Results for 'Photography'

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Bibliography: Photography in Aesthetics
  1. The Limits of Photography.Jiri Benovsky - 2014 - International Journal of Philosophical Studies 22 (5):716-733.
    This paper is about what counts as a photograph and what does not. One way in which this question arises stems from new technologies that keep changing our way of producing photographs, such as digital photography, which not only has now widely replaced traditional film photography but also challenges the very limits of what we count as a photograph. I shall discuss below at some length different aspects of digital photography, but also want to focus here on (...)
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  2. Photography and Causation: Responding to Scruton's Scepticism.Dawn M. Phillips - 2009 - British Journal of Aesthetics 49 (4):327-340.
    According to Roger Scruton, it is not possible for photographs to be representational art. Most responses to Scruton’s scepticism are versions of the claim that Scruton disregards the extent to which intentionality features in photography; but these cannot force him to give up his notion of the ideal photograph. My approach is to argue that Scruton has misconstrued the role of causation in his discussion of photography. I claim that although Scruton insists that the ideal photograph is defined (...)
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  3. Photography and Representation.Roger Scruton - 1981 - Critical Inquiry 7 (3):577-603.
    It seems odd to say that photography is not a mode of representation. For a photograph has in common with a painting the property by which the painting represents the world, the property of sharing, in some sense, the appearance of its subject. Indeed, it is sometimes thought that since a photograph more effectively shares the appearance of its subject than a typical painting, photography is a better mode of representation. Photography might even be thought of as (...)
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  4. Photography, a Middle-Brow Art.Pierre Bourdieu & Shaun Whiteside - 1990 - Stanford University Press.
    The everyday practice of photography by millions of amateur photographers may seem to be a spontaneous and highly personal activity. But France's leading sociologist and cultural theorist shows that few cultural activities are more structured and systematic than photography.
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  5.  1
    On Photography: A Philosophical Inquiry.Diarmuid Costello - 2017 - Routledge.
    What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In _On Photography: A Philosophical Inquiry_ Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the (...)
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  6.  29
    Towards a Philosophy of Photography.Vilém Flusser - 1984 - Reaktion Books.
    Media philosopher Vilém Flusser proposed a revolutionary new way of thinking about photography.
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  7.  82
    Photography, Vision, and Representation.Joel Snyder & Neil Walsh Allen - 1975 - Critical Inquiry 2 (1):143-169.
    Is there anything peculiarly "photographic" about photography—something which sets it apart from all other ways of making pictures? If there is, how important is it to our understanding of photographs? Are photographs so unlike other sorts of pictures as to require unique methods of interpretation and standards of evaluation? These questions may sound artificial, made up especially for the purpose of theorizing. But they have in fact been asked and answered not only by critics and photographers but by laymen. (...)
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  8. On Photography: A Philosophical Inquiry.Diarmuid Costello - 2016 - Routledge.
    What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the (...)
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  9. Photography and Science.Kelley Wilder - 2009 - Reaktion Books.
     
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  10.  24
    The Ethics of Clinical Photography and Social Media.César Palacios-González - 2015 - Medicine, Health Care and Philosophy 18 (1):63-70.
    Clinical photography is an important tool for medical practice, training and research. While in the past clinical pictures were confined to the stringent controls of surgeries and hospitals technological advances have made possible to take pictures and share them through the internet with only a few clicks. Confronted with this possibility I explore if a case could be made for using clinical photography in tandem with social media. In order to do this I explore: if patient’s informed consent (...)
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  11.  33
    Photography and the Material Performance of the Past.Elizabeth Edwards - 2009 - History and Theory 48 (4):130-150.
    ABSTRACTThis article explores the significance of the material practices of photography and its archiving in interpretive approaches to the relationship between photographs and history. Drawing on work in material culture studies in anthropology and on the concept of “material hermeneutic,” it argues that photographs should not be understood only through forensic and semiotic analysis of content, but as objects that constitute material performances of a complex range of historiographical desires in the negotiation of the relations among past, present, and (...)
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  12. Camera Lucida : Reflections on Photography.Roland Barthes - 1981 - In Christopher Want (ed.), Philosophers on Art From Kant to the Postmodernists: A Critical Reader. Columbia University Press.
  13. Photography, Painting and Perception.Gregory Currie - 1991 - Journal of Aesthetics and Art Criticism 49 (1):23-29.
  14. Photography and Philosophy: Essays on the Pencil of Nature.Scott Walden (ed.) - 2010 - Wiley-Blackwell.
    Unlike the numerous texts devoted to the subject of Film Theory, this collection contains essays specifically about the art form of Still Photography and the ...
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  15. Using Photography as a Means of Phenomenological Seeing:" Doing Phenomenology" with Immigrant Children.Anna Kirova & Michael Emme - 2006 - Indo-Pacific Journal of Phenomenology: Methodology: Special Edition 6:p - 1.
    The aim of the study presented in this paper was to understand the lifeworlds of children who experience immigration and whose lives are marked by dramatic changes in their being-in-the-world. More specifically, the study proceeded from the question: What does it mean for an immigrant child to enter school in a new country? Two methodological questions were also explored, namely How does one conduct a phenomenological investigation of a childhood phenomenon when the researchers and the participants do not share a (...)
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  16.  78
    Photography.Nigel Warburton - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press.
    This is a critical survey of writing on the philosophy of photography.
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  17.  70
    Fictionality and Photography.Richard Woodward - 2016 - Journal of Aesthetics and Art Criticism 74 (3):279-289.
    In Mimesis as Make-Believe, Kendall Walton gave a pioneering account of the nature of fictionality, which holds that what it is for p to be fictional is for there to exist a prescription to imagine that p. But Walton has recently distanced himself from his original analysis and now holds that prescriptions to imagine are merely necessary conditions on fictionality. Many of the alleged counterexamples that have prompted Walton's retreat are drawn from the field of photography, and it is (...)
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  18.  19
    Clinical Photography and Patient Rights: The Need for Orthopraxy.I. Berle - 2008 - Journal of Medical Ethics 34 (2):89-92.
    The increasing use of digital image recording devices, whether they are digital cameras or mobile phone cameras, has democratised clinical photography in the UK. However, when non-professional clinical photographers take photographs of patients the issues of consent and confidentiality are either ignored or given scant attention.Whatever the status of the clinician, the taking of clinical photographs must be practised within the context of a professional etiquette. Best practice recognises the need for informed consent and the constraints associated with confidentiality. (...)
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  19.  77
    Seven Theses on Photography.Christopher Pinney - 2012 - Thesis Eleven 113 (1):141-156.
    Benjamin and Barthes provide the starting point for a series of inter-connected propositions which seek to return the theorization of photography to the primacy of the pro-filmic. The index is reclaimed as a trace of the photographic event, capable only of delivering what Barthes termed the corps. The resulting contingency and exorbitance are the basis of photography’s prophetic and ‘troubling’ potential which free us from viewing photography as simply a screen for the social. The argument is advanced (...)
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  20.  10
    Photography and the Practices of Critical Black Memory.Leigh Raiford - 2009 - History and Theory 48 (4):112-129.
    Not too long after photography’s grand debut in 1839, physician and inventor Oliver Wendell Holmes described the new technology as a “mirror with a memory.” What might this phrase mean for the question of African Americans and their relationship to the vicissitudes of photography and the vagaries of memory in particular? Through readings of works of art and social activism that make use of lynching photographs, this essay considers ways in which photography has functioned as a technology (...)
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  21.  13
    Photography, Cinema, Memory: The Crystal Image of Time.Damian Sutton - 2009 - Univ of Minnesota Press.
    This is a philosophical investigation into the differing sensations of time in cinema and photography.
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  22.  20
    Photography.Siegfried Kracauer & Thomas Y. Levin - 1993 - Critical Inquiry 19 (3):421-436.
  23.  20
    Photography and the “Picturesque Agent”.Dominic McIver Lopes - 2012 - Critical Inquiry 38 (4):855-869.
    Even as art theory and analytic philosophy have failed to connect in their studies of photography, the two disciplines have joined in tying conceptions of the specific character of photography to ideas about automaticity and agency.1 In rough caricature, the philosopher reasons: “An item is a work of art only insofar as it is the product of agency, so a photograph is not an art work insofar it is not the product of artistic agency. After all, in Lady (...)
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  24.  7
    Using Photography to Enhance GP Trainees’ Reflective Practice and Professional Development. Rutherford, Emer Forde, Jacqueline Priego-Hernandez, Aurelia Butcher & Clare Wedderburn - 2018 - Medical Humanities 44 (3):158-164.
    The capacity and the commitment to reflect are integral to the practice of medicine and are core components of most general practitioners training programmes. Teaching through the humanities is a growing area within medical education, but one which is often considered a voluntary ‘add-on’ for the interested doctor. This article describes an evaluation of a highly innovative pedagogical project which used photography as a means to enhance GP trainees’ reflective capacity, self-awareness and professional development. Photography was used as (...)
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  25.  47
    Photography and Knowledge.Scott Walden - 2012 - Journal of Aesthetics and Art Criticism 70 (1):139-149.
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  26.  20
    Why Photography Matters to the Theory of History.Michael S. Roth - 2010 - History and Theory 49 (1):90-103.
    Georges Didi-Huberman's study is concerned with epistemological and ethical questions that arise from visual representations of the Shoah, while Michael Fried's is concerned with the ontological possibilities explored by contemporary art photography. The books have two things in common: an argument against postmodern skepticism, and an insistence that photography has become a field in which questions of history, truth, and authenticity are being explored with particular acuity. Rather than reject even the possibility that photographs have something to tell (...)
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  27. Photography Degree Zero: Reflections on Roland Barthes's Camera Lucida.Geoffrey Batchen (ed.) - 2011 - MIT Press.
     
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  28.  31
    Auto-Photography as Research Practice: Identity and Self-Esteem Research.Carey M. Noland - 2006 - Journal of Research Practice 2 (1):Article M1.
    This paper explores auto-photography as a form of research practice in the area of identity and self-esteem research. It allows researchers to capture and articulate the ways identity guides human action and thought. It involves the generation and examination of the static images that participants themselves believe best represent them. Auto-photography is an important tool for building bridges with marginalized groups in the research process, since it offers researchers a way to let participants speak for themselves. Furthermore, by (...)
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  29.  11
    Photography and Its Shadow.Hagi Kenaan - 2015 - Critical Inquiry 41 (3):541-572.
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  30.  14
    Four Arts of Photography.Dominic McIver Lopes - 2015 - Wiley.
    Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new understanding of the art form for the 21st century.
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  31.  55
    La photographie en tant qu'art.Patrick Talbot - 2013 - le Portique 30 (30).
    La photographie, dès sa naissance, entretint des relations tout à la fois difficiles et opaques avec l’art. En France notamment, et cela jusqu’à l’aube du xxe siècle, nombre d’écrivains et artistes se liguèrent pour affirmer qu’entre les deux, seuls prévalaient des rapports de subordination de la première au second. L’intérêt et la possible reconnaissance de la photographie en tant qu’art ne se manifesta donc qu’assez tardivement, une fois marginalisées les productions du premier « pictorialisme » visant à aligner l’esthétique du (...)
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  32. 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 (...)
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  33.  20
    On Photography: A Philosophical Inquiry.Laure Blanc-Benon - 2018 - British Journal of Aesthetics 58 (4):489-492.
    On Photography: A Philosophical InquiryCOSTELLODIARMUIDRoutledge. 2017. _pp._182. £19.99__.
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  34.  39
    Photography Theory in Historical Perspective.Hilde Van Gelder & Helen Westgeest - 2011 - Wiley-Blackwell.
    Photography Theory in Historical Perspective: Case Studies from Contemporary Art aims to contribute to the understanding of the multifaceted and complex character of the photographic medium by dealing with various case studies selected from ...
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  35. Photography, Memory, and the Construction of Identities on the Former East—West German Border.Dariusz Galasiński & Ulrike H. Meinhof - 2000 - Discourse Studies 2 (3):323-353.
    This article discusses pilot data for a major research project into the discursive construction of identity in three-generation families living in border communities where each generation has experienced fundamental changes in their socio-political environment. The oral data on which the analysis is based were triggered by photographs from the communities in question, and are being analysed with discourse-analytical procedures. The article demonstrates how an innovative method of using symbolically-charged photography as triggers for oral narratives can solve a major dilemma (...)
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  36.  10
    Photography as Fiction.Erin C. Garcia - 2011 - J. Paul Getty Museum.
    From as early as 1839, artists began exploring photography's enormous potential for storytelling and often went to great lengths to create pictures for the camera.
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  37. Photography as a Representational Art.Robert Wicks - 1989 - British Journal of Aesthetics 29 (1):1-9.
  38. Photography.Patrick Maynard - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  39.  1
    Photography and Philosophy.Norton Batkin - 1981 - Garland.
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  40.  33
    Photography, Narrative, Time: Imaging Our Forensic Imagination.Greg Battye - 2014 - Intellect.
    Providing a wide-ranging account of the narrative properties of photographs, Greg Battye focuses on the storytelling power of a single image, rather than the sequence. Drawing on ideas from painting, drawing, film, video, and multimedia, he applies contemporary research and theories drawn from cognitive science and psychology to the analysis of photographs. Using genuine forensic photographs of crime scenes and accidents, the book mines human drama and historical and sociological authenticity to argue for the centrality of the perception and representation (...)
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  41. Photographie Contemporaine & Art Contemporain.François Soulages & Marc Tamisier (eds.) - 2012 - Klincksieck.
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  42. 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 (...)
     
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  43.  3
    Photography From the Turin Shroud to the Turing Machine, Yanai Toister.John Lechte - 2020 - Philosophy of Photography 11 (1-2):137-141.
    Review of: Photography from the Turin Shroud to the Turing Machine, Yanai Toister Bristol and Chicago, IL: Intellect, p/bk, 215 pp., ISBN 978-1-78938-156-6, p/bk, £37.
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  44.  60
    Photography and Ontology.Joel Snyder - 1983 - Grazer Philosophische Studien 19 (1):21-34.
    Numerous writers on photography and motion pictures have claimed that photographically originated pictures are essentially different from handmade pictures. Arguments made on behalf of the essential difference of photographs from other kinds of pictures generally depend upon one or another of two models of the photographic process: the visual model claims that photographs are closely allied to vision and show what we would have seen from the standpoint of the camera at the time of exposure; the mechanical or automatic (...)
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  45. Painting, Photography and Representation.Donald Brook - 1983 - Journal of Aesthetics and Art Criticism 42 (2):171-180.
  46.  91
    Photography and the Representation of Vision.Jonathan Friday - 2001 - Journal of Aesthetics and Art Criticism 59 (4):351–362.
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  47.  23
    Photography Clichés: On Baudelaire’s Media Aesthetics and the Mechanical Arts.Marit Grøtta - 2017 - Nordic Journal of Aesthetics 25 (53).
    The aim of this article is two-folded. First, I wish to situate Baudelaire in the midst of 19th-century media, bring attention to the way he explored the new media of his day, and suggest that he developed his own media aesthetics. Second, I wish to examine Baudelaire’s relation to photography more specifically, emphasizing his love of commonplaces and clichés. I begin by contextualizing Baudelaire’s notorious attack on photography in the Salon de 1859 and then examine three poems in (...)
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  48.  2
    Photography and its Violations.John Roberts - 2014 - Cambridge University Press.
    Theorists critique photography for "objectifying" its subjects and manipulating appearances for the sake of art. In this bold counterargument, John Roberts recasts photography's violating powers of disclosure and aesthetic technique as part of a complex "social ontology" that exposes the hierarchies, divisions, and exclusions behind appearances. The photographer must "arrive unannounced" and "get in the way of the world," Roberts argues, committing photography to the truth-claims of the spectator over the self-interests and sensitivities of the subject. Yet (...)
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  49.  3
    Amateurs, Photography, and the Mid-Victorian Imagination.Grace Seiberling - 1986 - University of Chicago Press.
    This book will appeal to general readers and sociologists as well as art historians because of its original treatment of early photography as a manifestation of class concerns.
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  50.  4
    Digital Photography: Top 100 Simplified Tips & Tricks.Rob Sheppard - 2007 - Visual.
    Photographs and step-by-step lessons help readers learn the techniques of digital photography.
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