Tom Sparrow, ‘On Aesthetic Plasticity’, pp. 177-218, in:
Sparrow, T., Malabou, C., 2015. Plastic bodies: rebuilding sensation after phenomenology. Open Humanities Press, London.
The argument so far has followed two general, intertwined trajectories: one critical, the other constructive. The critical thread has argued that the two visions of embodiment offered by Merleau-Ponty and Levinas are inadequate for thinking how our bodies actually interact with the material world. The constructive thread has assembled evidence which suggests that both phenomenologists were cognizant of the function that sensation plays in the constitution of experience and identity.
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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, ‘Work’, pp.86-90, in:
Serres, M., Schehr, L.R., 1982. The parasite. Johns Hopkins University Press, Baltimore.
What is work? Undoubtedly, it is a struggle against noise. If we allowed things to happen without intervening, stables would fill up with manure, the fox would eat the chickens, and the phylloxera would cross the seas to dry out the vine leaves. The channel is filled with mud.
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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, ‘On the Invention of Photographic Meaning’, pp.84-109, in:
Burgin, V. Ed. 1982. Thinking Photography. Palgrave Macmillan, London.
The meaning of a photograph, like that of any other entity, in inevitably subject to cultural definition. The task here is to define and engage critically something we might call the ‘photographic discourse’.
A discourse is defined as an arena of exchange, that is, a system of relations between parties engaged in communicative activity.
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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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Allan Sekula, The Traffic in Photographs, pp. 15-25, in:
Art Journal, Vol. 41, No. 1, Photography and the Scholar/Critic (Spring, 1981)
The discourse that surrounds photography speaks paradoxically of discipline and freedom, vigorous truth and unleashed pleasures. Here then, at least by virtue of the need to contain the tensions inherent in this paradox, is the site of a certain shell game, a certain dance, even certain politics. In effect, we are invited to dance between photographic truth and photographic pleasures with very little awareness of the floorboards and muscles than make this seemingly effortless movement possible.
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Bruno Latour, ‘Technology is Society made Durable’, pp.103-130 in:
Law, J. (Ed.), 1991. A sociology of monsters: essays on power, technology, and domination. Routledge, London New York.
In this paper I argue that in order to understand domination we have to turn away from an exclusive concern with social relations and weave them into a fabric that includes non-human actants, actants that offer the possibility of holding society together as a durable whole.
To be sure, the distinction between material infrastructure and symbolic superstructure has been useful to remind social theory of the importance of non-humans, but it is a very inaccurate portrayal of their mobilisation and engagement inside the social links. This paper aims to explore another repertoire for studying this process of mobilisation.
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Geoffrey Batchen, ‘Desiring Production’, pp.4-24, in:
Batchen, G., 2002. Each wild idea: writing, photography, history. MIT Press, Cambridge, Mass.
So no one would want to deny that 1839 was an important year in the life of photography, particularly with regard to the direction of its subsequent technical, instrumental, and entrepreneurial developments. However, the traditional emphasis on 1839, and the pioneering figures of Daguerre and Talbot, has tended to distract attention from the wider significance of the timing of photography’s emergence into our culture. This essay aims first to establish this timing and then to articulate briefly something of that significance.
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Geoffrey Batchen, ‘Photogrammatology: Writing/Photography’ Art Document, Winter (1994), 3-6
By projecting photography as a system of representation, each individual photograph becomes an historical, and therefore mutable, artefact of meaning.
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