Disorientation and Queer Objects

Sara Ahmed, ‘Conclusion: Disorientation and Queer Objects’, pp.157-179, in:
Ahmed, S., 2006. Queer phenomenology: orientations, objects, others. Duke University Press, Durham.

p.157

Moments of disorientation are vital. They are bodily experiences that throw the world up, or throw the body from its ground.

The body might be reoriented if the hand that reaches out finds something to steady an action. Or the hand might reach out and find nothing, and might grasp in­stead the indeterminacy of air. The body in losing its support might then be lost, undone, thrown.

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Media Archaeography

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.

p.239

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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Media archaeology and re-presencing the past

Vivian Sobchack, ‘Afterword : media archaeology and re-presencing the past’, pp.323-333, in:

Huhtamo, E., Parikka, J. (Eds.), 2011. Media archaeology: approaches, applications, and implications. University of California Press, Berkeley, Calif.

p.323

[…] this discourse of presence (a “presence in absence”) and its particularly concern with the past and the conditions under which it can be re-presenced (as well as historiographically communicated) are central to media archaeology.

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The Body and the Archive

Allan Sekula, ‘The Body and the Archive’, pp.3-64, in:
October, Vol. 39 (Winter, 1986). MIT Press.

p.3

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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What is an apparatus?

Georgio Agamben, ‘What is an apparatus?’, pp.1-24, in:
Agamben, G., 2009. “What is an apparatus?” and other essays. Stanford University Press, Stanford, Calif.

p.13

I wish to propose to you nothing less than a general and massive partitioning of being into two large groups or classes: on the one hand, living beings (or substances), and on the other, apparatuses in which living beings are incessantly captured. On one side, then, to return to the terminology of the theologians, lighting ontology of creatures, and on the other side, the oikonomia of apparatuses that seek to govern and guide them towards the good.

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On the Invention of Photographic Meaning

Allan Sekula, ‘On the Invention of Photographic Meaning’, pp.84-109, in:
Burgin, V. Ed. 1982. Thinking Photography. Palgrave Macmillan, London.

p.84

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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The One-Eyed Man and the One-Armed Man: Camera, Culture, and the State

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.

p.1

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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Fingers

Vilém Flusser, ‘Fingers’, pp.57-63, in:
Flusser, V., Zielinski, S., Baitello, N., Novaes, R.M., 2013 [1979]. Natural:mind. Univocal, Minneapolis, MN.

p.57

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.

p.58

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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Photography, Vision and Representation

Joel Snyder & Neil Walsh Allen, ‘Photography, Vision, and Representation’, pp.143-169 in:
Critical Inquiry, Vol.2, Autumn 1975.

p.143

Is there anything peculiarly “photographic” about photography – something which sets it apart from all other ways of making pictures?

[…] for most of this century the majority of critics and laymen alike have tended to answer these questions in the same way: that photographs and paintings differ in an important way and require different methods in interpretation precisely because photographs and paintings come into being in different ways.

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Picturing Vision

Joel Snyder, ‘Picturing Vision’, pp.157-171, in:
Yates, Steve. ed. Poetics of Space: A Critical Photographic Anthology. University of New Mexico Press, Albequerque.

p.158

Our willingness to accept photographs as natural and mechanical records of what we see underscores the power of our belief that certain kinds of pictures achieve significance because they are “natural” – meaning that such pictures are related to what they depict in exactly (or roughly) the same way vision is related to what we see.

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