View topic on PhilPapers for more information
Related categories

30 found
Order:
More results on PhilPapers
  1. added 2019-08-02
    The Return Of Photographs As Genuine Prostheses: In Response To Cohen And Meskin’s Principled Disqualification Of Photographs.Ines Nicole Echevarria De Asis - 2008 - Postgraduate Journal of Aesthetics 5 (1):7-15.
    Kendall Walton argues that photographs, like mirrors and microscopes, meet sufficient conditions to be considered a kind of prosthesis for seeing. Well aware of the controversiality of this claim, he offers three criteria for perception met by photographs like other perceptual aids which makes them transparent –that is, we see through them.1(II) Jonathan Cohen and Aaron Meskin attempt to refute the transparency thesis by arguing that photographs cannot be genuine prostheses for seeing because they fail to meet another necessary condition, (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  2. added 2019-07-07
    Spontaneity and Materiality: What Photography Is in the Photography of James Welling.Dominic McIver Lopes & Diarmuid Costello - 2019 - Art History 42 (1):154-76.
    Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  3. added 2019-04-24
    Ambivalation of the Author’s role in a photographic image.Yuliia Petruk - 2018 - Наукові Записки Наукма. Філософія Та Релігієзнавство 2:17-25.
    This article questions the role of the author in the photographical image. Undoubtedly, the invention of photography has changed our attitude towards ourselves, towards the world. The impact of photography on one’s life is growing with the development of technology, mainly the photo-technology. One cannot but trust technological tools more than oneself, because any technological device nowadays is considered to be smarter, faster, and more precise than any human being. The technology plays a special role in photography, and that is (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  4. added 2019-03-04
    Azul pintado de azul. Leyendas de artistas sin obras.Filippo Fimiani - 2017 - Boletín de Arte (38):35-44.
    En el verano de 1947, Yves Klein, Claude Pascal, Armand Fernández, sentados en la playa de Niza: contemplan el mar y el cielo azul, no hacen nada, y hacen declaraciones sobre el arte que llegará, sobre el Arte y el Gran Estilo del Futuro. A partir de ese momento, y de esas palabras, cada una de sus vidas cambia radicalmente: se convertirá en una vida nueva, una vida de artista sin obras, hecha solo de palabras, narraciones, gestos. En ese episodio, (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  5. added 2018-01-10
    Yosman Botero y Postcolombino.Carlos Vanegas - 2016 - Co-herencia:301-303.
    La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementarios de su obra, como los títulos de sus series Full of Emptiness (2013), Immaterial matter (2014) y Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia de las imágenes” del arte como de su capacidad comunicativa de la realidad: ya sea esta la experiencia del arte o la realidad social colombiana, o lo que sea que entendemos por “lo real”, tan cara a las propuestas (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  6. added 2018-01-10
    La fotografía y los desplazamientos en el arte contemporáneo colombiano. [REVIEW]Carlos Vanegas - 2013 - Cuadernos de Música, Artes Visuales y Artes Escénicas:137-140.
    PHOTOGRAPHY AND ITS DISPLACEMENTS IN COLOMBIAN CONTEMPORARY ART. BOOK REVIEW: THE LIMITS OF THE INDEX. THE PHOTOGRAPHIC IMAGE AND CONTEMPORARY ART IN COLOMBIA BY EFREN GIRALDO.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  7. added 2017-02-03
    Subverting the Racist Lens: Frederick Douglass, Humanity and the Power of the Photographic Image.Bill Lawson & Maria Brincker - 2017 - In Bill Lawson & Celeste-Marie Bernier (eds.), Pictures and Power: Imaging and Imagining Frederick Douglass 1818-2018. by Liverpool University Press.
    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 (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  8. added 2017-01-27
    Are Digital Images Allographic?Jason D'cruz & P. D. Magnus - 2014 - Journal of Aesthetics and Art Criticism 72 (4):417-427.
    Nelson Goodman's distinction between autographic and allographic arts is appealing, we suggest, because it promises to resolve several prima facie puzzles. We consider and rebut a recent argument that alleges that digital images explode the autographic/allographic distinction. Regardless, there is another familiar problem with the distinction, especially as Goodman formulates it: it seems to entirely ignore an important sense in which all artworks are historical. We note in reply that some artworks can be considered both as historical products and as (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   3 citations  
  9. added 2017-01-26
    Spectral Evidence: The Photography of Trauma.Ulrich Baer - 2002 - MIT Press.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   5 citations  
  10. added 2017-01-17
    Hermeneutic Photography: An Innovative Intervention in Psychiatric.Jan Sitvast - 2014 - Journal of Psychiatric Nursing 5 (1):17-24.
    This article is about an intervention or approach in mental health care that has been developed from hermeneutics, more specifically the hermeneutics of Ricoeur. In this intervention photography is used as a means to assist patients in a process of meaning making from experiences in their life world. It aims at empowerment and strengthening the agency of patients. It does so by facilitating storytelling. Mimesis, as interpreted by Ricoeur, was found to be a central concept with which we could explain (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  11. added 2016-10-06
    Man Ray and Photography as a Poetic Communication Technology.Rafael Duarte Oliveira Venancio & Marina Colli de Oliveira - 2015 - International Journal of Modern Communication Technologies and Research 3 (10).
    This article wants to analyze how Man Rayin his photographs, engages a poetry of silenceusing this medium as a poetic communication technology. To understand the functioning of this poetic language, we will adopt the Groupe μ analysis method (both the General Rhetoricand the Treatise on the Visual Sign). Whereas the language is manifold as the forms of representation, and it present in all media, whatever the lack of speech -silence -would find its richest form in both directions through the metaphors (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  12. added 2016-08-19
    Photographic Evidence and the Problem of Theory-Ladenness.Nicola Mößner - 2013 - Journal for General Philosophy of Science / Zeitschrift für Allgemeine Wissenschaftstheorie 44 (1):111–125.
    Scientists use visualisations of different kinds in a variety of ways in their scientific work. In the following article, we will take a closer look at the use of photographic pictures as scientific evidence. In accordance with Patrick Maynard’s thesis, photography will be regarded as a family of technologies serving different purposes in divergent contexts. One of these is its ability to detect certain phenomena. Nonetheless, with regard to the philosophical thesis of theory-ladenness of observation, we encounter certain reservations concerning (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  13. added 2016-03-24
    Vertiginous Acedie.Gavin Keeney - manuscript
    Review of “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia,” Saatchi Gallery, London, England, and “Calder After the War,” Pace Gallery, London, England, April 2013. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 157-60.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  14. added 2016-03-24
    The Silence: Non-Discursive Agency in Photography.Gavin Keeney - manuscript
    An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  15. added 2016-02-03
    Depiction and Imagination.Jiri Benovsky - 2016 - SATS: Northern European Journal of Philosophy 17 (1):61-80.
    Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. From this discussion, two points (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   2 citations  
  16. added 2015-06-22
    The Real Challenge to Photography (as Communicative Representational Art).Robert Hopkins - 2015 - Journal of the American Philosophical Association 1 (2):329-348.
    I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  17. added 2015-01-15
    Emmanuel Alloa (Ed.): Erscheinung und Ereignis. Zur Zeitlichkeit des Bildes, München 2013. [REVIEW]Martina Sauer - 2015 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 15 (1).
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  18. added 2014-08-11
    Sehen lassen: Die Praxis des Zeigens. [REVIEW]Maarten Steenhagen - 2015 - British Journal of Aesthetics 55 (2):249-252.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  19. added 2014-03-10
    Photography and Its Epistemic Values: Reply to Cavedon-Taylor.Jonathan Cohen & Aaron Meskin - 2009 - Journal of Aesthetics and Art Criticism 67 (2):235-237.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  20. added 2013-09-12
    Der Zweite Blick. Realismus Und Rousseauismus in der Amerikanischen Dokumentationsfotografie.Gregor Schiemann - 2002 - In Mahayni Z. (ed.), Neue Ästhetik - Das Atmosphärische und die Kunst.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  21. added 2013-06-04
    Experiencing Photographs Qua Photographs: What's so Special About Them?Jiri Benovsky - 2013 - Contemporary Aesthetics.
    Merely rhetorically, and answering in the negative, Kendall Walton has asked: "Isn't photography just another method people have of making pictures, one that merely uses different tools and materials – cameras, photosensitive paper, darkroom equipment, rather than canvas, paint, and brushes? And don't the results differ only contingently and in degree, not fundamentally, from pictures of other kinds?" Contra Walton and others, I wish to defend in this article a resounding "Yes" as being the correct answer to these questions. It (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  22. added 2012-12-15
    Dossier Chris Marker: The Suffering Image.Gavin Keeney - 2012 - Cambridge Scholars Press.
    This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  23. added 2012-02-11
    Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  24. added 2011-03-30
    Photographic Representation and Depiction of Temporal Extension.Jiri Benovsky - 2012 - Inquiry: An Interdisciplinary Journal of Philosophy 55 (2):194-213.
    The main task of this paper is to understand if and how static images like photographs can represent and/or depict temporal extension (duration). In order to do this, a detour will be necessary to understand some features of the nature of photographic representation and depiction in general. This important detour will enable us to see that photographs (can) have a narrative content, and that the skilled photographer can 'tell a story' in a very clear sense, as well as control and (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   4 citations  
  25. added 2011-03-21
    What Photographs Are (and What They Are Not).Jiri Benovsky - 2011 - Disputatio 4 (31):239 - 254.
    For the metaphysician, photographs are very puzzling entities indeed. And even from the non-philosopher's intuitive point of view, it is not that clear what sort of thing a photograph is. Typically, if a client wants to purchase a photograph, she can mean very different things by 'buying a photograph' : she can mean to buy a print or a number of prints, or she can mean to buy a negative (when traditional film photographs are concerned) or a file (when digital (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  26. added 2011-02-24
    Three Kinds of Realism About Photographs.Jiri Benovsky - 2011 - Journal of Speculative Philosophy 25 (4):375-395.
    In this paper, I explore the nature of photographs by comparing them to hand-made paintings, as well as by comparing traditional film photography with digital photography, and I concentrate on the question of realism. Several different notions can be distinguished here. Are photographs such that they depict the world in a 'realist' or a 'factive' way ? Do they show us the world as it is with accuracy and reliability other types of pictures don't posses ? Do they allow us, (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   3 citations  
  27. added 2010-11-20
    Pictorial Implicature.Catharine Abell - 2005 - Journal of Aesthetics and Art Criticism 63 (1):55–66.
    It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   8 citations  
  28. added 2010-11-01
    The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   4 citations  
  29. added 2010-03-11
    Fixing the Image: Re-Thinking the 'Mind-Independence' of Photographs.Dawn M. Phillips - 2009 - Postgraduate Journal of Aesthetics 6 (2):1-22.
    We are told by philosophers that photographs are a distinct category of image because the photographic process is mind-independent. Furthermore, that the experience of viewing a photograph has a special status, justified by a viewer’s knowledge that the photographic process is mind-independent. Versions of these ideas are central to discussions of photography in both the philosophy of art and epistemology and have far-reaching implications for science, forensics and documentary journalism. Mind-independence (sometimes ‘belief independence’) is a term employed to highlight what (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  30. added 2009-05-29
    The Camera Never Lies: Social Construction of Self and Group in Video, Film, and Photography. [REVIEW]Jo Ann Oravec - 1995 - Journal of Value Inquiry 29 (4):431-446.
    Construction of self and group often incorporates the use of objects associated with "expression," including videos, films, and photographs. In this article, I describe four different sites for construction of groups (group portraiture, courtrooms, video-assisted group therapy, and videoconferencing). I discuss potential aspects of shifts in the way we use and talk about media on what it is like to participate in a group. The eras of video, film, and photography as "silent witnesses" to group interaction are gradually passing. For (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark