess propositional content, (b) that there are metaphoric pictures, (c) that metaphoric pictures do not possess metaphoric content, and (d) that there can be no theory of pictorial metaphor. Although the first of (...) Sedivy's claims is rejected in this article, the existence of pictorial metaphors is not denied. Thus, the fact that pictures do not possess propositional content does not preclude the possibility of pictorial metaphors. What are required, though, are changes to the conception of pictorial metaphor that Sedivy advances. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A FAOT ABOUT THE VIRTUES A. CHADWICK RAY Oentrai OoUege Peila, Iowa PHILIPPA FOOT remarks in Virtues and Vices that "with the nota;ble exception of Peter Gea;ch hardly 100.yone sees ·any difficulty in the thought that virtues may sometimes be di·splayed in bald ructions." 1 That a man may use his courage to deplorable ends; that 'a tea.ah.er ma.y show charity in igiving a miudent undeserved credit-these seem to (...) ibe hardly problema.tic possibilities. Yet Aquinas upholds •a definition of morrul virtue as " a good quality o[ the mind, by which we live rightly, of whioh no one cain make bad use,..."2 And Aristotle's conception of the man Ol:f p:riactica:l reason as the standard of moral virtue likewise seems to p!'lec1ude a virtue 's being misused.3 Times change, and rupparently eV'en virtue is not what it used to be. Nevertheless I mean here to survey the resour.ces of moral psyichology in the tradition of.Airistotle to see what sort of grounding can be found for the no-bad-use thesis. Presumably Geach stamds wlmost 1 afone today on this question, because the more traditional view would seem defensible only if it is taken as analytic. We could stipulate that an action wilil be called virtuous only if on balance it is the wisest alternative aivaifaible to the agent, but the utility of such a l Philippa Foot, Virtues and Vices (Berkeley: University of California Press, 1978), 15. In After Virtue (Notre Dame: University of Notre Dame Press, 1981), 216, Macintyre finds Hume, Kant, Mill, and Rawls taking virtues as dispositions to conform to certain rules. To the extent that rules are unreliable, the virtues will be too. 2 Aquinas, Summa theoiogiae, I-II, q.55, a.4. a Aristotle, Nioomaohean Flthios 1106b36-7a2, 1113a30-31. 430 A. CHADWICK RAY concept would be doubtfrnl, and 'virtue' would seem to name no real thing. The'1'e are, after aH, appwrently anomalous cases, as wihen a teacher is moved to indulgence by an undeserving student's plea and seems to show kindness to a fault. The deifense oif the no-bad-use thesis requires us to deny that real kindness is shown here. But if no better justification for the denia~ can be offered than that the action is wrong and so cannot be virtuous, the thesis wil:l express only an a11bitrary decision about how to use 'virtue ' and related terms. But if such deni1als can he justified by appeal to facts about human nature, then the no.:brud-use thesis itself may perhaps be taken a;s descriptive of certain realities constitutive of human life. After considel'ing some of the conditions of vir:tuous action and the possibility of degrees of virtue (section III), I shaill argue (IV and V) that the opening sentence of Aristotle 's Nicomachean Ethics affords a bctua:l ba;sis for sustaining the no-had-use thesis as descriptive of virtues as we find them; that if "every action and pursuit, is thought to aim at some good " is perhaps an overstatement, still the humanness and intelligibility of an action would seem to depend on its aiming at some good; and that it is largely by trying to consider actions independently of the goods they aim a;t that we imagine virtues able to se1we unworthy ends. Payffig fuH rega11d to the purposiveness of human action and the desires expressed in it will also make it possible (VI) to avnid oonoluding with Aristotle that the virtues are inseparable from eaich other. I conclude (VII) with some brief refteetion on the meaning of my departures from Aristotle. Before offering my own interpretation of the Aristotelian resources, though, I briefly contend for the reality of moral virtues (as tiraditiona1ly understood ) against conventioIJJa1ist interpretations ('section I) and then (H) consider an ailtemative account (roughly Geach's) of the nature of the virtues that would sa¥e the no-bad-use thesis. A FACT ABOUT THE VIRTUES 431 I. Virtues as Teleological Di8}Jositions Why indeed speak of vi1rtues at a1l? Behavior would seem to be describahle and e:x:p1a... (shrink)

In 1939, just before graduating from high school in the small town of Ridgeway in northeast Iowa, Everett Kuntz spent his entire savings of $12.50 on a 35mm Argus AF camera. He made a camera case from a worn-out boot, scraps from a tin can, and a clasp from his mother’s purse. For the next several years, especially during the summers when he worked on his parents’ dairy farm, he clicked the shutter of his trusty Argus all around the quiet (...) town. Everett bought movie reel film in bulk from a mail-order house, rolled his own film, and developed it in a closet at home, but he never had the money to print his photographs. More than two thousand negatives stayed in a box while he married, raised a family, and worked as an electrical engineer in the Twin Cities. When he became ill with cancer in the fall of 2002—sixty years after he had developed the last of his bulk film—Everett opened his time capsule and printed the images from his youth. He died in 2003, having brought his childhood town back to life just as he was leaving it. A sense of peace radiates from these images. Whether skinny-dipping in the Turkey River, wheelbarrow-racing, threshing oats, milking cows, visiting with relatives after church, or hanging out at the drugstore or the movies, Ridgeway’s hardworking citizens are modest and trusting and luminous in their graceful harmony and their unguarded affection for each other. Visiting the town in 2006 as he was writing the text to accompany these photographs, Jim Heynen crafted vignettes that perfectly complement these rediscovered images by blending fact and fiction to give context and voice to Ridgeway’s citizens. (shrink)

The controversial case of Terri Schiavo came to a close on March 31, 2005, with her death following the removal of a percutaneous endoscopic gastrostomy tube. This event followed years of controversy and social upheaval. Voices from across the entire political and cultural spectrums filled the airwaves and op-ed pages of major newspapers. Protests ensued outside of Ms. Schiavo’s care facility. Ms. Schiavo’s parents published videos of their daughter on the internet in an effort to prove that she was not (...) in a vegetative state and could potentially recover. There is a certain mystery to the entire controversy given the fact that, legally, it was largely a matter of settled law. Precedent cases and legal statutes clearly set out the proper procedures and decisions to be followed in this case. Nonetheless, powerful challenges and virulent opposition to these standards arose. Through an investigation of this case as well as a comparative study of the case of Dax Cowart (in particular, the documentary depictions of Dax Cowart’s case) and of a photograph by Joel-Peter Witkin, I plan to investigate the source of these social upheavals and hypothesize that they were largely the result of a phenomenological reaction to the human face. (shrink)

The twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic 'Categories of Art' is included, as is 'Transparent Pictures', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added to (...) several of the reprinted essays. (shrink)

Marcel Proust, as a writer, was even more, shall we say , “steeped” in literary work by others than were so steeped such equally “classic,” as they are by now called, or “canonical” twentieth-century novelists as James Joyce, who, like Proust, seems to have had but in fact did not have a photographic memory, and Vladimir Nabokov, who did have one, or than are such literary critics as ..

In lieu of an abstract, here is a brief excerpt of the content:Frames, Contexts, Community, JusticeRanjana Khanna (bio)There is a photograph of Jacques Derrida, aged about three, in a toy car at his childhood home in Algiers [fig. 1]. It is not an unusual photograph; in fact, its typicality is striking. It is the kind of photograph one might find in most family albums. Little boys are often found in toy cars, just as little girls are frequently holding a (...) doll, or dancing.1 The codes of a family album, transposed to an academic album, highlight the manner in which typicality itself tells a story of framing, of gendered gestures, of senses of belonging, of familial legend making, and of intellectual genealogy.2 And such codes provide a frame for a general contextual understanding of the photograph and therefore [End Page 11] Click for larger view View full resolutionFigure 1.Photograph of Jacques Derrida aged 3. Printed in Geoffrey Bennington and Jacques Derrida, Jacques Derrida (Paris: Seuil, 1991) 9.[End Page 12]for what Barthes calls its studium.3 But, as Barthes remarked in his Camera Lucida, a book about photography and about his dead mother, there is frequently something else in a photograph: the punctum. It wounds a viewer, and remains in the viewer's memory when he or she looks away from the photograph. It is a singular relationality, and, for the mourning Barthes, encloses the possibility of a hopeful reciprocity. For me, however, beyond the gendered coding of this photograph, it is not the promise of a reciprocity, but the demand of something unknowable that exists potentially beyond the frame of the photograph. A rectangular void that appears to be the back window of a large car opens onto an unknown. The opening itself is a wounding of the frame.The photograph includes multiple frames, in the sense that a doubling occurs with one frame in the foreground, with Derrida in his toy car, and another frame in the background, with a real car. The child in his car is enclosed in this scene through perpendicular lines, as if framing him in a safe world. The real car is separated by these lines, as if in a square on its own. And through the rear window of this car, there is another enclosure, a rectangular opening, which alerts the viewer to an infinite regression of frames, each enclosing its own image and its own universe, each thematizing the mobility that suggests it could move beyond its immediate frame. This superimposition of a toy car onto an adult scene of mobility not only alerts the viewer to the thematic exploration of infinite generational migration and immigration but also presents us with a visual doubling and echoing, itself suggesting the excess that always exceeds the frame. The frame may appear to exist on its own terms, permitting or excluding hospitality to its hostile excess, and yet what persists in this photograph is the permeability of the frame and its necessary acknowledgment of the other at its border, which both frames and unframes.A frame both determines and supplements meaning. It is both host to meaning and simultaneously hostile to its narrow condition. This rendition of the frame visualizes both its enclosed protective nature as host, and its permeability to the outside, to a potentially hostile supplement. Derrida's thinking has explored the concepts of framing and hospitality in a manner that has often called attention to, and yet not engaged with, women as a sometimes hostile supplement. The concept of hospitality, whether political, academic, domestic, or psychical, has allowed, however, for a consideration of something that supplements this thinking, and indeed this boyhood photograph of potential mobility: the various frames in which Algerian women have been situated, and their different relation to gesture, mobility, and symbolization in the modern period. This article engages with Derrida's work on framing and hospitality in order to reach its supplement, allowing for a consideration of the political stakes of doing feminist work across borders. The stakes of the philosophical apparatus that seem pertinent to the ethical work of postcolonial feminism are permeated with questions of framing and hospitality. Academic hospitality means an openness to one's subject matter, which would include... (shrink)

Everyday (mis)uses of deepfakes define prevailing conceptualizations of what they are and the moral stakes in their deployment. But one complication in understanding deepfakes is that they are not photographic yet nonetheless manipulate lens-based recordings with the intent of mimicking photographs. The harmfulness of deepfakes, moreover, significantly depends on their potential to be mistaken for photographs and on the belief that photographs capture actual events, a tenet known as the transparency thesis, which scholars have somewhat ironically attacked by citing digital (...) imaging techniques as counterexamples. Combining these positions, this paper sets out two core points: (1) that conceptions about the nature of photography introduce imperatives about its uses; and (2) that popular cultural understandings of photography imply normative ideas that infuse our encounters with deepfakes. Within this, I further raise the question of what moral ground deepfakes occupy that allows them to have such a potentially devastating effect. I show that answering this question involves reinstating the notion that photographs are popularly conceived of as transparent. The rejoinder to this argument, however, is that to take the sting out of deepfakes we must, once again, become skeptical of the veracity of all images, including photoreal ones. This kind of critical mindedness was warranted before the invention of photography for both pictorial imprints and written accounts from various media sources. Given this, along with the fact that photographic trickery is nothing new, deepfakes need not push us into a post-truth epistemic abyss, for they imply a decidedly old turn. (shrink)

Introduction. Observing the production and consumer area of modern cinematography makes it possible to draw conclusions about the value dominants of modern society, to conduct its sociocultural analysis. Cinema, both auteur and mass, is a way of reflecting and modeling the society spiritual state and its analysis makes it possible to draw quite serious and justified philosophical and social conclusions. The film in a philosophical sense is ontologized by the dominant intention of the era. Such a dominant intention of modernity (...) is hedonism. Pleasure, enjoyment, happiness, according to the humanities, is the basic values of the 21st century society. Cinema is the most comprehensive reaction to the needs of hedonism, since hedonistic prerequisites are to some degree laid down in its technical (movement, photographic phenomenology) and social nature (art and entertainment). In this regard, it seems relevant to conduct a philosophical analysis of the ontological level of modern cinema. The aim of the study is to conduct a philosophical analysis of the ontological level of modern cinema; identify ontological models, variations and combinations of which provide its artistic diversity. Methods: the authors use the general scientific methods of analysis and synthesis, the phenomenological method, since they identify the sensory intentions that underlie modern cinema. The authors also use the hermeneutic method, since they reveal the hidden meanings of the film, determined by the time and conditions of its creation, as well as the semiotic approach, which makes it possible to analyze the structural-semiotic whole of the film. The scientific novelty of the study lies in the fact that the authors analyze films from philosophical aspects, and not just cultural studies, as is customary. In modern cinema, the authors look for a reflection of the “social soul”, identify those intentions that underlie modern cinema, both auteur and mass. This makes it possible to deduce a typology of film models that have not previously been applied to the analysis of the film process. Results. During the analysis, the authors developed a hedonistic-ontological typology of cinematic models, identified five generative models of cinema, four of which have a hedonistic orientation: an alimentary model that pleases the recipient by intensively stimulating his perceptual sphere; a parkour model that gives pleasure to light and unhindered movement, minimizing the severity and resistance of the environment; an arcade model that provides the viewer the pleasure of victory through virtual immersion in the ups and downs of the “action film”; a detective model that gives the viewer pleasure through the removal of cognitive uncertainty. The fifth model, tentatively called existential, should lead the viewer into a complex philosophical state of being-with-self-self, an experience of one’s own fulfillment, associated with the experience of suffering. However, due to the hedonistic orientations of modern culture, this model is not relevant in the first decades of the 21st century. Conclusions. Philosophical analysis of modern cinema has revealed that at the ontological level it is based on the philosophy of hedonism. Modern cinema delivers the following types of pleasures to the recipient: enjoyment of the flesh of the world, enjoyment of bodily freedom in motion, enjoyment of peace, cognitive enjoyment. (shrink)

In his early essay, “Reality and Its Shadow,” Levinas appears to take a strong position against art, and while the strength of his admonitions against aesthetics has been questioned, the fact remains that Levinas refers to art as an act that is like “feasting during a plague.” Art becomes offensive. However, is it possible that we could imagine the artwork as a site where the encounter with the Other becomes possible? That is, when we encounter certain artworks, do we (...) not also encounter the radical alterity of one whose experiences and very existence cannot possibly be assimilated to the Same, or to our own experiences? In this paper, I argue that art marks a site where the encounter with the Other is made possible by examining the post-genocide and post-war photographs of Simon Norfolk. I maintain that art thus contains ethical possibilities that actually align with Levinasian ethics, rather than run counter to it, as Levinas seemed to believe. This art cannot be understood through the lens of enjoyment—as “feasting during a plague”—but rather must be understood as an experience which throws us outside of ourselves and our interiority and, in so doing, forces us to confront an alterity and a horror that awakens responsibility and awareness of the Other. (shrink)

Robert Jackson examines the work of the German artist Florian Slotawa. Beginning with his first works, “Hotelarbeiten”, Slotawa recomposes and reconfigures the order of ordinary objects – in this case, the furniture of hotel rooms. In reconstructing these rooms in another order without altering these objects in any way, photographing them, and then subsequently restoring them to their previous configuration, the artist reveals the ordinary function of the objects and by withdrawing from their function shows their material and factual (...) character. To elucidate the specificity of Slotawa’s intervention, Jackson critiques Heidegger’s conception of facticity in its exclusive account of Dasein and its being-in-the world, in contrast to the factuality of “things-within-the world.” Drawing on Harman’s extension of finitude beyond Dasein to all things, he encourages us to see Slotawa as engaged in “facticity of things” that is characterized by dispossession, lack of reason, and radical contingency. As Jackson argues, Slotawa is trying to find a way to dwell in a world that has no room or possibility for the given coordinates of dwelling; a world that is a fact without reason. In concluding he explores a reading of Slotawa that explores the intersecting yet radically different approaches to thinking about a speculative realism in the work of Harman and Meillassoux, and their differing attitudes to the finite and the infinite, facticity and factiality, contingency and necessity, without presuming to assume that either of these accounts cover the speculative facticity of things revealed in Slotawa’s work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The BuddhaTerry C. MuckWhen I think of the Buddha, the subject of my scholarly study, the picture my mind produces is soft and blurred at the edges—out of focus but not in a way that makes it difficult to see or understand. It is more in the way a photography studio uses background and light to project the subject forward. The Buddha, in my mind’s eye, seems friendly, accessible. (...) This Buddha, my Buddha, manages to combine great warmth and great mystery.By contrast, when I think of Jesus, the object of my faith, I see clearly a well-defined personality. There is no portraiture here. It is more like a candid snapshot taken by a very good camera with plenty of natural light; a great photograph, a picture that produces a clear image, in my mind at least, of a person I know and understand. It is a picture of someone walking around Palestine doing great deeds, a father to my Buddha brother—and to me.I love both the Buddha and Jesus. I have loved Jesus since early Sunday school days in Huntington, Indiana, at the Bible Baptist Church on Lake Street. I have loved the Buddha since I first began reading about him in graduate school at Northwestern University and listening to Walpola Rahula lecture about him in classes there. Both the Buddha and Jesus were great men, doing divine things that have changed the world for billions after them. The differences my mind produces are in the realm of qualities. I love them both, but I see them differently.Why the differences? I suppose one reason is that they are different. Gautama Buddha lived in sixth-century B.C.E. India where he was the son of a king, chose a life of religious itinerancy, and died of food poisoning at eighty years of age. Jesus lived in Palestine in the first century C.E. where he was the son of a carpenter, chose a life of religious itinerancy, and was crucified by the Roman authorities after being convicted on a charge of political subversion.They both chose a life of religious itinerancy, to be sure. But the meaning of each of those traveling lives has been the subject of great debate, both within and without their respective religious traditions. Disagreements abound. In fact, in one of those [End Page 105] odd quirks of human cantankerousness, the deeper one gets into each of the traditions, Buddhism and Christianity, the more diverse and passionate are the views about the Buddha and the Christ.The diversity of views deep within each tradition can be stunning to the average Buddhist and Christian on the street, who tend to have a rather homogenized view of each other—kind of a standard life story that could be easily summarized in the pages and pictures of a comic book. But deep within the traditions, Buddhists argue about Buddha nature, Buddha veneration, and the role the Buddha plays in human liberation. Christians argue about Jesus’ divine and human status, his uniqueness, and the role he plays in human salvation. One good thing about all this disagreement: it makes my musings about the Buddha and Jesus pale in comparison.Still, I would like to understand better. Why do I see the Buddha and Jesus differently?Socialization and HistorySurely the most important reason can be summarized in one word: socialization. I was raised to love Jesus, to believe in him. Here’s how I was raised to see Jesus: Jesus is God’s son, born to a woman named Mary and a man named Joseph. God sent Jesus to help human beings lost in a morass of bad deeds, psychological confusion, and social injustices. This melange of evil is so pervasive among human beings that solutions can only come from someone outside the system, willing to enter into the system and guide others out, both by what he says and by what he does—how he lives his life.What Jesus said, what Jesus did, and who Jesus was—all are unique. Others of us can try to live like Jesus—indeed, we should. But none of us, not one, can... (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)

. The author first engages the problem of defining the value of a photograph, not in terms of its commercial or monetary value but of its actual or potential use. Walter Benjamin's influential writings on photography are discussed, notably his complex metaphor of "aura" as applied to both handmade art and the photograph, with the author challenging Benjamin's contention that works of art do not require titles, whereas photographs do.

An essential element of human resource management (HRM) is employee growth and development. Two aspects of this development involve growth in job related behaviours and the less tangible but vital aspect of personal growth. The paper focuses on the latter topic. The aim is an exploration of the relationship between experience and education as they relate to personal growth. Since many schools of management and in-house HRM programmes involve the use of experiential approaches to learning, it seems a relevant issue (...) for discussion. In fact, a strong case is made for the use of experience as a critical part of the personal education and growth process. Logical, rational analysis, poetic device, and teaching stories are used to highlight the role of experience. Extensive use is made of developmental notions from Buddhism, Confucianism, Sufism and Taoism. Reference is made to the Kolb et al. learning cycle model to help examine the personal growth experience. The paper discusses both the role of the educator and the role of the employee or seeker of personal growth. The educational process is discussed in terms of negating as well as affirming, abandoning old ideas as well as gaining new ones. Proposed educational aims for the learner are identified. (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 "red note" - also known as "police information" - is the journalistic genre that covers bloody facts. The raw material of this sensationalist branch of the press are accidents, murders, robberies, lynchings, rape, acts of torture, and other events that violate daily life. Since the 19th century, the "red note" has had an important place in the Mexican press. Vicente Riva Palacio's Red Book, based on violent historical events, is a classic in the national bibliography of that century; the (...) engravers Manuel Alfonso Manilla and José Guadalupe Posada illustrated dozens of leaflets with news about bandits, crimes and shootings; In the twentieth century, notable narrators such as Víctor Ronquillo and Rolo Díaz worked for years at the police source; likewise, some of Mexico's great photographers made a career in this section, including Adrián Devars and Enrique el NiñoMetinides; his school finds important followers in photojournalists such as Pedro Valtierra, Fernando Brito and the team of the newspaper La Jornada. The stories that this journalistic genre gathers intersect with the history of the nation and include episodes that range from the murder of the Dongo family in 1789 to the massacre of migrants in San Fernando, Tamaulipas, in 2010; from the Gray Car Band to organized crime; of the shooting of Maximiliano de Habsburgo in the Hill of the Bells in 1867 to the murder of Luis Donaldo Colosio in Lomas Taurinas, Tijuana, in 1994. Carlos Monsiváis was a scholar of the subject and in his book The Thousand and One Watchmen he wrote: Alarmed and pleased, the crowds stop as before a shop window: there at your fingertips the endowment of rivers of blood, betrayals, iniquities, perversions, robberies. At the beginning of the 21st century, in Mexico, the genre has a larger presence than ever. In 2010, the writer explains the phenomenon: In 15 years, the biggest change is the fierce emergency, at times militarized, of drug trafficking, which radically modifies the meaning of the "red note" and transfers it almost daily to the altar of eight columns. The singularity of murders and murderers disappears, and the massive scale of crime also dehumanizes on a similar scale. The collection of the Museo del Estanquillo houses numerous publications, prints, models, photographs, flyers and memorabilia related to the "red note", as well as a considerable number of vintage photographs of Metinides that some researchers considered lost. In the archive of collector Pedro Barrios and other collectors, friends of the museum, as well as in the work of contemporary artists, we find the works that make up this exhibition. In these dark times, in which the "red note" has left the inside pages and become a front page issue, it is important to meditate on violence in our country. This visual chronicle of the history of the "red note" in Mexico seeks to contribute to this reflection. (shrink)

The aim of this article is to provide a preliminary ethical evaluation of the effect of telesurgery on patient care. In order to accomplish this task we give a broad description of the state of the art in telesurgery and analyse it using Joan Tronto’s articulation of care as a structured process. This structure illuminates the significance of the patient-physician relationship as the buttress for establishing and preserving practices of care in the healthcare context, with the ultimate goal of safeguarding (...) patient dignity. The process of care combined with the moral aim of medicine—to fulfil the good of the patient—provides the ethical foundation for assessing telesurgery. By exploring various telesurgical scenarios we may assess its potential role in augmenting or diminishing patient care within the frame of the patient-physician relationship. The significance of conducting this evaluation lies in the fact that the practice of telesurgery may very shortly become routine and an evaluation has not yet been attempted. (shrink)

The Problem of Doxastic Shift may be stated as a dilemma: on the one hand, the distribution of nominal complements of the form `the ψ that p’ strongly suggests that `that’-clauses cannot be univocally assigned propositionaldenotations; on the other hand, facts about quantification strongly suggest that `that’-clauses must be assigned univocal denotations. I argue that the Problem may be solved by defining the extension of a proposition to be a set of facts or, more generally, conditions. Given this, the logical (...) operation of descriptive predication can be introduced in a way that resolves the dilemma withoutsacrificing the singular term analysis of `that’-clauses. (shrink)

A compact, full-color companion guide to photographing San Francisco! Whether using a full-featured compact camera or a high-end dSLR, this companion guide provides you with detailed information for taking stunning shots of beautiful San Francisco. Whether you aim to capture breathtaking photos of the majestic Golden Gate Bridge, crooked Lombard Street, infamous Alcatraz, or unique Victorian homes, this portable resource goes where you go and walks you through valuable tips and techniques for taking the best shot possible. You'll discover (...) suggested locations for taking photos, recommended equipment, what camera settings to use, best times of day to photograph specific attractions, how to handle weather challenges, and more. In addition, lovely images of San Francisco's most breathtaking attractions and recognizable landmarks serve to both inspire and assist you as you embark on an amazing photographic adventure! Elevates your photography skills to a new level with photography secrets from professional photographer Bruce Sawle Presents clear, understandable tips and techniques that span all skill levels, using all types of digital cameras, from compacts to high end DSLRs Features San Fransisco's main attractions in alphabetical order as well as thumb tabs on the pages so you can quickly and easily access the information you are looking for Shares detailed information and insight on critical topics, such as ideal locations to photograph from, the best time of day to shoot, camera equipment to have handy, weather conditions, and optimal camera settings to consider Whether you're a local familiar with the territory or a visitor seeing San Francisco for the first time, this handy guide will help you capture fantastic photos! (shrink)

In this article, we consider two independently appealing theories—the Growing-Block view and Humean Supervenience—and argue that at least one is false. The Growing-Block view is a theory about the nature of time. It says that past and present things exist, while future things do not, and the passage of time consists in new things coming into existence. Humean Supervenience is a theory about the nature of entities like laws, nomological possibility, counterfactuals, dispositions, causation, and chance. It says that none of (...) these entities are fundamental, since if they were, this would entail the existence of irreducible necessary connections between matters of fact. Instead, these entities supervene on a fundamental, non-nomological ‘Humean mosaic’ of property instances at spacetime points. We will further explain and motivate the Growing-Block view and Humean Supervenience in Sects. 2 and 3, but first, we turn to our master argument. (shrink)