Yael Eylat Van-Essen, ‘The Image as a Networked Interface: The Textualization of the Photographic Image’, pp.259, in:
Rubenstein, D., Golding, J., Fisher, A., 2013. On the verge of photography: imaging beyond representation. Article Press, Birmingham, UK.
Mitchell proposes relating to pictures as to living entities with needs, which we should try to relate to on their own terms.
The suggestion that we attribute a subjectivity of their own to living images, as opposed to examining them according to the meanings they create, can be seen as sequential to thought rooted in the theories of Nietzsche and Heidegger, and later, in the works of other theoreticians such as Gilles Deleuze and Jean-Luc Nancy, who sought to relate to a work of art using the question of its “being”.The image, according to them, has its own being that is not derived from the object it represents. It is not a copy or an imitation of something external to it; it is an autonomous entity in its own right.
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Margrit Shildrick, ‘Welcoming the Monstrous Arrivant’, pp.120-133, in:
Shildrick, M., 2002. Embodying the monster: encounters with the vulnerable self, Theory, culture & society. SAGE Publications, London ; Thousand Oaks, Calif.
My claim is that as the body is discursively materialised in both language and practice, that materialisation is never value-neutral. There is, then, a very legitimate interest for the postmodernist not just in how new bodies are constructed in discourse, but in the material constitution and effects of those bodies.
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Jay Bolter and Richard Grusin, ‘Digital Photography’, pp.104-112, in:
Bolter, J.D., Grusin, R., 2003. Remediation: understanding new media. MIT Press, Cambridge, Mass.
Many remediations are reciprocal in the sense that they invite us to imagine each medium as trying to remediate the other. In such cases, deciding which medium is remediating and which is remediated is a matter of interpretation, for it comes down to which medium is regarded as more important for a certain purpose.
Computer photorealism is trying to achieve precisely what digital photography is trying to prevent: the overcoming and replacement of the earlier technology of photography.
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Sharov, A.A., 2010. Functional Information: Towards Synthesis of Biosemiotics and Cybernetics. Entropy 12, 1050–1070. doi:10.3390/e12051050
Understanding of the informational nature of life has led to the emergence of two new disciplines, cybernetics and biosemiotics, which approached the same problem from different angles.
Cybernetics was conceived to study communication and control in machines and living organisms in the light of the information theory. However, because living organisms are too complex and we still have very limited means to control them, cybernetics has much stronger links with technology (i.e., communication industry, computers, and robots) than with biology.
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Michel Serres, ‘Potential’, pp.33-66, in:
Serres, M., Burks, R., 2011. Variations on the body. Univocal Publishing, Minneapolis.
No seated professor taught me productive work, the only kind of any worth, whereas my gymnastics teachers, coaches and, later, my guides inscribed its very conditions into my muscles and bones. They teach what the body can do.
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Michel Serres, ‘Energy, Information’, pp.94-97, in:
Serres, M., Schehr, L.R., 1982. The parasite. Johns Hopkins University Press, Baltimore.
If all the merit, honor, and glory are usually given to the populace of the anthill, sometimes they are given to the grasshoppers. All that is necessary is to have enough of them in the system for us to be happy. As usual, good and evil are divided, and the corresponding marker is sometimes given to the worker, sometimes to the singer.
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Wolfgang Ernst, ‘Media Archaeography: Method and Machine Versus History and Narrative Of Media’, pp.239-255, in:
Huhtamo, E., Parikka, J. (Eds.), 2011. Media archaeology: approaches, applications, and implications. University of California Press, Berkeley, Calif.
The media-archaeological method as proposed here is meant as an epistemological alternative approach to the supremacy of media-historical narratives. Equally close to disciplines that analyse material (hardware) culture and to the Foucauldian notion of the “archive” as the set of rules governing the range of what can be verbally, audiovisually, or alphanumerically expressed at all, media archaeology is both a method and an aesthetics of practising media criticism, a kind of epistemological reverse engineering, and an awareness of moments when media themselves, not explicitly humans any more, come active “archaeologists” of knowledge.
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Allan Sekula, ‘The Body and the Archive’, pp.3-64, in:
October, Vol. 39 (Winter, 1986). MIT Press.
The sheer range and volume of photographic practice offers ample evidence of the paradoxical status of photography within bourgeois culture. The simultaneous threat and promise of the new medium was recognized at a very early date, even before the daguerreotype process had proliferated.
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John Tagg, ‘The One-Eyed Man and the One-Armed Man: Camera, Culture, and the State’, pp.1-49, in:
Tagg, J., 2009. The disciplinary frame: photographic truths and the capture of meaning. University of Minnesota Press, Minneapolis.
This carefully constructed room has an old name. It is a camera. A room, but a room with a purpose: the training of light, graphing it—quite literally, photo-graphing, subjecting light to the punctual rule of the room’s inbuilt geometrical law.
The camera is, then, a place to isolate and discipline light, like a room in Jeremy Bentham’s Panopticon. And, like that room in the Panopticon, the cell of the camera has its utility both as a training machine and as a device for producing and preserving text.
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Vilém Flusser, ‘Fingers’, pp.57-63, in:
Flusser, V., Zielinski, S., Baitello, N., Novaes, R.M., 2013 . Natural:mind. Univocal, Minneapolis, MN.
I am sitting on a chair. The chair is a product of Western civilization and if it were to be analysed it would reveal the history of the West.
The juxtaposition “chair – desk” is a characteristic structure of particular situations of my culture.
This is a slight paleo-technological writing instrument (a product of the beginning of the 20th century). The machine has keys inscribed with letters of the Latin alphabet.
My fingers hit the keys in a particular order. This order is therefore determined by the specific order of such a language.
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