The Open Void- Embodiment &Experience- In Film/Video/Numeric-Computer Art & Immersive Environments (original) (raw)

The epistemology of the photographic image

A short note on the epistemology of the photographic image It seems odd to justify at the beginning of the third millenium the act of taking pictures by a camera. After all the camera accompanies western civilization since mid 19 th century and took over as the major means of representing reality. And yet, even though we are not overwhelmed and shocked by the magic of the camera as did the pioneers of photography and of the cinema, among them were Antoine Claudet, Wordsworth Donisthorpe, Eadweard Muybridge, George Melies, the Lumiere brothers, and many others, who have skillfully constructed strange and extremely complicated machines, we are still up to these days amazed and fascinated by pictures produced by this technology.

Aporetic Apparatus Epistemological Transformations of the Camera Janne Seppänen

2016

In this article, we examine the epistemology of the camera today. In order to answer this question, we concentrate on three social and technological forms: the camera obscura, the photographic camera, and the digital camera. On the one hand, the camera extends our human sensibilities and helps us to obtain knowledge of the world. On the other hand, it works as a device for delusion, bodily vision and spectacle. Historically, these two functions are meshed together in complicated ways and this establishes the paradoxical epistemology of the camera. We argue that, even if contemporary debates about the truthfulness of the photographic image have persistently been tied to the digitisation of the photographic process, the very origin of these debates actually lies in the camera itself and its contradictory epistemology. The camera has worked, and still works, as an apparatus that relentlessly produces irresolvable ambiguity, aporia, between true knowledge and illusory vision.

THE PHOTOGRAPH BETWEEN REALITY AND IMAGINATION

Jour of Adv Research in Dynamical & Control Systems, Vol. 11, 05-Special Issue, 2019

A photograph can be described as an imitation of reality, but this description is so primitive. A photograph is not just a copy of reality, nor is it just a reproduction of things that actually exist. It could be argued that a photograph is the imitation of the subject that exits in reality so as to become a symbol that hides behind it various meanings. In other words, a photograph is an existence that includes another existence and this dual existence makes the photograph be framed by the limits of truth, knowledge, time and place. Therefore, the photograph becomes a way of truth happening and revealing, but at the same time it has interrelations with the visual, the tangible and the meaning represented in the thing itself. The truth is revealed only by the intentional vision which opens up the phenomenological position in all its dimensions. The establishment of this position is based on photograph that becomes the first drive and motive for the act of imagination.

Photography and the digital truth

This paper examines the impact of digital technology on the photographic image. The 'aura' and authorial intention are now permeable and no longer sustainable. As this art form is now driven by social media and technology where is the message?

Between Presence and Program: The Photographic Error as Counter Culture

Springer Series on Cultural Computing

Common photographic errors such as over or under exposure, blur, or inadvertent cropping are increasingly rare as technological developments in digital photography have sought to eradicate the error from practice and perception. Efficiencies such as camera automation and image preview are often designed to remove the 'unreliability' of the human element in order to produce accurate and consistent images. The error, occurring on the margins of practice and increasingly rare, provides a counterpoint to this prevailing image culture by revealing the interdependence of photographer and camera through unintended outcomes. This chapter explores the ideological assumptions entwined in the development of camera technologies, and how cultures of practice based on a hierarchy of control between camera and photographer arose. Through examples drawn from the research project In Pursuit of Error, the chapter demonstrates how the error disrupts this hierarchy by evidencing the shared subjective agency of camera and photographer. The methodological framework of Actor-Network Theory is used to interrogate the relationship between photographer and camera and to reveal them as equal 'actants' in the event of photographing. The embodied photographer's attitude of play, experimentation, and not-knowing is interdependent on the camera as a co-creator of unexpected image events which disrupt the conventions of photographic representation. Keywords Photography • Error • Agency • Doubt • Actor-Network • Embodiment • Subjectivity • Time • Hierarchy of agency • Digitization • Virtuality • Actor-Network Theory • Transformative art • Alternative realities • Presence • Cultures of practice • Experimental photography 9.1 Introduction: Histories and Hierarchies Alone of all the creative arts, photography is the most deeply enmeshed with the technologies of production. A photograph cannot be made without an instrument external to the photographer whereas one might argue the technologies of drawing