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  1. XIII— Reclaiming the Idea of ‘the Human’.Michele M. Moody-Adams - forthcoming - Proceedings of the Aristotelian Society.
    Progressive social movements correctly presume that justice demands treating people with humane regard: combining respect for human agency with concern for human vulnerability to suffering. Promoting humane regard is a critical means of acknowledging the moral claims of humanity. Some critics reject the underlying concept of a universal humanity, in virtue of which human beings form a distinct community of reciprocal moral obligation. Critics charge that the concept presumes indefensible dualisms (of mind and body, and humanity and nature); that it (...)
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  • (1 other version)Laughing Matters: Prolegomena.Giorgio Baruchello & Ársæll Már Arnarsson - 2023 - De Gruyter.
    The present book addresses the background, rationale, general structure, and particular aims and arguments characterizing our third and last volume about "humor" and "cruelty". A guiding foray is provided into the vast expert literature that can be retrieved in the Western humanities and social sciences on these two terms. Pivotal thinkers and crucial notions are duly identified, highlighted, and examined. Apposite subsidiary references are also included, especially with regard to psychodynamics and clinical psychology, existentialism, feminism, liberalism, Marxism, and representative recent (...)
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  • ‘Ecce Ego’: Apollo, Dionysus, and Performative Social Media.Aurélien Daudi - 2023 - Sport, Ethics and Philosophy:1-18.
    Epitomized in the bodily exhibitions of ‘fitspiration’, photo-based social media is biased toward self-beautification and glorification of reality. Meanwhile, evidence is growing of psychological side effects connected to this ‘pictorial turn’ in our communication. In The Birth of Tragedy, Nietzsche poses the question how ugliness and discord can produce aesthetic pleasure. This paper proceeds from an inverse relationship and examines why glorification of appearances and conspicuous beauty fails to do the same, and even compounds suffering. Drawing on the Apollo-Dionysus dualism (...)
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  • Image/Images: A Debate Between Philosophy and Visual Studies.Alessandro Cavazzana & Francesco Ragazzi (eds.) - 2021 - Venice: Edizioni Ca' Foscari.
    The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...)
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  • Conceptual and moral ambiguities of deepfakes: a decidedly old turn.Matthew Crippen - 2023 - Synthese 202 (1):1-18.
    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 (...)
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  • Deepfakes and the epistemic apocalypse.Joshua Habgood-Coote - 2023 - Synthese 201 (3):1-23.
    [Author note: There is a video explainer of this paper on youtube at the new work in philosophy channel (search for surname+deepfakes).] -/- It is widely thought that deepfake videos are a significant and unprecedented threat to our epistemic practices. In some writing about deepfakes, manipulated videos appear as the harbingers of an unprecedented _epistemic apocalypse_. In this paper I want to take a critical look at some of the more catastrophic predictions about deepfake videos. I will argue for three (...)
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  • Videos, Police Violence, and Scrutiny of the Black Body.Sherri Irvin - 2022 - Social Research: An International Quarterly 89 (4):997-1023.
    The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.
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  • Het analytisch existentialisme van Arnold Burms.Massimiliano Simons - 2022 - de Uil van Minerva: Tijdschrift Voor Geschiedenis En Wijsbegeerte van de Cultuur 35 (4):290-305.
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  • The Matter of Manual Traces: Letters, Photographs and Bean Paste in Naomi Kawase’s Cinema of Touch.Lydia Tuan - 2022 - Film-Philosophy 26 (3):285-307.
    This article explores the representation of the hand in three recent fiction films by Naomi Kawase: Sweet Bean (2015), Radiance (2017) and True Mothers (2020). Extending current scholarship that discusses the director’s use of haptic visuality, I argue that Kawase’s haptic cinema further exhibits its hapticity by framing the hand as both a Derridean trace and conduit that leaves behind traces in objects such as bean paste, letters, photo cameras, and photographs. Kawase’s framing of these objects in close-up shots emphasizes (...)
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  • Reality, Fiction, and Make-Believe in Kendall Walton.Emanuele Arielli - 2021 - In Krešimir Purgar (ed.), The Palgrave Handbook of Image Studies. Palgrave-Macmillan. pp. 363-377.
    Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...)
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  • The Efficacy of Anger: Recognition and Retribution.Laura Luz Silva - 2021 - In Ana Falcato (ed.), The Politics of Emotional Shockwaves. Palgrave Macmillan. pp. 27-55.
    Anger is often an appropriate reaction to harms and injustices, but is it a politically beneficial one? Martha Nussbaum (Journal of the American Philosophical Association 1 (1), 41–56, 2015, Anger and Forgiveness. Oxford University Press, 2016) has argued that, although anger is useful in initially recruiting agents for action, anger is typically counterproductive to securing the political aims of those harmed. After the initial shockwave of outrage, Nussbaum argues that to be effective at enacting positive social change, groups and individuals (...)
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  • The Half-Life of the Avant-Garde: Introduction.Ryan Bishop & John W. P. Phillips - 2020 - Theory, Culture and Society 37 (7-8):53-70.
    This introduction to the special section ‘The Half-Life of the Avant-Garde: 50 Years On from 50 Years On’ explains why the section is conceived to look back at the century since the First World War. It is designed to offer ways of rethinking the concept and the role of the anniversary, where the First World War constitutes the memorialized event. The organization of the section follows the movement between often hidden or submerged forms of continuity. It attempts to think some (...)
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  • The Standard of Correctness and the Ontology of Depiction.Enrico Terrone - 2021 - American Philosophical Quarterly 58 (4):399-412.
    This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...)
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  • Digital Fabrication and Its Meanings for Photography and Film.Matthew Crippen - 2019 - In Joaquim Braga (ed.), Conceiving Virtuality: From Art to Technology. Cham: Springer. pp. 119-131.
    Bazin, Cavell and other prominent theorists have asserted that movies are essentially photographic, with more recent scholars such as Carroll and Gaut protesting. Today CGI stands as a further counter, in addition to past objections such as editing, animation and blue screen. Also central in debates is whether photography is transparent, that is, whether it allows us to see things in other times and places. I maintain photography is transparent, notwithstanding objections citing digital manipulation. However, taking a cue from Cavell—albeit (...)
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  • The polarized image: between visual fake news and “emblematic evidence”.Emanuele Arielli - 2019 - Politics and Image.
    In this paper, a particular case of deceptive use of images – namely, misattributions – will be taken in consideration. An explicitly wrong attribution (“This is a picture of the event X”, this not being the case) is obviously a lie or a mistaken description. But there are less straightforward and more insidious cases in which a false attribution is held to be acceptable, in particular when pictures are also used in their exemplary, general meaning, opposed to their indexical function (...)
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  • Aesthetic opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...)
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  • Pré-História: na Raia entre ciência e religião?Ana Graça - 2014 - O Ideário Patrimonial 2:222-256.
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  • Dynamic instances of interaction.Christina Ljungberg - 2010 - Sign Systems Studies 38 (1-4):270-296.
    According to C. S. Peirce, resemblance or similarity is the basis for the relationship of iconic signs to their dynamical objects. But what is the basis of resemblance or similarity itself and how is the phenomenon of iconicity generated? How does it function in cultural practices and processes by which various forms of signs are generated (say, for example, the cartographical procedures by which maps are drawn, more generally, the diagrammatic ones by which networks of relationships are iconically represented)? To (...)
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  • Timeless Traces of Temporal Patterns.John Kulvicki - 2016 - Journal of Aesthetics and Art Criticism 74 (4):335-346.
    Long-exposure photographs present distinctive philosophical challenges. They do not quite look like things in motion. Experiences of such photos take time, but not in a way that mimics the time of the motion depicted. In fact, it would not be off base to worry that these photos fail, strictly speaking, to depict motion or things-in-time. And if they fail to depict motion, then it is an interesting question what, if anything, they succeed in depicting. These timeless traces of temporal patterns (...)
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  • Personal memories.Marina Trakas - 2015 - Dissertation, Macquarie University
    This thesis is intended to analyze a mental phenomenon widely neglected in current philosophical discussions: personal memories. The first part presents a general framework to better understand what personal memories are, how we access our personal past and what we access about our personal past. Chapter 1 introduces traditional theories of memory: direct realism and representationalism in their different versions, as well as some objections. I defend here a particular form of representationalism that is based on the distinction between content, (...)
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  • Interfacing the Environment: Networked Screens and the Ethics of Visual Consumption.Kirsty Best - 2004 - Ethics and the Environment 9 (2):65-85.
    The screen continues to be the primary generator of visual imagery in contemporary culture, including of the natural world. This paper examines the screen as visual interface in the construction and consumption of physical environments. Screens are increasingly incorporated in our daily habits and imbricated into our lives, especially as mediating technologies are embedded into the surfaces of our physical surroundings, shaping and molding our interactions with and perceptions of those environments. As screens become increasingly portable and digitized, they further (...)
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  • Muisti.Jani Hakkarainen, Mirja Hartimo & Jaana Virta (eds.) - 2013 - Tampere: Tampere University Press.
    Proceedings of the annual congress of the Finnish Philosophical Association in 2013. Theme: memory.
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  • 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 (...)
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  • Look Again: The influence of Vilém Flusser on Brazilian photographer Ros'ngela Rennó.Mariana Bertelli Pagotto - 2011 - Flusser Studies 12 (1).
    Brazilian artist Rosângela Rennó refuses to take “new” photographs, preferring instead to rework the mass of existing images. Her use of appropriation and her attitude towards this method are remarkably similar to international postmodern appropriation practices. However, she reached this parallel position through her exposure to different theories and influences. Her decision to abandon the act of photography and to appropriate photographs and photographic objects was influenced by the book Towards a Philosophy of Photography by Czech-Brazilian philosopher Vilém Flusser, amongst (...)
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  • The Body in Consumer Culture.Mike Featherstone - 1982 - Theory, Culture and Society 1 (2):18-33.
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  • Citysex.Henning Bech - 1998 - Theory, Culture and Society 15 (3-4):215-241.
    Discussions focusing on the relation between city and sexuality are rare in social and cultural studies. In this article I argue that the modern city is inherently and inevitably sexualized, and that modern sexuality is largely an urban one. The characteristics of this sexuality are described and discussed in the light of urban life world theory (Simmel, Wirth, Kracauer, Benjamin etc.), sexual constructionist theory, feminist analyses, gay studies and pornography. The particular quality of `sexuality' in urban sexualization is identified along (...)
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  • Wachten op beeld - De tragische retorica van Iconische foto’s.Rob van Gerwen - 2013 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 105 (1):40-54.
    Iconic photographs are visual arguments depicting an, often dramatic, particular situation showing victims of disasters. Spectators watching the photo of the particular situation, empathise with it, and project the feelings evoked onto the events that form the context for the scene in the picture. This mobilises them into political action. In the process, however, the depicted personal misery is perused to exemplify the larger events. The tragedy of iconic photographs is analysed not as the misery experienced by the depicted persons, (...)
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  • Immersive ideals / critical distances : study of the affinity between artistic ideologies in virtual Reality and previous immersive idioms.Joseph Nechvatal (ed.) - 2010 - Berlin: LAP Lambert Academic Publishing AG & Co KG.
    My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...)
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  • Automatism, causality and realism: Foundational problems in the philosophy of photography.Diarmuid Costello & Dawn M. Phillips - 2008 - Philosophy Compass 4 (1):1-21.
    This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...)
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  • Home Movies as Reliquaries of Memory: A Phenomenological Perspective.Lourdes Esqueda Verano - 2024 - Film-Philosophy 28 (2):350-374.
    If film immortalises the ephemeral and presentifies the past, this is especially true of home movies, whose content is not the result of a narrative composition or an invention of fiction, but the product of fragments of reality. These three categories – fiction, documentary, and the home movie – have been analysed by Jean-Pierre Meunier and Vivian Sobchack, with an emphasis on the effect that each film mode can have on the spectator, eliciting a particular emotional and cognitive response. But (...)
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  • Visual Education and the Care of the Figuring Self. Mr. Palomar’s Exercises as Pedagogy.Stefano Oliverio - 2024 - Studies in Philosophy and Education 43 (4):391-410.
    This paper engages with Italo Calvino’s lecture on Visibility, included in his last—and testamentary—volume Six Memos, by understanding it in an educational and pedagogical key. While the question of pedagogy is expressly addressed by Calvino himself in his lecture, the interpretation here provided is not merely an application of his tenets but an elaboration on and an autonomous development of them. In particular, in the spotlight there is the intimate bond image-cum-writing which seems to preside over Calvino’s insights and is (...)
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  • Bernard Stiegler and the fate of aesthetic performance in the time of digital media.Tai Ling - 2020 - Dissertation, University of Birmingham
    My thesis concerns the fate of the spiritual capacities of human beings in the time of digital media systems in relation to the work of Bernard Stiegler. Stiegler’s framing of the problem is situated within his ambigious, or pharmacological, approach to technology, in which it is simultaneously poison and cure. It is also founded on his notion of ‘originary technicity’, in which humanity and technology ‘invent’ each other. Both avoid a reductive reading of human-technological relations. Stiegler’s account of subjectivity is (...)
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  • Tara Page's Placemaking: A New Materialist Theory of Pedagogy: A Becoming Book-Review.Victoria O'Sullivan - 2021 - Educational Philosophy and Theory 54 (5):645-650.
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  • Machines for Living: Philosophy of Technology and the Photographic Image.Ryan Wittingslow - 2014 - Dissertation, University of Sydney
    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 (...)
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  • The city as a construction site — a visual record of a multisensory experience.Marianna MICHAŁOWSKA - 2015 - Argument: Biannual Philosophical Journal 5 (2):415-438.
    In this article, I consider the reception of images that are present in a city space. I focus on the juxtaposition of computer‑generated images covering fences surrounding construction sites and the real spaces which they screen from view. I postulate that a visual experience is dependent on input from the other human senses. While looking at objects, we are not only standing in front of them but are being influenced by them. Seeing does not leave a physical trace on the (...)
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  • A Note on Nostalgia.Bryan S. Turner - 1987 - Theory, Culture and Society 4 (1):147-156.
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  • Destroying Duration: The Critical Situation of Bergsonism in Benjamin's Analysis of Modern Experience.Claire Blencowe - 2008 - Theory, Culture and Society 25 (4):139-158.
    The extent to which Walter Benjamin's thought is bound up with the conceptual framework and debates of Bergsonism is overlooked to the detriment of our understanding of both. Benjamin's conception of Erfahrung/ experience is defined in relation to Bergson's conception of experience in the durée/duration. Benjamin implicitly evokes and extends a Bergsonian conception of creativity. This is central to Benjamin's understanding of the political implications of the decay of aura. The enhanced potentiality for creativity constitutes the possibility of new forms (...)
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  • Conflicting Perspectives on Water in a Swedish Railway Tunnel Project.Annelie Sjölander-Lindqvist - 2005 - Environmental Values 14 (2):221-239.
    The building of a railway tunnel through the Hallandsås ridge in the southwest of Sweden resulted in sinking groundwater levels and a toxic spill for the local community. As a result, this highly technological project expanded from the addressing of technological and economic issues of rail traffic and tunnel building to include issues of environmental harm and how to assess and manage the geology of the ridge. A central concern for local residents as well as for the developer has been (...)
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  • Private lives, public places: Street photography ethics.A. D. Coleman - 1987 - Journal of Mass Media Ethics 2 (2):60 – 66.
    In this essay, author?educator?photographer A.D. Coleman considers a number of dilemmas inherent in photographing private persons in public places. ?Street photography?; is a genre whose ethical dimensions are often overlooked, despite the photographer's efforts to humanize and universalize a moment in time. According to the author, the dilemmas of street photography are imagistic, general, and philosophical, as well as pragmatic, specific, and legislative.
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  • Woman's Reappearance: Rethinking the Archive in Contemporary Art—feminist Perspectives.Giovanna Zapperi - 2013 - Feminist Review 105 (1):21-47.
    Recent debates in the field of contemporary art have underlined the political importance of creative reworkings of the past, especially for those subjects that have been traditionally marginalised. A feminist perspective has been nevertheless quite absent from such debates. This article addresses feminist uses of archival documents in the visual arts through the analysis of three works produced in the past two decades: The Fae Richard's Photo Archive (1997) by Zoe Leonard and Cheryl Dunye, Some Chance Operations (1998) by Renée (...)
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  • Scandal or sex crime? Gendered privacy and the celebrity nude photo leaks.Alice E. Marwick - 2017 - Ethics and Information Technology 19 (3):177-191.
    In 2014, a large archive of hacked nude photos of female celebrities was released on 4chan and organized and discussed primarily on Reddit. This paper explores the ethical implications of this celebrity nude photo leak within a frame of gendered privacy violations. I analyze a selection of a mass capture of 5143 posts and 94,602 comments from /thefappening subreddit, as well as editorials written by female celebrities, feminists, and journalists. Redditors justify the photo leak by arguing the subjects are privileged (...)
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  • Looking for blackness: Considerations of a researcher's paradox.Caroline Bressey - 2003 - Ethics, Place and Environment 6 (3):215 – 226.
    Historical geographies of black people in Britain are sorely lacking within the geographical discipline. This is, perhaps, partly because finding histories of black people is relatively difficult. Photography has proved to be an interesting and practical way of recovering such histories, but the use of photography as a research tool raises questions about the inscription of race in Victorian and contemporary society. In this paper I draw attention to the methodological questions that have arisen while undertaking research that appears simultaneously (...)
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  • Too Close to Nature: On the Representational Problems of Death Masks and Life Casts.Jim Berryman - forthcoming - Journal of Aesthetics and Art Criticism.
    While historians of art have found death masks and life casts conceptually problematic, it is also noteworthy that these objects have received scant attention from philosophers of art. In this paper, I begin to redress this omission by offering examples of how the philosophy of art can help us understand these images. Two problems stand out: the problem of representation, for example, what type of representation a death mask is; and the problem of style and historicity, for example, whether images (...)
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  • Bodies in Public Spaces: Questioning the Boundary Between the Public and the Private.Vicky Roupa - 2022 - Critical Horizons 23 (4):346-360.
    This paper examines the connection between politics and public space at a time when photography and the new media have put the classical distinction between the public and the private into question. My focus is on the body which, according to Hannah Arendt and the classical philosophers, is the most private thing there is. Drawing on the work of Weimar photojournalist Erich Salomon – who was among the first to infiltrate the spaces where political talks were held and decisions taken (...)
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  • Look a Little (Chuck) Closer: Aesthetic Attention and the Contact Phenomenon.Claire Anscomb - forthcoming - British Journal of Aesthetics.
    There is a sustained phenomenological tradition of describing the character of photographic pictorial experience to consist in part of a feeling of contact with the subject of the photograph. Philosophers disagree, however, about the exact cause of the ‘contact phenomenon’ and whether there is a difference in the phenomenal character between the pictorial experiences of photographs and handmade pictures so that, if a viewer mistakes the type that a token image belongs to, their sense of contact can alter. I argue (...)
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  • Derecho y pandemia. El escándalo de la muerte contemporánea.Marina Gorali - 2022 - Revista Electrónica Del Instituto de Investigaciones Jurídicas y Sociales Ambrosio Gioja 28.
    Jean Luc Nancy (2020) refería a la pandemia como un virus demasiado humano. Esto es un virus ligado a nuestros modos de producción y consumo; al uso ilimitado de todas las fuerzas disponibles, naturales y humanas, con miras a una producción que no tiene otra finalidad más que ella misma. El virus, señala Nancy, viene a señalarnos que hay límites. A partir de esta lectura, el artículo propone tres aportes conceptuales para repensar nuestro modo de habitar el mundo. Mundo no (...)
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  • Picturing the Institution of Social Death: Visual Rhetorics of Postwar Asylum Exposé Photography.Shuko Tamao - 2021 - Journal of Medical Humanities 43 (4):639-658.
    This paper examines how photography shaped the American public’s perception of psychiatric hospitals during the immediate post-WWII period. I will analyze photographs that appeared in popular exposé articles of that period and that used photography as a visual aid for disclosing the poor conditions of state hospitals, intending to promote reform efforts focused on turning antiquated asylums into modern hospitals. Existing scholarship has mentioned how these photographs had a significant influence on shaping the public’s view of asylum conditions. Through a (...)
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  • Seeing Through Photographs: Photography as a Transparent Visual Medium.Vivian Mizrahi - 2021 - Journal of Aesthetics and Art Criticism 79 (1):52-63.
    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 (...)
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  • Seeing and knowing: Ultrasound images in the contemporary abortion debate.Julie Palmer - 2009 - Feminist Theory 10 (2):173-189.
    Foetal images have been central to the medicalized abortion debate since the 1960s. Feminists have extensively analysed such pictures, arguing that the pregnant body is separated from the foetus and erased from view, and that the rights of women and foetuses are set in opposition. In this article I introduce the latest image in this debate, the 3D sonogram, which is widely reported as new evidence for a reduction in the gestational time limit. Through close analysis of two examples, I (...)
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  • Decolonizing Engagement? Creating a Sense of Community through Collaborative Filmmaking.Sarah Marie Wiebe - 2016 - Studies in Social Justice 9 (2):244-257.
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