“Erotism and Censorship“ offers an introduction to the history of picture postcards and explores the German censorship until 1930. The specificity of the medium to react to the desires of the clients (mostly male) and to shape them simultaneously is explained in interpretations of examples. A documentary part presents a selection of texts about reproduction technologies. These texts were originally published in journals for collectors of postcards.

In different versions, from Heraclitus to Plato and from Plotinus to the Romantic poets, many thinkers have put forward the idea that the universe has a soul, the so called anima mundi. If the soul of a human being can be thought as the totality of the traits which form character and personality, that of the universe too can be imagined as a complex of distinct traits and dispositions which can be recognised in the phenomenal world. Then, we may ask (...) ourselves:are there events which suggest the idea of the existence of the soul of the world? In what sense do they differ from other events which drift away into nothing? How do they move us? Can they be captured by a photography? I reflect on these questions intertwining philosophy, travel tales, poetry and photography studies. Molti filosofi hanno sostenuto che l’universo ha un’anima, la cosiddetta anima mundi. Di questa idea sono state proposte diverse versioni a partire dalle cosmologie orientali e dal pensiero di Eraclito e Platone. Se l’anima di un essere umano puo' essere pensata come la totalita' dei tratti che formano la sua personalita', allora anche quella dell’universo puo' essere immaginata come un complesso di tratti distintivi e disposizioni rintracciabili nel mondo dei fenomeni. Ci possiamo allora chiedere: quali sono gli eventi che suggeriscono l’esistenza dell’anima del mondo o rivelano alcuni dei suoi tratti? In che senso differiscono da altri eventi che si perdono nel flusso indistinto e ininterrotto del tempo? Come ci emozionano? Possono essere catturati da una fotografia? Sciortino riflette su queste domande intrecciando filosofia, racconto di viaggio, poesia e critica della fotografia. Ne emerge un avvincente racconto, corredato da bellissime fotografie, di come la bellezza raggiunge i nostri cuori, muove la nostra immaginazione e ci rivela l’essenza delle cose. (shrink)

The paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain of (...) the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are analyzed through facial recognition software. (shrink)

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 is important in the idea that photographs can be produced naturally, mechanically, accidentally or automatically. Insofar as the process is physical, natural, mechanical or causal it can occur without human agency or intervention, entirely in the absence of intentional states. Presented innocuously, the idea is that although photographs are dependent on natural or mechanical processes, they can be produced independently of human agency – particularly human beliefs. Presented in a stronger form, the claim is that even if human agency is heavily involved in the production process, the definitive features that make the photograph a photograph and determine its salient properties are nonetheless independent of human minds. In epistemic debates, mind-independence is viewed as essential for explaining why photographs occupy a distinct category among images and justifying a variety of claims about their privileged epistemic and affective status in science, forensics, popular culture and journalism. But, in the philosophy of art, claims about mind-. (shrink)

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 determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography. (shrink)

This article argues that we ought to reject Gregory Currie’s “Trace Account” of documentary film. According to the Trace Account, a film is a documentary so long the majority of its constitutive images are traces of the film’s subject matter. The argument proceeds by considering how proponents of the Trace Account could respond to Noel Carroll’s charge that their analysis is radically revisionary. I argue that the only responses available are either implausible or show that a fully worked (...) out version of the Trace Account collapses into Carroll’s own, rival definition of documentary. I then consider how advocates of the Trace Account might attempt to rescue the theory by reframing it as an account of a genre or as a theory of evaluation and argue that neither attempt would succeed. Given this, we ought to embrace Carroll’s own account of documentary, according to which a film is documentary if and only if it is a film of presumptive assertion. (shrink)

Hysteria, a mysterious disease known since antiquity, is said to have ceased to exist. Challenging this commonly held view, this is the first cross-disciplinary study to examine the current functional neuroimaging research into hysteria and compare it to the nineteenth-century image-based research into the same disorder. Paula Muhr's central argument is that, both in the nineteenth-century and the current neurobiological research on hysteria, images have enabled researchers to generate new medical insights. Through detailed case studies, Muhr traces how different images, (...) from photography to functional brain scans, have reshaped the historically situated medical understanding of this disorder that defies the mind-body dualism. (shrink)

I claim that we should reject a sharp distinction between fiction and non-fiction according to which documentary is a faithful representation of the facts, whilst fiction films merely invite us to imagine what is made up. Instead, we should think of fiction and non-fiction as genres: categories whose membership is determined by a combination of non-essential features and which influence appreciation in a variety of ways. An objection to this approach is that it renders the distinction too conventional and (...) fragile, undermining our justification for criticising documentaries like Bowling for Columbine or The Hunting Ground for playing fast and loose with the facts. I argue that this objection is misguided, misidentifying the justification for criticising non-fiction films that mislead or deceive. I develop an alternative account that explains why we also criticise many fictions for inaccuracy. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, (...) against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)

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 artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development. (shrink)

The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Noël Carroll, Trevor Ponech, and Carl Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Gregory Currie's account can do so by relying on the notion of trace, but this involves an undesirable side effect, namely, the exclusion, from the documentary, of those documentaries that do not (...) include traces of their subjects, as, for instance, documentaries that resort to reenactment. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? This article affirmatively answers by relying on the notion of perceptual belief, that is, a belief that one can form by endorsing the demonstrative content of one's perception. While documentaries primarily involve the formation of perceptual beliefs, docudramas invite us to form nonperceptual beliefs by primarily involving the formation of perceptual imaginings. That is why docudramas are not documentaries. By contrast, a documentary that resorts to reenactment primarily involves the formation of perceptual beliefs, namely, perceptual beliefs about the reenactment itself. (shrink)

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 the therapeutic working of the approach and legitimize its ethical claims of empowerment and recovery. Another aspect is the concordance between narrative and action, as described by Ricoeur, which has a pendant in the goal orientation of the photography intervention. At the same time demonstrations and experiences from professional practice (nurses applying the intervention) will give us feedback on the theory and enrich it with new insights, e.g. on ‘iconic representation’. (shrink)

This chapter focusses on Martin Lang's ongoing practiced-based research project "The Truth in Painting 1993" which employs painting, photography and digital manipulation brought together in pictures that depict events from 1993. Each painting in the series contains an amalgamation of "analogue" painterly marks, printed scans of paintings and digital painting. The projects anticipates that both the lack of certainty around the mediums used, and the occasions depicted in the works, will spur viewers to question notions of socially constructed and (...) mind-independent truths connected to incidents of that time. In this essay, Lang frames his work in relation to ideas of slippage of the work of art as a single, unique, entity in Jacques Derrida's "The Truth in Painting" (1978) and Enrico Terrone's concept of "standards of correctness" in "The Post-truth in Painting" (2019). This positions Lang's project in a "post-truth world", where "the truth is out there", but which cannot always be clearly defined and understood. (shrink)

According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas handmade pictures acquire their depictive content from their makers’ intentional states about the world. CTP suffers from what I call the Problem of the Missing Agent: it seemingly leaves no room for the photographer to occupy a causal role in the production of their pictures and so is inconsistent with an aesthetics of photography. In this paper, I do three things. First, (...) I amend CTP with Fred Dretske’s distinction between triggering and structuring causes, thereby overcoming the Problem of the Missing Agent. Second, I argue that CTP so amended in fact illuminates two aesthetic interests that we may take in photographs, focussing on photographic portraiture and street photography. Third, I show how reflection on the aesthetics of photography serves to support aesthetic anti-empiricism: the view that the aesthetic value of artworks consists, at least in part, in achievement rather than sensory pleasure. (shrink)

The issue of fake news and disinformation remains widespread in Bangladesh. The author produced a video documentary “Making OR Faking” that focuses on how this issue affects journalism practices in the mainstream media in Bangladesh. In this piece, the author reflects on how the making of the documentary shaped his understanding of the issue. Undertaking a qualitative approach, the author used semi-structured interviews to explore the insights and perspectives of key informants. Critical reflections on the methodological aspects of (...) the filmmaking process highlight the challenges in processing the construction of meaning through moving images. The analyses of the findings underscore the conceptual issues in understanding fake news and disinformation, the emergence of fake news in Bangladesh, and the impacts on the mainstream media. The article also explores potential ways to tackle this issue. (shrink)

Since 2019, Northeastern post-industrial culture has been a popular topic of discussion; the general public refers to it as the Northeastern Renaissance. Crises of identity, honor, and faith have been recurring themes in several Northeastern films released in recent years. Furthermore, these cinematic narratives frequently generate somber humor by presenting an enormous contrast between ideals and actuality. The article examines how the post-industrial narrative context of Northeast China has influenced audio-visual cultural products and contemporary Chinese popular culture. To elucidate the (...) fundamental aspect of the Northeast narrative, the article’s author employs the absurd theory of Albert Camus. The main structure and viewpoints of the article are as follows: The first is after presenting individuals’ contemplations on the Northeastern Renaissance-instigated post-industrial narrative of the Northeast. In the following sections, the article explores the narrative context of post-industrial audio-visual works in Northeast China, focusing on the absurdity depicted in the documentary Tie Xi Qu: West of the Tracks (2002). The authors’ analysis reveals how the documentary captures the socio-economic decline and the resulting human experiences of absurdity and dislocation. Key findings indicate that the narrative structure and visual style effectively convey the bleak realities of post-industrial life, offering critical insights into the region’s socio-cultural transformation. These findings suggest that future research should explore the intersection of visual media and social change in other post-industrial contexts. -/- . (shrink)

An original analysis of the parallels between the arrested moment in photography and in the traumatized psyche.

Developed through a series of conceptual analyses (Edmund Husserl, Vilém Flusser, Ludwig Wittgenstein and Walter Benjamin) and case studies (Fernando Lopes’s Belarmino and Jeff Wall’s Mimic), this article delves into the relationship between gesture, attunement and atmosphere and how it unfolds in photographic works dealing with urban space. The first section focuses on the role played by photography in the film Belarmino, which raises questions about both the representation of urban phenomena and issues related to expression and gesture in (...) boxing. The second section discusses Husserl’s thinking on image consciousness and his surprising reference to a “photograph” of a boxer, which reveals the relevance of his phenomenological approach when it comes to defining the aesthetic properties of gesture-images. The third section examines the principles of Flusser’s philosophy of gestures, focusing on the semantic field of attunement and its connection with various elements related to photography, gesture, moods and affects. The question of gesture in photography—both the gestures of the photographed and those of the photographer—can be articulated with the notions of attunement and atmosphere, which go beyond semiological, psychological and communicational approaches and are important for our understanding of aesthetic and artistic experiences. Finally, if photography is a privileged way of studying atmospheres and gestures (as suggested by the Benjaminian notion of optical unconscious) and their connection with the inner life of the subject, in relation to urban space this study often acquires an intersubjective, social and political dimension, as in Jeff Wall’s Mimic. (shrink)

In recent years, documentary formats have entered prominently into the realm of the culture industry, especially since Hollywood and Netflix started to invest in costly productions addressed to the mainstream. Many of these documentaries claim to show reality in its immediacy (“as it really is”), to reveal that which is obscured, or to critically assess societal evils. They use aesthetic strategies that reinforce the appearance of authenticity, while concealing the mediation of what they represent, and the authoritarian stances they (...) presuppose. This turns them into powerful instruments for diffusing authoritarian and populist ideologies. Their political impact on society, their performative power of opinion-shaping, and their subliminal influence on how we perceive and understand reality call urgently for critical assessment. Horkheimer and Adorno’s critique of the culture industry, along with their philosophical, sociological, and aesthetic writings, provide a constructive starting point. This essay aims to mobilize their critical theory of society for the problematization of documentary films in terms of their dialectical relation to society. (shrink)

In this essay, I discuss in detail two of the earliest such documentaries: Death Mills (1945), directed by Billy Wilder; and Nazi Concentration Camps (1945), directed by George Stevens. Both film-makers were able to get direct footage of the newly-liberated concentration camps from the U.S. Army. Wilder served as a Colonel in the U.S. Army’s Psychological Warfare department in 1945 and was tasked with producing a documentary on the death camps as well as helping to restart Germany’s film industry. (...) I next review the great French Holocaust documentary Night and Fog (1955), directed by Alain Resnais. This was a widely acclaimed film, winning the Prix Jean Vigo in 1956. Resnais employed a camp survivor (Jean Cayrol) to write the dialogue, and it is powerful, indeed, truly lyrical in places. The last film I review in the essay is a generally overlooked British Thames Television documentary, Genocide: 1941-1945 (1974), directed by Michael Darlow (and narrated by Sir Laurence Oliver). It was the first of the major Holocaust documentaries to focus on the point that the Nazi genocide targeted first and foremost the Jewish people, and to explore the development of Nazi racial theory, and the rise of the SS. (shrink)

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.

What makes a photograph an artwork, as opposed to a mere document? I defend a cluster account such that aesthetic value, aptness to interpretation, the artist’s intention and institutional uptake may contribute to the arthood of a body of photographs, with no single condition being necessary. With regard to Lawler’s works, I suggest that Lawler’s intention that they be art plays a definitive role because of the works’ resemblance to non-art photography. For some of her photographs, however, it appears (...) that such an intention is absent; and if this is correct, then, given their other features, those photographs are not artworks. (shrink)

This essay aims to appreciate the evolution of the problems regarding the ontological understanding of the photographic image and its derivative, the film, in the face of the sophistication of the apparatus of its production. The creative freedom in making images through optical machines is inversely proportional to their credibility as documents. Since its appearance in the human landscape, as a cultural object, the technology of recording images with lights has brought with it a complex of aporias about what would (...) the nature of the image produced by cameras be: a document or an artistic object, intentionally produced and with created meaning? Consequently: are they denotative or, necessarily, connotative? The development of automatic image capture in the 1980s represented the first update of the question. To what extent, and for how long, will it be possible to trust photography and film as documents through which man aims to access reality? The question now seems to be settled, definitively, in the face of the invention of artificial photography made by algorithms. (shrink)

In the debate about Heidegger’s commitment to National Socialism is often referred to his membership in the „Committee for the Philosophy of Right“ of the „Academy for German Law“ that was founded by then „Reichsminister“ Hans Frank in 1934. Since the protocols of the Committee were destroyed and there is no relevant information in other writings, nothing can be said about the frequency and content of the meetings. It is only documented that the committee was dissolved in 1938. However, in (...) the past year the philosopher Sidonie Kellerer and the semiotician François Rastier referred to a document that, they say, proves that Heidegger was in the committee until 1941/42 and that the latter participated „in practice“ (Rastier) in the Holocaust. The said document was depicted for the first time in the above mentioned FAZ publication and will be analysed in the present essay. It is exluded in it that the document proves the continuity of the „Committee for the Philosophy of Right“ until 1941/42 or even the participation mentioned. It is rather possible to conclude in the frame of high probability that in the document were listed only the names and addresses of possible experts for the conversion of the Civil Code into a „Volksgesetzbuch“. The allegation of the committee’s participation in the Holocaust is rejected as being untenable. The publication of the article in the FAZ triggered the „Debate about Heidegger and Fake News“. In der Debatte um das Engagement des Philosophen Martin Heidegger für den Nationalsozialismus wird oft auf seine Mitgliedschaft in dem vom damaligen Reichsminister Hans Frank gegründeten „Ausschuss für Rechtsphilosophie“ innerhalb der „Akademie für Deutsches Recht“ verwiesen, der 1934 gegründet wurde. Da die Protokolle des Ausschusses zerstört wurden und auch in anderen Schriften keine diesbezüglichen Angaben zu finden sind, lässt sich nichts über die Häufigkeit und den Inhalt der Tagungen sagen. Es ist nur belegt, dass der Ausschuss 1938 offiziell aufgelöst wurde. Im vergangenen Jahr, im September 2017, referierten die Philosophin Sidonie Kellerer und der Linguist François Rastier jedoch auf ein Schriftstück, das belege, dass Heidegger bis 1941/42 in dem Ausschuss war und dieser auch „in der Praxis“ (Rastier) am Holocaust teilgenommen habe. Das Schriftstück wurde in der obigen Publikation der FAZ erstmals abgebildet und wird hier im Detail analysiert. Dabei kann begründetermaßen ausgeschlossen werden, dass das besagte Dokument den Fortbestand des „Ausschusses für Rechtsphilosophie“ oder die genannte Teilhabe belege. Nach hinreichender Analyse muss vielmehr in dem Rahmen hoher Wahrscheinlichkeit geschlossen werden, dass dort nur Namen und Adressen von potentiellen Gutachtern für die Umwandlung des BGB in ein „Volksgesetzbuch“ aufgelistet wurden. Der Vorhalt einer Teilhabe des Ausschusses am Holocaust wird als ganz unhaltbar zurückgewiesen. Die Publikation des Artikels in der FAZ löste die „Debatte über Heidegger und Fake News“ aus. (shrink)

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 example, technology that enables the digital retouching of photographs has afforded means for enhancing or dramatically altering photographic images. Those who employ these media as epistemological companions, supplementing their vision and memories of various events and interactions, are increasingly doing so from a critical (and somewhat cautious) perspective.. (shrink)

This edition of Husserl's correspondence comprises 10 volumes. Its philosophical core is contained in the first four volumes, which correspond to the four phases of Husserl's philosophical career: as follower of Brentano, as mentor of the realist phenomenologists in Munich (the founders of the 'phenomenological movement'), and as professor, successively, in Göttingen and Freiburg. The remaining five volumes pertain to HusserI's correspondence with philosophers and other scholars outside the inner circle of the phenomenological movement, with institutions and editors, and with (...) family members and friends. Volume 10 comprises a masterly introduction to the edition by the editors, Karl and Elisabeth Schuhmann, together with chronological tables and seven separate indexes enabling the user to trace references in the letters to Husserl's own publications, manuscripts and lectures, as well as to persons, institutions and places. (shrink)

Masculinities: Liberation through PhotographyBarbican Art Gallery, 20 February–17 May 2020.

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 one poorly outlined in his work—I argue this is not so much because of what photography physically is, but because of what “photography” has come to mean. I similarly argue digital technologies have not significantly altered what cinematic media “are” because they have not fundamentally modified what they mean; and that cinema retains a photographic legacy, even when it abandons photographic technologies to digitally manufacture virtual worlds. (shrink)

I discuss the early history of holography and explore how perceptions, applications, and forecasts of the subject were shaped by prior experience. I focus on the work of Dennis Gabor (1900–1979) in England,Yury N. Denisyuk (1927-2005) in the Soviet Union, and Emmett N. Leith (1927–2005) and Juris Upatnieks (b. 1936) in the United States. I show that the evolution of holography was simultaneously promoted and constrained by its identification as an analog of photography, an association that influenced its assessment (...) by successive audiences of practitioners, entrepreneurs, and consumers. One consequence is that holography can be seen as an example of a modern technical subject that has been shaped by cultural influences more powerfully than generally appreciated. Conversely, the understanding of this new science and technology in terms of an older one helps to explain why the cultural effects of holography have been more muted than anticipated by forecasters between the 1960s and 1990s. (shrink)

The reality of our everyday life is now stifled by dense images taken by mobile phones. It is still acceptable to claim that digital photographic images are currently invading the phone memory space and social media communication platforms used for working and daily activities like Whatsapp, Instagram, or Telegram. The sheer production and distribution of such images give rise to the virality of malicious digital photographs. This unfortunate circumstance can lead to the negative spread of hoaxes, misinformation, and disinformation. Virality (...) then undermines veracity. Digital photographic records fabricated exponentially are then thinning the line between the truth and the viral. Such image manipulation is indeed a serious problem because public scamming is now orchestrated and conducted through digitally reconstructed images which are aggressively invading chatrooms. To cope with this surge, the authors propose philosophical analyses through examining all possible ways to manipulate photographic images conceived by 35 artists participating in Bandung Photography Triennale 2022. As analytical instruments to probe the prospect of veracity to distance itself from virality, the authors employed three triangulated categories extracted from philosophical discourses on photography, that is, the Eye, the time signature, and the ideology. (shrink)

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 (...) and metonymy engaged in metasememes of the photos studied. (shrink)

In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...) his account of representation. My own proposal is that in our apprehension of non-figurative artworks, our attention is drawn to the underlying structures of both emotive and perceptual experience. In this way, paintings, particularly abstract ones, disclose human cognition in a manner that makes fictionality an inappropriate tool for their analysis. (shrink)

Detailed review of the 2018 film. This article is concerned to define contemporary art such that the machinations of the current art market - as portrayed in the film - make sense. The central idea is that the best of contemporary art is narrative rather than merely aesthetic; and a failure to understand this leads to the confusion that currently characterizes judgements about modern artworks.

Chung Kuo, Cina, a documentary film by Michelangelo Antonioni, aroused fierce criticism both in China and in Europe when it was released in 1973. While these objections contradicted one another, they all share a conceptual core : the notion of realism understood in a Marxian sense as a critical representation of reality. Yet by refusing to grant a coherent and essentialist meaning to its images, Chung Kuo, Cina problematizes the presuppositions of such an understanding of realism. In this way, (...) the film anticipates some of its intrinsic difficulties and inaugurates a new form of criticism. -/- À sa sortie en 1973, le film documentaire Chung Kuo, Cina de Michelangelo Antonioni a provoqué des critiques farouches aussi bien en Chine qu’en Europe. Bien qu’elles se contredisent entre elles, ces objections se rejoignent toutes dans un noyau conceptuel autour de la notion de réalisme, entendu au sens marxiste comme représentation critique de la réalité. Cependant, en refusant d’accorder un sens cohérent et essentialiste à ses images, ce film permet de problématiser les présupposés de cette compréhension même du réalisme. Il préfigure ainsi certaines difficultés qui lui sont inhérentes et permet de concevoir une autre manière d’entendre la critique. (shrink)

Vivian Maier’s street photography shows us a sudden transfiguration of reality, by which persons, scenes and things become faerical (neologism that also receives one of the senses of the French féerie , a play where supernatural, or, in this case, also infranatural creatures appear). We propose that this transfiguration is an apparition – a faerical epiphany (always earthy and fleshy) that follows two ways, one sunny and luminous, the other obscure and subterranean. We will examine Maier’s body, reflected in (...) her self-portraits in order to propose that her sight (therefore her photography) is a daemonic one, an intermediary between our and other worlds. -/- La fotografía callejera de Vivian Maier nos hace ver una súbita transfiguración de la realidad por la cual las personas, las escenas y las cosas devienen féricas , neologismo que nos permitimos para recoger del inglés el universo de las faeries y traducir a la vez uno de los sentidos del francés féerie , pieza de teatro en la que aparecen seres sobrenaturales (o, en este caso, infranaturales). Esa transfiguración, proponemos, es en rigor una verdadera aparición: una epifanía feérica (siempre carnal) que se despliega en dos direcciones, solar y subterránea. Nos detendremos en el cuerpo de Maier, reflejado en sus autorretratos, para proponer, finalmente, que su mirada es un daimon, intermediaria entre éste y otros mundos. (shrink)

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.

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 (...) that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

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 (...) guide the attention of the spectator of the photograph. The understanding and defence of this claim is a secondary aim of this paper, and it will then allow us to provide a good treatment of the particular case of photographic representation and depiction of temporal extension. (shrink)

ABSTRACT: Almost all the voices of the six million Jewish men, women, and children who perished in the Holocaust were shuttered in the massacres of the Einsatzgruppen and inside the gas chambers (and vans) of the six German extermination camps (Auschwitz-Birkenau, Treblinka II, Bełżec, Sobibór, Chełmno, and Majdanek). Some of the victims' writings and drawings have survived, and these testimonies remain today a fraction of the millions of voices that were lost forever. With this paper I would like to convey (...) the idea that the (reconstructed and often fictionalized) voices that can be found in Holocaust feature films represent a homage to the victims who perished, and that these films (independently of their commercial success or their minor historical errors) often bring knowledge about the victims' suffering, antisemitism, the ghettos, the transports, the massacres, the Vernichtungslager and the Konzentrationslager to the vast public, and represent a glimpse into the shuttered voices of the Shoah. I also argue that, approached with caution, Holocaust films (antisemitic German propaganda films, post-war documentaries and post-war feature films) can be a valuable contribution to the historiography of the Shoah. (shrink)