Ingold, Tim. 1999. ‘Tools for the Hand, Language for the Face’: An Appreciation of Leroi-Gourhan’s Gesture and Speech, Studies in History and Philosophy of Biology & Biomedical Science. 30: 4. 411–453
What might a more inclusive theory, that would accommodate the social and technical along with the zoological dimensions of human existence, look like?
To read Le Geste et la parole, however, is to realise that Leroi-Gourhan’s contribution extended far beyond questions of art and technology, to embrace a vision of human development of quite breathtaking scope.
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Crano, R., 2018. ‘The real terror of Instagram: Death and disindividuation in the social media scopic field’. Convergence: The International Journal of Research into New Media Technologies 135485651775036. https://doi.org/10.1177/1354856517750364
Well beyond photography’s mere digitization, we now have recourse to nuanced notions of the live, networked, and algorithmic image. Such concepts, and the methodological ambits that emerge alongside them, situate contemporary photography, appropriately, within broader trends of and discourses on participatory culture, user-generated content, and ‘prosumption’.
What I would like to do here, in part, is to further contextualize this participatory turn – in culture generally and in photography specifically – alongside broader socioeconomic transformations and emergent techniques of capitalist subject-formation and exploitation.
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Gilbert Simondon, ‘Introduction’, pp.15-21, in:
Simondon, G., 2016. On the mode of existence of technical objects. Univocal Pub, Minneapolis, MN.
Culture has constituted itself as a defense system against technics; yet this defense presents itself as a defense of man, and presumes that technical objects do not contain a human reality within them.
We would like to show that culture ignores a human reality within technical reality and that, in order to fully play its role, culture must incorporate technical beings in the form of knowledge and in the form of a sense of values
The opposition drawn between culture and technics, between man and machine, is false and has no foundation; it is merely a sign of ignorance or resentment.
Behind a facile humanism, it masks a reality rich in human efforts and natural forces, and which constitutes a world of technical objects as mediators between man and nature.
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Vilém Flusser, “Beyond Machines (but Still within the Phenomenology of Gestures)”, pp.10-18, in:
Flusser, V., 2014. Gestures. University of Minnesota Press, Minneapolis.
During its first phase (antiquity and the Middle Ages), history emphasizes the way the world should be; that is, people work to realize a value—ethical, political, religious, practical, in short, “in good faith.”
During its second phase (modernity), it emphasizes the discovery of being in the world; that is, people work epistemologically, scientifically, experimentally, and theoretically, in short, “without faith.”
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Nigel Clark, ‘Animal interface: the generosity of domestication’, pp.49-70 [not this version], in:
Cassidy, R., Mullin, M.H., Wenner-Gren Foundation for Anthropological Research (Eds.), 2007. Where the wild things are now: domestication reconsidered, Wenner-Gren international symposium series. Berg, Oxford ; New York.
Market-driven pressures to minimize inputs and maximize outputs of animal bodies have led to increasingly industrialized agricultural practices in which technologies of control and modification are applied to ever more intimate aspects of biological being.
One way of looking at domestication is to see it as a shortening and tightening of nutrient cycles: an imposition of `efficiency’ that seeks to exclude links in the food chain that come between human consumers and those living things they wish to consume (De Landa, 1997: 08). Viewed in this way, domestication appears as an anticipation or prototype of the kind of `economic’ logic that is a definitive feature of the era we call `modernity’.
There are many ways of defining what it is to be `modern’, but to put it simply we might say that it is a way of thinking and doing that likes to know its goals, and sets out to attain them in the most efficient and speedy manner.
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Michel Serres, ‘Metamorphosis’, pp.3-31, in:
Serres, M., Burks, R., 2011. Variations on the body. Univocal Publishing, Minneapolis.
Anxiety, of course, occurs before the climb, just as fear returns after; but during it, the body progresses, on the rock face, as though it were protected. But, leaving aside guides, pitons, ropes and partners, by what, by whom?
Stretch out your arms and legs: your twenty fingers and toes attain in space a large rectangular frame or a circle – your starfish, octopus or gibbon’s maximal hold on the world. Your active force and sensibility radiate at the extreme points of this figure.
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Michel Serres, ‘Insects’ Meals’, pp.91-93, in:
Serres, M., Schehr, L.R., 1982. The parasite. Johns Hopkins University Press, Baltimore.
The ant does not have as its dinner guest a flute-player or a folk-singer, whose voices constantly fill space. Thus, the ant excludes the parasite.
The dismissal of the parasite does not cost a thing. Chasing out the hare, on the contrary, costs the master, that is to say, results in servitude; it is dearly bought.
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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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Eve Forrest, ‘Between Bodies and Machines: Photographers with Cameras, Photographers on Computers’, pp.105-122, in:
Rubenstein, D., Golding, J., Fisher, A., 2013. On the verge of photography: imaging beyond representation. Article Press, Birmingham, UK.
This discussion has two aims. The first is to move discourse on photography away from the dominant representational framework that often ignores the doings of the photographer.
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Laban, R. (1966  ). Choreutics. Annotated and edited by L. Ullmann. London: MacDonald and Evans
“Choreosophia” – an ancient Greek word, from choros, meaning circle, and sophia, meaning knowledge of wisdom – is the nearest term I have discovered with which to express the essential ideas of this book.
The wisdom of circles is as old as the hills. It is founded on a conception of life and becoming aware of it which has its roots in magic and which was shared by peoples in early stages of civilisation.
The original conviction of the extraordinary role which the circle plays in harmony, life, and even in the whole of existence, survived the many changes in mentality, mood and feeling which abound in history.
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