Empiricism of the Medium of Photography and the Interflow of Realities of Vision (original) (raw)
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Espacio Tiempo y Forma. Serie VII, Historia del Arte, 2014
Analysis of the agents that took part in the invention, promotion and dissemination of photography in the nineteenth century-photographers, politicians, scientists, intellectuals and artists-allows us to reconstruct the space of the photographic. These agents, and their practices, spaces, institutions and relationships, constitute a mediatory system that actively participated in the construction of photography's value as a cultural product of modernity. Most importantly, however, photography represents a privileged scientific research subject for understanding the capacity of artistic practices to adapt to the requirements of modern society. The constant tension and dialogue between its aesthetic, scientific, technical and commercial appreciation places photography in an unprecedented space between formal evaluation-linked to the institutions and norms of the world of high culture-and utilitarian logic-tied to the patterns of progress and democratic access to culture. It is, therefore, possible to suggest a theory of mediation for cultural products of modernity: intermediaries influence the construction of value while revealing the state of the cultural object and the needs of the society that consumes it.
PHOTOGRAPHY, MEMORY AND IDENTITY FOTOGRAFÍA, MEMORIA E IDENTIDAD
The interest of this work lies in the revision of some of the elements of language inherent to audiovisual creation, through the analysis of a specific case belonging to the photographic medium, and located in the geographical space of the Moroccan city of Fez. The photographic perspective that interests us here is that of the ratification and certification of the referent that reproduces the photograph, based on the description that "every photograph is a certificate of presence" (Barthes, 1990), which together with its essence , places it in what we could metaphorically call, a mirror of reality, apprehending all that it reflects. Its physical essence captures the "trace of light" beyond the mirror that inverts it, in that magical distillation of light in the darkness of the camera, which as a metaphor for the cave, will place us in the perspective of the knowledge of the social sciences. In this way, every photograph tends to transfer physical space to move it into mental space, in clear association with memory. This relevance and photographic effectiveness will seldom have anything to do with the intentionality of the author, since this visual production is within the reach of the community that assumes it, configuring itself as strong elements of the identity, together with the imaginaries that it invokes and the construction of cultural archetypes. KEY WORDS: documentary photography-identity-social memory frames-imaginary-Fez-orientalism-photographic theory. RESUMEN El interés de este trabajo radica en la revisión de algunos de los elementos del lenguaje inherentes a la creación audiovisual, mediante el análisis de un caso concreto perteneciente al medio fotográfico y situado en el espacio geográfico de la ciudad marroquí de Fez. La perspectiva fotográfica que aquí nos interesa es la de la propia ratificación y certificación del referente que reproduce la fotografía, atendiendo a la 1 José Muñoz Jiménez: Professor of the Department of Audiovisual Communication and Advertising of the University of Málaga, he is a specialist in documentary photography and audiovisual media. His research in audiovisual communication is related to the field of anthropology and fine arts. josemunoz@uma.es
Photography, the Continuity of Modern Iconography
Bagh-e Nazar, 2019
Iconography has profound origins in human’s perspective and understanding of the world. Ancient murals, Christian religious icons, and eventually the manifestations of the modern age, have been created and used in the same quality in human cultural life. They have almost the same ultimate destination and goal that can be detected in them. Iconography has constantly been accompanied by a kind of fear, to dominating what can happen in the future, and, in order to avert disasters and death, and to achieve forgiveness, prosperity and bliss. After the invention of photography, by putting the photographs alongside the icons which in some cases are derived from religious texts, not only does photography introduce itself as an iconography device, but it has also been influential in producing paintings iconographies with creation of the photographic realism. The main question is that how photography especially those about the social issues and among them the private and family photos, as a modern medium has an iconic origin, and how photography is able to have an unrealistic and metaphysical usage in the context of today life with its inherent characteristics being clarity, accuracy in details, signifying the being-there (dasein) of the referent and as a result, the photographic realism? This issue can be studied based on the most important theories of photography in the twentieth century. It is concluded that photography, in its philosophy and existential position, not only has carried on the iconic characteristics of the past, but has also has emphasized its originality and textual identity more broadly, so that it has given a photographic originality to modern iconography
Fotografia e Arte: Imagens e Críticas Sociais
2016
O artigo tem por objetivo discutir sobre a imagem fotografica na producao de dois artistas em especial: Andy Warhol, icone da Pop Art, e o contemporâneo David Lachapelle, para a elaboracao de criticas sociais contundentes a mentalidades e comportamentos.
Photography: essence and hybridism
2017
This research investigates the transformations of the field of photography in light of the intense changes resulting from the technological innovations provoked by the digitization of the media. Computer technology has stimulated an intense process of technological convergence, especially in the field of audiovisual media. As a result of this process, high-quality photographic devices are capable of recording still images as well as moving images. Now, not only in post-production, but also in the capture of images, there is an approximation between photography and audiovisual. The central question of research thus arises: what can these transformations mean and enable in terms of the renewal of photographic narratives in the field of visual communication? As a theoretical basis for this research were used the works of Gilles Deleuze, specifically his studies on the times of the image, published primarily in his book The Image-Time. In this case, his deepening of the process of unfolding time for the perception of an observer were relevant to the reflection on the particularities of the time of the photographic language and that of the audiovisual. Raymond Bellour's work on the analysis of the media, particularly in the crossings, overlaps and convergences between photography, film and video was fundamental for understanding the origins of the approaches and distances between these media. This content was apprehended through his two books: L’Entre- Images and L'Entre Images 2. Edmond Couchot's study of the presence of Technology in Art through the book of the same name was important for understanding the hybridization process which occurs in the field of art and communication, in a more intense way in the 20th century. François Soulages' research on the Aesthetics of Photography presented and demonstrated the performance and the interventions of the mechanisms of sign translation on photography. As a result of this theoretical-practical research it was possible to deepen the understanding of the hybridization processes of audiovisual media, particularly the photographic narratives in the field of journalism and communication, understanding its operational mechanisms and aesthetic, language, technological and production modes
Phenomenology of the Human Existence in Photography (Artistic Experiment
International Journal of Psychosocial Rehabilitation, Vol. 24, Issue 7, 2020 ISSN: 1475-7192 , 2020
Photography in the contemporary time considers a vital, important, rich, and meaningful element which certainly influenced the concept of artistic and philosophical photograph due to the rapid development in technology and communication methods which should be accompanied by the theoretical development that paves the way for the photographic concept and analyzes its various relationships. This study seeks to explore an important practical theoretical aspect, which called the phenomenological philosophy, whereas this modern, broad, and open philosophy is at the same time a coherent approach that can be implemented on the photograph and therefore it's possible to find a clear philosophical position concerned about photography. The photograph here isn't understood as only a configurable content, and the form can't be separated from the content in this context, but the analysis of the image depends on its full existence and continued presence launching from the things that were actually given, and depending on an intentional and conscious action to reach the truth that is represented in the art itself. Therefore, it's possible to say that implementation of the Phenomenological approach in the photography will make the existing and perceptual image or picture opens up continuously and overflows with the meaning as a result of meditation and perception.