Touching Feeling with C.P. Cavafy and Duane Michals (original) (raw)
Related papers
Cranny-Francis, Anne (2011) 'The art of touch: a photo-essay'
Social Semiotics, Vol.21, No.4, 591-608, 2011
This photo-essay explores artworks and technology that deploy touch either literally or virtually in order to interrogate the nature of contemporary being and meaning. They do this by engaging viewers in a virtual deconstruction of their own embodied being their positioning in space/time; their incorporation of values, beliefs and attitudes articulated by affective practices that engage them bodily; and their reconstitution within a technological assemblage that includes their own bodies and the technologies they use in everyday life. Keywords: touch; tactile; contact; body; embodiment; texture; affect; sound; space; connection; articulation; technology
Photography between Affective Turn and Affective Structure
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The affective turn in photography theory takes as its point of departure Roland Barthes’s move from semiology to affective phenomenology in Camera Lucida. This article, however, considers the way affective phenomenology is itself grounded in the semiological structure of photography. It looks at how, before Camera Lucida was even written, Thierry de Duve had already discussed the affective implications of Barthes’s understanding of photography’s indexical nature. The article then proceeds to rethink the structural affectivity of photography beyond Barthes’s and de Duve’s emphasis on a direct relation between indexicality and loss. Reconsidering photography through Jacques Rancière’s conception of the aesthetic regime of art, the article rather puts emphasis on the indeterminacy of photography, which results from the way the camera captures and isolates a spatio-temporal fragment. Shifting the focus from indexicality to indeterminacy sheds a different light on the loss implied by the structure of photography, parallel to how Freud understood the difference between mourning and melancholy.
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This paper considers a photograph by Leon A. Borensztein of the artist Judith Scott, taken in the Creative Growth Arts Center in California in 1997. It explores notions of affect and the mobilization of feeling on the part of the artist and artwork, photographer and viewer, with consideration of the way in which textile associations are central to the affective passage of transmission and encounter. A textile-skin interface between the haptic and the scopic is seen to characterize both the performative arena of the subject matter and the intricacy of the photograph’s surface. Scott’s textile-rich practices as an artist and her biographical circumstances are considered as intrinsic to the affective potency of the image. Didier Anzieu’s notion of the skin envelope further enriches analysis of the bond that is established within the performative arena of the image and the sensations that are embodied in the viewer’s response.
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