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Philosophy of Photography

Philosophy of Photography

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Published by Olgu Kundakçı

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Published by: Olgu Kundakçı on Nov 16, 2011
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10/05/2012

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CONTENTS
Editorial
3–5
Symposium
7 Philosophizingphotography/photographingphilosophy9–14 What is a photograph?What is photography? ARIELLA AZOULAY 15–18 Live viewPAVEL BÜCHLER19–22 Drink the wine, discardthe bottle, then drinksomething elseDAVID CAMPANY23–29 Temporal photographyJOHANNA DRUCKER31–36 Working lightPATRICK MAYNARD37–42
The Sophist 
and thephotographOLIVIER RICHON43–49 Photography andontologyBLAKE STIMSON51–56 Photo-filmic images incontemporary visualcultureALEXANDERSTREITBERGER ANDHILDE VAN GELDER
Encyclopaedia
57–59 Imaging firing synapsesLOUISE KAY
Articles
61–70 Infinite exchange: Thesocial ontology of thephotographic imagePETER OSBORNE71–81 Philosophy, culture,image: Rancière’s‘constructivism’JOHN ROBERTS83–90 The photographicargument of philosophyALEXANDER SEKATSKIY
Photoworks
91–102 Sergei Podgorkov’sLeningrad photographsVALERY VALRAN103–109 On reflectionRICHARD PAUL
Reviews
John Tagg’s
Disciplinary Frame
Damian Sutton’s
Photography,Cinema, Memory 
Henry Bond’s
Lacan at the Scene
Geoffrey Batchen’s
Photography Degree Zero
Conference report:
HumanisingPhotography 
at the Durham Centrefor Advanced Photography Studies
 
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Philosophy of PhotographyVolume 1 Number 1
© 2010 Intellect Ltd Editorial. English language. doi: 10.1386/pop.1.1.3/2
POP 1 (1) pp. 3–5 Intellect Limited 2010
EDITORIAL
The editors would like to welcome you to
 Philosophy of Photography 1.1
 , future issues of which willappear on a four-monthly basis from September 2010.
 Philosophy of Photography
is a journal of thetheory of photography that seeks to encourage reflection on the multiple and various historical andcontemporary forms and practices that one might term photographic. Why, then, the name ‘Philosophy of Photography’? Firstly, it should not be taken to mean thatphilosophy has come to explain photography where others have failed. Nor does it simply name thelatest trend to hit the institution of photography theory. We believe that the recent transformation of photography’s technical and cultural form is deeply significant; not only for those who want to anticipate the future and understand the present, but alsofor those concerned with photography’s pre-digital past. We think that the same is true for photog-raphy theory; even those most influential and interesting late-twentieth-century photography theo-ries that turned to semiotics, Marxism, psychoanalysis, feminist critique and postcolonial theory inorder to politicize and to critique photographic culture. Whilst not wanting to assert a triumphanthistoricism of the digital – which would be to simplify the complex weave of technical developmentsand social uses that have always characterized photography as a labile historical form – we think itssocial and political contexts, and therefore the grounds of its theorization, have been radically alteredand out of this situation has emerged a widespread concern to philosophize photography. In this weagree with Blake Stimson who, in his contribution to this issue writes: ‘Because it is so deeply enmeshed in our daily life, because it is so intrinsically intertwined with our modernity, because it isincreasingly the lingua franca of our globalizing world, photography may now be a question of greaterconsequence for philosophy than any other’.

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