73 research outputs found
Les snapshots
Fig. 1. Amateur anonyme, petite fille sur le pas de la porte, tirage gĂ©latino-argentique, 12 x 7,6 cm, v. 1943-44, coll. Frank Maresca/ The Newark Museum, New Jersey. Lâhistoire de lâart a son cauchemar : les images ennuyeuses. Jâentends par lĂ les instantanĂ©s, qui forment le plus incontournable et le plus populaire des genres photographiques. Jâaborderai donc ici le problĂšme que pose lâĂ©criture dâune histoire consacrĂ©e Ă lâinstantanĂ©. Un problĂšme qui tient Ă lâembarras du choix qui sâimpose,..
Les snapshots
Fig. 1. Amateur anonyme, petite fille sur le pas de la porte, tirage gĂ©latino-argentique, 12 x 7,6 cm, v. 1943-44, coll. Frank Maresca/ The Newark Museum, New Jersey. Lâhistoire de lâart a son cauchemar : les images ennuyeuses. Jâentends par lĂ les instantanĂ©s, qui forment le plus incontournable et le plus populaire des genres photographiques. Jâaborderai donc ici le problĂšme que pose lâĂ©criture dâune histoire consacrĂ©e Ă lâinstantanĂ©. Un problĂšme qui tient Ă lâembarras du choix qui sâimpose,..
The polaroid image as photo-object
This article is part of a larger project on the cultural history of Polaroid photography and draws on research done at the Polaroid Corporate archive at Harvard and at the Polaroid company itself. It identifies two cultural practices engendered by Polaroid photography, which, at the point of its extinction, has briefly flared into visibility again. It argues that these practices are mistaken as novel but are in fact rediscoveries of practices that stretch back as many as five decades. The first section identifies Polaroid image-making as a photographic equivalent of what Tom Gunning calls the âcinema of attractionsâ. That is, the emphasis in its use is on the display of photographic technologies rather than the resultant image. Equally, the common practice, in both fine art and vernacular circles, of making composite pictures with Polaroid prints, draws attention from image content and redirects it to the photo as object
Is this photograph taken? - The active (act of) collaboration with photography
Over more than thirty years of commercial and fine art photographic practice, I have often noticed remarkable disparities between the scenes, objects, events or moments âout thereâ I had attempted to record â and the images within the resulting photographs. These (sometimes subtle, sometimes profound, but rarely anticipatable) disparities between what I had seen and what the photograph shows me offer the tantalising suggestion that there may be something else going on here â but something which the popular conception of photography may hinder our ability to recognise. This article explores the implications of four central assumptions implicit within the popular conception of photography which may impede new ways of thinking about photographic practice. Supported by a number of photographs that depict scenes, events and âmomentsâ which were not âtakenâ but were created by the act of photographing them, I will suggest that new opportunities for practice may be available by âre-imaginingâ the practice of photography as an active â or, as an act of â collaboration between medium and practitioner
Duchamp's Erotic Stereoscopic Exercises
This article explores certain links between medicine and art, with regard to their use of stereoscopy. I highlight a work by the artist Marcel Duchamp (the ready-made StĂ©rĂ©oscopie a la Main) and stereoscopic cards used in ophthalmic medicine. Both instances involve the drawing of graphic marks over previously existing stereoscopic cards. This similarity between StĂ©rĂ©oscopie a la Main and stereoscopic cards is echoed in the form of "stereoscopic exercises." Stereoscopic exercises were prescribed by doctors to be performed with the stereoscope as early as 1864. Stereoscopic cards were widely diffused in the 19th century, often promoted as "stay-at-home travel." It was over such kinds of materials that both Marcel Duchamp and doctors of ophthalmic medicine drew their graphic marks. I explore Duchamp's StĂ©rĂ©oscopie a la Main as a hypothetical basis for stereoscopic exercises of different types, proposing that this rectified ready-made is the locus for erotic stereoscopic exercises.Este artigo busca explorar certos elos entre a medicina e a arte por meio da estereoscopia. Destaca-se uma obra do artista Marcel Duchamp (o ready-made StĂ©rĂ©oscopie a la Main) e cartĂ”es estereoscĂłpicos usados na oftalmologia. As duas instĂąncias envolvem o desenho de marcas grĂĄficas sobre cartĂ”es estereoscĂłpicos prĂ©-existentes. A similaridade entre StĂ©rĂ©oscopie a la Main e os ditos cartĂ”es ecoa tambĂ©m na forma dos exercĂcios estereoscĂłpicos. O cartĂŁo estereoscĂłpico foi amplamente difundido na segunda metade do sĂ©c. XIX, frequentemente na forma da "viagem sem sair de casa." Foi sobre esse tipo de material que tanto mĂ©dicos quanto Marcel Duchamp desenharam suas marcas. Explora-se a obra StĂ©rĂ©oscopie a la Main como um sĂtio hipotĂ©tico para uma espĂ©cie de exercĂcio, propondo que tal ready-made retificado seja um lugar para exercĂcios estereoscĂłpicos erĂłticos
Analog, digital - Opposition oder Kontinuum? : zur Theorie und Geschichte einer Unterscheidung
Forschungsprojekt gefördert durch die DFGDie Opposition der 'neuen digitalen' zu den 'alten analogen' Medien findet sich in Werbung, Popkultur, Wirtschaft, Politik und Wissenschaft. Offenbar hat sich die Unterscheidung analog/digital zur paradigmatischen Leitdifferenz des spĂ€ten 20. und frĂŒhen 21. Jahrhunderts entwickelt. Doch was bedeutet 'analog' bzw. 'digital' in verschiedenen Kontexten genau und gibt es nicht auch ĂbergĂ€nge zwischen beiden Formen? Wann taucht die Unterscheidung auf und in welchem Zusammenhang? Indem sich die Anthologie mit diesen und anderen Fragen aus verschiedenen Perspektiven beschĂ€ftigt, rĂ€umt sie ein erhebliches Forschungsdefizit nicht nur in den Medienwissenschaften aus
Memória dos desaparecidos: algumas estratégias visuais
The politics of forced disappearance, established by the Junta Militar that ruled Argentina between 1976 and 1983, had as a corollary the denial of the desaparecidoâs existence, defined ânon entityâ by president Jorge Rafael Videla in a press conference held in December 1979. The attempt to erase the very existence of desaparecidos has been contested by public actions and artistic interventions that enunciate the theme of the memory in many ways.A polĂtica de desaparecimentos forçados, implementada pela Junta Militar que governou a Argentina entre 1976 e 1983, tinha como corolĂĄrio a negação da existĂȘncia do desaparecido, denominado ânĂŁo entidadeâ pelo presidente Jorge Rafael Videla numa coletiva de imprensa, em dezembro de 1979. Essa polĂtica de apagamento da existĂȘncia dos desaparecidos Ă© posta em xeque por açÔes pĂșblicas e intervençÔes artĂsticas, que articulam, de diversas maneiras, a problemĂĄtica da memĂłria
Each Wild Idea : Writing, Photography, History
"In Each Wild Idea, Geoffrey Batchen explores widely ranging aspects of photography, from the timing of photography's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography." p. [4] of cover
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