About this topic
Summary The (analytic) philosophy of photography came into its own relatively recently, in the early 1980's. Since then, philosophical theorising about photography has largely been preoccupied with three issues: 1. Are photographs transparent; that is, is seeing a photograph (and related photographic media, like film and television) a way of indirectly seeing photographed objects? 2. How should one respond to scepticism about photography's aesthetic value? 3. In what does the peculiar epistemic value of photography consist? More recently, attention has turned towards a number of other issues, including: 4. What is the correct ontological category in which to locate photographs? 5. In what does the peculiar affective power of photographs consist? 6. How does digital photography challenge extant answers to questions 1-5. Answering these questions has involved philosophers drawing on related research in aesthetics concerning: pictorial experience and theories of depiction; fictionality; standards of correctness and interpretive norms more broadly; aesthetic value; and artist's intention. But philosophers interested in the philosophy of photography have also drawn on issues further afield, including: issues in the philosophy of action; information-theoretic accounts of mental content; sense-data and the possibility of indirect perception; necessary conditions for perception; and the nature of causation.
Key works The locus classicus for the theory of photographic transparency is Walton 1984. Although Walton's concern is the affect of photographs, the principal influence of this paper, apart from its prompting numerous replies in response to the idea of transparency itself, was its spawning the literature on the epistemic value of photographs. Walton's paper is best understood when read in conjunction with the postscript in Walton 2008, which clarifies a number of subtle issues arguably obscured in various early responses to, and replies from, Walton. Scepticism about photography's epistemic value is vigorously defended by Roger Scruton in Scruton 1981. This paper is likewise best understood when read in conjunction with later clarificatory replies by Scruton, including Scruton 2009. Key works on the epistemic value of photography include: Cohen & Meskin 2004, Abell 2010 and Walden 2005. Key works on the affective nature of photography (in addition to Walton 1984) include: Hopkins 2010, Pettersson 2011 and Currie 1999. Edited collections include: Walden 2010 and a special issue of the Journal of Aesthetics and Art Criticism, Costello & Mciver Lopes 2012. Papers in the latter address a number of new issues in the philosophy of photography, suggesting those working in the area are beginning to move beyond the traditional issues of transparency, aesthetic scepticism and epistemic value. Notable monographs include: Maynard 1997 and Friday 2002. Three monographs in the philosophy of film that discuss photography at length are: Currie 1995, Carroll 2007 and Gaut 2010. The latter is especially notable for its theorising about the nature of digital photography.
Introductions Useful survey articles include: Costello & Phillips 2008 and Maynard 2000
Related

Contents
1225 found
Order:
1 — 50 / 1225
  1. 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   Direct download  
     
    Export citation  
     
    Bookmark  
  2. 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   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  3. Depiction, Imagination, and Photography.Jiri Benovsky - forthcoming - In Keith Moser & Ananta Sukla (eds.), Imagination and Art: Explorations in Contemporary Theory. Brill.
    Imagination plays an important role in depiction. In this chapter, I focus on photography and I discuss the role imagination plays in photographic depiction. I suggest to follow a broadly Waltonian view, but I also depart from it in several places. I start by discussing a general feature of the relation of depiction, namely the fact that it is a ternary relation which always involves "something external." I then turn my attention to Walton's view, where this third relatum of the (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark   1 citation  
  4. The body's truth: Notes on Angelo Novi's still photography from Mamma Roma (1962) to.Roberto Chiesi - forthcoming - Teorema: International Journal of Philosophy.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  5. Philosophy of photography.Andrew Fisher & Daniel Rubenstein - forthcoming - Philosophy of Photography.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  6. Deepfakes, Public Announcements, and Political Mobilization.Megan Hyska - forthcoming - In Alex Worsnip (ed.), Oxford Studies in Epistemology, vol. 8. Oxford University Press.
    This paper takes up the question of how videographic public announcements (VPAs)---i.e. videos that a wide swath of the public sees and knows that everyone else can see too--- have functioned to mobilize people politically, and how the presence of deepfakes in our information environment stands to change the dynamics of this mobilization. Existing work by Regina Rini, Don Fallis and others has focused on the ways that deepfakes might interrupt our acquisition of first-order knowledge through videos. But I point (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  7. The politics of past and future: synthetic media, showing, and telling.Megan Hyska - forthcoming - Philosophical Studies:1-22.
    Generative artificial intelligence has given us synthetic media that are increasingly easy to create and increasingly hard to distinguish from photographs and videos. Whereas an existing literature has been concerned with how these new media might make a difference for would-be knowers—the viewers of photographs and videos—I advance a thesis about how they will make a difference for would-be communicators—those who embed photos and videos in their speech acts. I claim that the presence of these media in our information environment (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  8. Literature and Digital Illumination.Lis Lindeman & Gregory O. Smith - forthcoming - Topoi.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  9. Generative AI and photographic transparency.P. D. Magnus - forthcoming - AI and Society:1-6.
    There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response to (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  10. Photo Mensura.Patrick Maynard - forthcoming - In Nicola Moeßner & Alfred Nordmann (eds.), The Epistemology of Measurement: Representational and Technological Dimensions. Routledge.
    Remove from this list  
     
    Export citation  
     
    Bookmark   1 citation  
  11. The Original in the Digital Age.Doron Avital & Karolina Dolanska - 2023 - Espes. The Slovak Journal of Aesthetics 12 (2):88-107.
    In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is the starting point for a logical-historical journey tracing the fate of the Original in the digital age. We follow the footsteps of two seminal works exploring the concept of the Original, the celebrated The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin and Nelson Goodman’s book, Languages of Art. We examine two case studies: the Lost Leonardo (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  12. Capitalism and the Camera: Essays on Photography and Extraction, Kevin Coleman and Daniel James (eds) (2021).Simon Constantine - 2023 - Philosophy of Photography 14 (1):124-128.
    Review of: Capitalism and the Camera: Essays on Photography and Extraction, Kevin Coleman and Daniel James (eds) (2021) London and New York: Verso, 320 pp., ISBN 978-1-83976-080-8, p/bk, GBP 19.99.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  13. Ilustraciones en el ámbito editorial en el Perú. Entrevista a Gerardo Arturo Ramirez Neyra.Jesús Miguel Delgado Del Aguila - 2023 - Microtextualidades. Revista Internacional de Microrrelato y Minificción 14 (14):78-84.
    Gerardo Arturo Ramirez Neyra nació el 23 de febrero de 1984 en Lima (Perú). Realizó estudios de Antropología en la Universidad Nacional Mayor de San Marcos y cursó talleres artísticos en el Museo de Arte de Lima, en los que perfeccionó sus dibujos de manga, retrato, acuarelas y figuras humanas. En el 2018, estudió Diseño Gráfico en IDAT. Esta entrevista se realizó el 4 de julio de 2021 de forma audiovisual.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  14. The Narrative Characteristics of Images.Hannah Fasnacht - 2023 - British Journal of Aesthetics 63 (1):1-23.
    While much has been written about verbal narratives, we still lack a clear account of what makes images narrative. I argue that there are narrative characteristics of images and show this with examples of single images. The argument proceeds in three steps. First, I propose that from a semantic perspective, the following two characteristics are necessary for an image to be narrative: a representation of an event and a representation of time. Second, I argue that there are paradigmatic characteristics, such (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  15. Archival violence.Paul Grace - 2023 - Philosophy of Photography 14 (1):67-83.
    Photographs of violence carry an implicit critique of the social order from which they emerge. This necessitates the systemic management of their affect. Recognition of the experience carried by these signals has the potential to catalyse and contribute to emancipatory thought and action. The apparatus of epistemic control – characterized here as the Archive – has evolved to neutralize their affective potential. Certain artworks that reconfigure photographs of violence illuminate the nature of this neutralizing mechanism. They mimic and subvert the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  16. Seeing One Another Anew with Godfrey Reggio's Visitors.Eran Guter & Inbal Guter - 2023 - In Craig Fox & Britt Harrison (eds.), Philosophy of Film Without Theory. Cham: Palgrave Macmillan.
    Visitors is a hybrid art film fusing photography and music into a complex abstract texture for the attention of the viewer. It is also a requiem for our ‘New Order for the Ages’ in which humanity grows more and more technologically interconnected and communality means being alone together. We argue that Visitors can be experienced as a seeing aid designed to situate the viewer bewilderingly as needing to reacquire the capacity to see human beings as human beings. This is achieved (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  17. Adventure in times of terror.Anke Hennig - 2023 - Philosophy of Photography 14 (1):49-65.
    This article follows the history of the idea of adventure in the Soviet Union, which started as a dream of the great communist adventure but two decades into the revolution turned into the nightmare of the Great Terror. Adventure was implicated in the violent realities of Stalinism through tropes of the adventure genre, such as the loneliness of the adventurer in a precarious world impenetrable by reason. Understanding this situation requires a focus on philosophies of both adventure and terror. For (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  18. Photography as violence: On experience and manipulation.Hilde Honerud & Jon Honerud - 2023 - Philosophy of Photography 14 (1):85-94.
    This publication presents a selection of photographic work by Hilde Honerud, made in collaboration with Yoga and Sports with Refugees (YSR) in Lesbos, Greece. It is introduced by a text coauthored with Jon Honerud. In order to engage with the experiences and the vulnerable position of the refugees involved, this project used increasingly apparent formal manipulations to convey an experience beyond the documentary image and to push observers to question the objectivity of images; to move from representation to immediate experience. (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  19. How Photography Changed Philosophy, Daniel Rubinstein (2023).John Lechte - 2023 - Philosophy of Photography 14 (1):119-123.
    Review of: How Photography Changed Philosophy, Daniel Rubinstein (2023) New York and Abingdon: Routledge, 122 pp., ISBN 978-0-36769-422-7, h/bk, GBP 130.00.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  20. The pencil of cheap nature: Towards an environmental history of photography.Boaz Levin - 2023 - Philosophy of Photography 14 (1):19-47.
    This article sets out to draft a preliminary sketch of an environmental history of photography, as opposed to a history of environmental photography. It shows that such a history should be rooted in a conceptualization of our geological epoch as the Capitalocene: the age of capital. Seen in this light, photography can be understood as part of a longer history of what the article describes – building on the work of activist and journalist Raj Patel and environmental historian Jason W. (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  21. The portraits of disease.Chihying Musquiqui - 2023 - Philosophy of Photography 14 (1):109-118.
    ‘The portraits of disease’ explores the link between the symbolic use of diseases and the propagation of ideologies. It traces the origins of the term ‘Sick Man of Asia’ back to British newspapers in the mid-eighteenth century and its development into a metaphor for actual pathogens. The author contends that coloniality and pathogens share similarities, as both are highly transmissible and cannot be seen with the naked eye. The text also examines the influence of German-influenced microbiological research in the Japanese (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  22. Lyotard and Critical Practice, Kiff Bamford and Margaret Grebowicz (eds) (2023).Mattia Paganelli - 2023 - Philosophy of Photography 14 (1):129-133.
    Review of: Lyotard and Critical Practice, Kiff Bamford and Margaret Grebowicz (eds) (2023) London: Bloomsbury, 238 pp., ISBN 978-1-35019-202-7, h/bk, GBP 85.00.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  23. The choreography of violence: A discussion between Harri Pälviranta and Stefanie Baumann.Harri Pälviranta, Stefanie Baumann & Alexandra Athanasiadou - 2023 - Philosophy of Photography 14 (1):95-108.
    How is violence conventionally portrayed and where does violence lie in representation? How does photography mediate the relationships between different forms and ideas, moments and experiences of violence? These were some of the questions addressed in a conversation between artist Harri Pälviranta and philosopher Stefanie Baumann organized by Alexandra Athanasiadou, founder and director of the online platform Philosophy & Photography Lab (PHLSPH), during the international Photography Festival, Imago Lisboa, in Lisbon during October 2022. The discussion presented here is edited from (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  24. The visual terms of state violence in Israel/Palestine: An interview with Rebecca L. Stein.Rebecca L. Stein, Noa Levin & Andrew Fisher - 2023 - Philosophy of Photography 14 (1):7-18.
    This interview with media anthropologist, Rebecca L. Stein, conducted by Noa Levin and Andrew Fisher in Spring 2023, takes her recent book Screenshots: State Violence on Camera in Israel and Palestine (2021) as its starting point in order to explore issues of state violence and the militarization of social media in Israel/Palestine. This book marks the culmination of a decade-long research project into the camera dreams introduced by digital imaging technologies and the fraught histories of their disillusionment. Stein discusses the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  25. What Is a Photographic Register?Dawn M. Wilson - 2023 - Journal of Aesthetics and Art Criticism 81 (3):408-413.
    This Discussion Piece is a response to Mark Windsor's Discussion Piece (2023) 'Photographic Registers are Latent Images', which is a response to my article, (2021) 'Invisible Images and Indeterminacy: Why we need a Multi-stage Account of Photography' JAAC 79(2) 161-174.. -/- I argue that a photosensitive surface does not produce invisible pictorial features when it is exposed to light, and conclude, contra Windsor, that a photographic register is not a latent image. I argue that Windsor does not succeed in defending (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  26. Photographic Registers Are Latent Images.Mark Windsor - 2023 - Journal of Aesthetics and Art Criticism 81 (3):404-407.
    In a recent article, Dawn Wilson (2021) has argued against single-stage accounts of photography by arguing against the latent photographic images upon which those accounts depend. Concomitantly, she argues that the only viable account of photography is multi-stage. Unlike single-stage accounts, multi-stage accounts do not postulate the existence of photographic images of any kind prior to development. Rather, according to multi-stage accounts, photographs are produced from “photographic registers.” In this Discussion Piece, I defend single-stage accounts by arguing that Wilson’s rejection (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  27. Politische Landschaft (mit Burgruine): Ein Bilddokument von Identitätsdiskursen in Ostbelgien.Oliver Zöllner - 2023 - In Arvi Sepp & Lesley Penné (eds.), Ostbelgische Querverbindungen: Literarische Repräsentationen einer Grenzregion. Münster, New York: Waxmann. pp. 71-94.
    In his article "Political Landscape (with Castle Ruins): A Pictorial Document of Identity Discourses in East Belgium", Oliver Zöllner uses Ralf Bohnsack's (2013) "documentary method" to analyze a PR picture taken from a brochure of a regional authority as a pictorial document that encapsulates underlying discourses of identity, or rather identities in the plural, within the German-speaking Community of eastern Belgium, one of the three linguistic Communities of the federally organized kingdom. The analyzed image of a young woman in front (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  28. L’arrêt de mort.Emmanuel Alloa - 2022 - Archives de Philosophie 85 (1):11-25.
    Promettant à la fois la capture de l’instant et son dépassement vers l’intemporel, le medium photographique voit son destin intimement lié à la catégorie du temps. L’article suggère cependant que cette inclusion du temps dans l’image s’est acquise, au cours de l’histoire de la photographie, au prix d’une essentialisation du momentané. À rebours d’une telle approche, il s’agit de repenser l’instantané photographique comme découlant de l’accident, si bien que la photo figure non plus l’instant fécond, mais bien le temps de (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  29. Relieve de Cine en Relieve.Bernd Behr - 2022 - Philosophy of Photography 13 (1):165-173.
    This series of images forms part of the ongoing project Soft Ground, Hard Light, which speculates on a multiscalar spatial ontology of photography emanating from the Arditurri silver mine complex in the Basque Country. Evoking the mountainous massif around Arditurri where silver ore and galena have been extracted since Roman presence in the area, the depicted topographies are, in fact, data transcriptions from atomic force microscopy (AFM) probing the analogue film stock of an early 1930s experiment in 3D cinema, Cine (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  30. To scan a memory: On Anouk De Clercq’s LiDAR film Thing.Martine Beugnet - 2022 - Philosophy of Photography 13 (1):135-151.
    LiDAR (Light Detection and Ranging) is a remote sensing technology. It needs no ambient light, nor the guidance of the human eye to capture and reproduce a likeness of the world around us. Although LiDAR generates a constant stream of technical literature, LiDAR images, once envisaged for their aesthetic and expressive value, seem to call for alternative modes of analysis. How do we approach the fast-expanding archive of scanner images? How do we adequately describe the intriguing, spectral visualizations that its (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  31. Life Through a Lens.Dan Cavedon-Taylor - 2022 - In Sophie Archer (ed.), Salience: A Philosophical Inquiry. Routledge.
    Kantian disinterest is the view that aesthetic judgement is constituted (at least in part) by a form of perceptual contemplation that is divorced from concerns of practical action. That view, which continues to be defended to this day, is challenged here on the basis that it is unduly spectator-focussed, ignoring important facets of art-making and its motivations. Beauty moves us, not necessarily to tears or rapt contemplation, but to practical action; crucially, it may do so as part and parcel of (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  32. Pureness or corruption: Spectres and ghosts between photography and X-rays.Martin Charvát - 2022 - Philosophy of Photography 13 (1):99-118.
    This article investigates the paradoxical nature of cameraless photography. Born after the invention of early photography, the camera apparatus is clearly a precondition of the idea and practice of cameraless photography (photography made without a camera). Yet, at the same time, cameraless photography is situated as a form of pure photography, giving rise to the idea that the spirit of photography lies somewhere beyond the mediation of the camera. This article approaches the paradoxical nature of cameraless photography in an indirect (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  33. A Black Gaze: Artists Changing How We See, Tina M. Campt (2021).Flora Dunster - 2022 - Philosophy of Photography 13 (2):307-313.
    Review of: A Black Gaze: Artists Changing How We See, Tina M. Campt (2021) Cambridge, MA: MIT Press, 232 pp., ISBN 978-0-26204-587-2, h/bk, $29.95 Dark Mirrors, Stanley Wolukau-Wanambwa (2021) London: Mack Books, 240 pp., ISBN 978-1-91362-039-4, p/bk, £25.00.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  34. Reconsidering cameraless photography.Tomáš Dvořák - 2022 - Philosophy of Photography 13 (1):3-15.
    This article introduces the Special Issue on cameraless photography and the translation of Georg Christoph Lichtenberg’s treatise on electrical figures. It summarizes previous discussions on cameraless photography, namely those by Geoffrey Batchen and suggests relating the photogram to current post-lenticular technologies such as radiography, digital scanning or machine vision. It outlines the emergence of cameraless imaging in late eighteenth- and early nineteenth-century scientific research, taking Lichtenberg’s figures as an emblem of automatically generated images situated between duration and instantaneity, between image (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  35. Life and death in the production of a Factographic object.Andrew Fisher - 2022 - Philosophy of Photography 13 (2):255-273.
    This article focuses on documents made by the Soviet military secret service detailing the arrest, interrogation, trial and execution of Sergei Tret’iakov in Moscow in 1937. The original documents were published in Russian in 1997 as part of Return my Freedom, a collection of archival records edited by Vladimir Kolyazin that details the fate of Russian and German cultural figures who fell victim to the Stalinist terror. This record of Tret’iakov’s violent death has received little attention, even in Russia or (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  36. Shot/countershot: Essaying images of war and violence in the work of Harun Farocki, Hito Steyerl and Rabih Mroué.Alex Fletcher - 2022 - Philosophy of Photography 13 (2):231-253.
    This article examines the work of three artists – Harun Farocki, Hito Steyerl and Rabih Mroué – who in different ways mobilize the cinematic device of ‘shot/countershot’ in two distinct post-cinematic contexts (the moving image installation and the performance lecture) as a tool for scrutinizing images of war and violence from divergent historical, socio-economic, geopolitical and ethical perspectives. In returning to and reworking this classical cinematic device as an experimental and essayistic mode of montage and critical reflection, all three artists, (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  37. Street Photography Ethics.John Hadley - 2022 - Ethical Theory and Moral Practice 25 (4):529-540.
    In this paper I examine the ethics of street photography. I firstly discuss the close-up ‘in-your-face’ style street photography made famous by American photographer, Bruce Gilden. In close-up street photography, the proximity of the camera to the subject and the element of surprise work in tandem to produce a striking and evocative picture. Close-up street photography is shown to be ethically contentious on wellbeing-related and autonomy-related grounds. I next examine the more orthodox ‘respectable distance’ kind of street photography. In orthodox (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  38. Pechblende.Susanne Kriemann - 2022 - Philosophy of Photography 13 (1):61-74.
    Bringing together an assemblage of archival materials, photo documents, literature and found objects, Pechblende investigates concepts of scale, proximity and distance in relation to radioactivity and the body. Centred on the highly radioactive and uranium-rich mineral pitchblende (German: Pechblende), the work traces a history of scientific and photographic processes narrated through the interconnected sites of laboratory, archive, museum and mine. Pitchblende was mined in the Ore Mountains of the former German Democratic Republic between 1946 and 1989. Today, the former mining (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  39. Negative.Jimmy Lee - 2022 - Philosophy of Photography 13 (2):275-287.
    This publication presents a selection from ‘Negative’: a landscape project on the aftermath of the recent political unrest in Hong Kong.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  40. Spiritualism and the material performance of cameraless photography: Notes on and around a séance with Eusapia Palladino.Nicoletta Leonardi - 2022 - Philosophy of Photography 13 (1):75-97.
    This article examines the cameraless negatives revealing the imprints of four fingers obtained in Turin in February 1907 during the second of two séances with renowned medium Eusapia Palladino organized by physiologists Alberto Aggazzotti, Carlo Foà and Amedeo Hertlizka. By looking at the material and performative components of the séance, it presents spiritualist cameraless photography as a productive tool for rethinking and reframing the photographic medium from a cross-disciplinary perspective questioning medium specific histories and dominant genealogies.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  41. First treatise containing general experiments on a new method for researching the nature and movement of electrical matter presented at the public meeting of the Royal Society of Sciences on 21 February 1778.Georg Christoph Lichtenberg - 2022 - Philosophy of Photography 13 (1):17-34.
    This text was first published as ‘De nova methodo naturam ac motum fluidi electrici investigandi’ in Novi Commentarrii Societatis Regiae Scientiarum Gottingensis. Commentationes physicae et mathematicae classis 8 (Göttingen 1778: 168–80). It also appeared in a printing by Joann Christian Dieterich in Göttingen in 1778. Lichtenberg delivered this talk personally to the Royal Society of Sciences in Göttingen on 21 February 1778. Although Lichtenberg was not present, he had already informed the Royal Society of Lichtenberg’s discovery of the electrical figures (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  42. Photographing hyperobjects: The non-human temporality of autoradiography.Olga Moskatova - 2022 - Philosophy of Photography 13 (1):119-133.
    In the aftermath of the Fukushima power plant disaster, autoradiography became an increasingly widespread artistic technique for producing cameraless photography. By exposing photographic film directly using contaminated objects and materials, contemporary artists autoradiograph the geopolitics and local histories of atomic contamination due to bombing, testing, nuclear reactor explosions, mining or uranium disposal cells. In my article, I discuss the implications these autoradiographic works have for the concept of photography by drawing on Timothy Morton’s notion of hyperobjects. Being hyperobjective, radioactivity confronts (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  43. Fotografie: Moralischer Blick oder ästhetische Distanz?Nicola Mößner - 2022 - In Hauke Behrendt & Jakob Steinbrenner (eds.), Kunst und Moral: Eine Debatte über die Grenzen des Erlaubten. Berlin, Boston: de Gruyter. pp. 219-242.
    Photography: morally close or aesthetically removed? Can photographs make a contribution to the moral discourse? And, if so, what kind of contribution might that be? On the one hand, they are often used in morally laden contexts of communication such as media reports about wars etc. On the other, it is said that images are inherently ambiguous which seems to speak against the possibility to use them as a means to communicate focused moral judgements. The following article starts with a (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  44. Loss of vision: On emotional affects caused by the representation of violence in Russia’s war against Ukraine and beyond.Mykola Ridnyi - 2022 - Philosophy of Photography 13 (2):289-300.
    The essay is concentrated on emotional affects caused by representation of violence in the case of Russia’s war against Ukraine and beyond. Instant accessibility to first-hand visual information created fertile soil for planting and then multiplying manipulative strategies of one or another political interest. Meanwhile, the demand for shocking content continues to steadily rise because it guarantees popularity, spectacle and even a form of pleasure. This, in turn, supports a very propagandistic version of reality where violence plays a central role (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  45. On the photographic status of images produced by generative adversarial networks (GANs).Antonio Somaini - 2022 - Philosophy of Photography 13 (1):153-164.
    The text analyses the new images produced by artificial neural networks such as Generative Adversarial Networks (GANs) from the perspective of photography and, more specifically, cameraless photography. The images produced by GANs are located within the wider framework of the impact of machine learning technologies on contemporary visual culture and contemporary artistic practices. In the final section, the article focuses on the work of two artists who have explicity tackled the relations between GAN-generated images and the traditions of photography and (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  46. Killing for Show: Interview with Julian Stallabrass.Julian Stallabrass, Alex Fletcher & Andrew Fisher - 2022 - Philosophy of Photography 13 (2):183-205.
    This interview with the art historian and curator Julian Stallabrass was conducted by Alex Fletcher and Andrew Fisher over the winter of 2022–23. It takes as its point of departure Stallabrass’s recent and large-scale study Killing for Show: Photography, War, and the Media in Vietnam and Iraq (2020), in order to consider the changing ways in which images have been used to both document and to wage war. The interview explores Stallabrass’s central historical contrast between photography in the Iraq and (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  47. Landscape and autopsy: Photography and the natural history of capital.Alberto Toscano - 2022 - Philosophy of Photography 13 (2):213-229.
    This article takes inspiration from Allan Sekula’s remarks on New Topographics photography, as well as his own ‘geography lessons’, to interrogate how photographs of ‘man-altered landscapes’ give visual form to the problems of temporality, natural history and historical agency that mark life in the Capitalocene. It proposes that combining Fredric Jameson’s analysis of the way that capital congeals ‘quantities of the past’ into dead labour with Andreas Malm’s diagnosis of our ‘warming condition’ allows us both to diagnose and counter the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  48. Toward the Critique of Violence: A Critical Edition, Walter Benjamin, Peter Fenves (ed.) and Julia Ng (ed.) (2021).Sebastian Truskolaski - 2022 - Philosophy of Photography 13 (2):301-306.
    Review of: Toward the Critique of Violence: A Critical Edition, Walter Benjamin, Peter Fenves (ed.) and Julia Ng (ed.) (2021) Stanford, CA: Stanford University Press, 368 pp., ISBN 978-0-80474-952-7, h/bk, $25.00.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  49. Portraits, Facial Perception, and Aspect-Seeing.Andreas Vrahimis - 2022 - British Journal of Aesthetics 62 (1):85–100.
    Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative process involves (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  50. Kinemorphic cursives: Self-imaging and the non-mimetic source of photoimaging.Christophe Wall-Romana - 2022 - Philosophy of Photography 13 (1):35-59.
    The motive for late eighteenth-century proto-technics of photography and cinema was never quite mimetic representation: it was generating autonomous impressions of natural phenomena within the tradition ofNaturphilosophie. The article analyses a series of connections between ‘natural hieroglyphs’ (von Lichtenberg), Jacques-Alexandre-César Charles’s ‘megascope’, Wedgwood’s pre-photography, Lavater’s silhouettes and antecedents of Marey’s ‘graphic method’. The goal is to document precursor ideas, devices, setups and frameworks of photoimaging medias to show that the genealogy of photography and cinema intersected through many polymath transverses within (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
1 — 50 / 1225