Punctum Research Papers - Academia.edu (original) (raw)

Dry eye syndrome (DES) is a relatively common condition with signs and symptoms varying from light irritation to functional blindness as a result of corneal opacification. The disorder generally occurs in subjects over 40 years of age.... more

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- Punctum, Des, Ocular, Varies
- by Roy Forward
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- Photography, Desire, Postwar Japanese History, 1960s
- by Eric Jenkins
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- Film Studies, Animation, Photography, Ideology
- by Jens Ruchatz
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- Photography Theory, Chance, Indexicality, Contingency

A philosophical exploration of engagement in art, elaborating on the work of Susanne K. Langer. Five interconnected essays address the role of art and the artist in society, conceptual and performance art, beauty and the gaze, aestheticism, and the cultural politics of the art-world. It contains extensive discussions of the work of, among others, Andy Warhol, Derek Jarman, Apichatpong Weerasethakul, Wolfgang Tillmans, Anthony Goicolea, Nan Goldin, Robert Mapplethorpe, and Pier Paolo Pasolini, and draws upon the work of Arthur Danto, Roland Barthes, and Elaine Scarry.

- by Christophe Van Eecke
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- Roland Barthes, Arthur Danto, Derek Jarman, Pier Paolo Pasolini

In the wake of the recent surge of interest in the relation between sculpture and photography, the article revisits the photography’s capacity to convey the haptic qualities of sculpted matter. Starting from the logic of supplementarity, whereby a photograph reveals something that we do not notice while meeting the sculpture itself, the article focuses on the photographic detail and its inherent tactility as the materiality’s own surprising touch. At the same time, a close attention is paid to the role of scale in the photography of sculpture and to the connection between the impact of the detail and the play of scale, which makes us aware of the uncertain borderline between image and mental image. Different from measurable size, scale enters our perception of the photographed sculpture as something irreducible to the detail understood as the matter’s signature. While being a more abstract agent than the more directly tactile detail, scale has its own mode of addressing the viewer by making her suddenly aware of her own situation. The more personal nature of this address makes it possible to connect the scale, rather than the detail in its more usual iconographic sense, to Roland Barthes’ notion of the punctum as, first and foremost, a mental event. However, as the article makes clear, this event, whereby a detail expands mentally and independently on any measurable size, cannot occur without the underlying relief-like or tactile qualities of the photographs themselves. To support this interpretation of the productive tension between the detail and the scale, the article discusses a series of examples (starting with the early daguerreotypes) and appeals to a broad range of studies, from Herder through Aloïs Riegl and Ronald Barthes to the most recent debates.

- by Karel Thein
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- Photography, Roland Barthes, Sculpture, Johann Gottfried Herder

This study is an attempt to make sense of family photographs that are circulating in antique markets in Turkey. The phenomenon of "dispossessed family photographs" is examined on the basis of the critical literature on photography mainly by Walter Benjamin and Roland Barthes. Depending on this theoretical framework, this study examines the discourse of antique sellers/collectors about "dispossessed family photographs" and the field that these photographs are circulating in. The discourse of antique sellers/collectors suggests that, "dispossessed photographs" have an elusive quality both in the minds of people and in the antique domain. That is why the word "specter" is used to emphasize the "spectral quality" of "dispossessed family photographs" as the word evokes the indefinite, untraceable and hard to frame quality of such images. Also the term "specter" invokes the physical state of family photographs in the sense that they fade and get pale as if referring their mysterious ghost-like presence in the market.

- by Pelin Aytemiz
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- Critical Theory, Walter Benjamin, Roland Barthes, Photography Theory

Barthes, Prometheus’a has bir el çabukluğuyla fotoğrafı, fotoğrafı çekenin ve çekilenin mülkiyetinden alıp onu izleyicilerin kıymetli takdirine sunar. Bunu, fotoğraf çözümlemelerine getirdiği “studium” ve “punctum” kavramları ile gerçekleştirir. Latince’de “bir şey hakkında öğrenmek, çaba göstermek” anlamına gelen “studium” sözcüğü, fotoğraflardaki biçimlere, yüzlere, hareketlere kültürel olarak katılmayı sağlayan çağrışımları ifade etmek için kullanılırken; yine Latince’de, “nokta, yara, delme ve delik” anlamlarına gelen “punctum” sözcüğü ise çok daha karmaşık bir anlamı ifade eder. Buna göre “punctum”, bir fotoğrafı binlercesinden farklı kılacak olan, fotoğrafı delip, izleyiciyi yaralayan ve izleyiciye yaranın acısını hissettiren bir kavramdır. Bu anlamda “punctum”, fotoğrafın baştan çıkaran Dionysos’udur.
Senaryosunu Orhan PAMUK’un yazdığı, Ömer KAVUR’un yönettiği “Gizli Yüz” (1991) filminde Barthes’ın fotoğraf çözümlemelerine getirdiği bu yorumun fark edilebilir izleri görülmektedir. Fransız göstergebilimcinin “Fotoğraf bazen gerçek bir yüzde veya aynadaki bir yüzde göremediğimiz bir şeyi görünür kılar…” sözüyle filmin gizem fitilinin ateşlendiği, fotoğrafın peşinde ve ardında birilerini-bir şeyleri arama olgusu örtüşmektedir.
Bu çalışma ile sinema tarihimiz açısından önemi kabul edilen, fotoğraf, görsel anlatım, arayış ve gizem olgularıyla harmanlanmış olan Gizli Yüz filminin Barthes’ın fotoğraf felsefesinden yararlanılarak yorumlanması amaçlanmaktadır.

- by Başar Öztürk
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- Roland Barthes, Orhan Pamuk, Camera Lucida, Sinema

The present paper focuses on the link between Roland Barthes' reflection on photography and the essential characteristics of the psychoanalytic case stories. The case story, like the photograph, seeks to take hold of something nearly intangible. It attempts to capture in time, space and language, something whose dynamic presence remains elusive. In fact, the very attempt at capturing this object often strips it from its essence. Case stories may often be thoroughly accurate on the face of it while at the same time giving us the unpleasant sense that they have "deadened" their object in the process. This paper is an attempt to clarify what is it that is dropped from the picture that the psychoanalytic writing is trying to take. The relation between the "cultural context" (the "Studium") and the freedom to puncture and undermine this context in psychoanalytic writing is discussed and illustrated through a fresh reading of Georges Perec's "W, or the Memory of Childhood" as well as through clinical vignettes by Ronald Britton and Michael Eigen. Roland Barthes' Camera Lucida (1982) investigates the process of perception itself. Its various chapters accompany him as if he were leafing through his personal photo album. But rather than considering the nostalgic or esthetic context, he reflects on how his own gaze in fact constitutes these pictures and their meaning. How does a reflection on photography line up with thoughts about psychoanalytic writing? The case story, like the photograph, seeks to take hold of something nearly intangible. It attempts to capture in time, space and language, something whose dynamic presence remains elusive. In fact, the very attempt at capturing this object often strips it from its essence. Case stories may often be thoroughly accurate on the face of it while at the same

- by Dana Amir
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- Roland Barthes, Punctum, Studium, Psychoanalytical Writing

Prominent and proliferating readings locate mythical structures at the heart of Juan Rulfo’s literary world. Notably, Raymond Bartra and María Luisa Ortega suggest that his works are structured around universal, timeless myths that embed individual experiences in a collective narrative. In this article, I argue that Rulfo’s narrative technique is in fact connected with an extra-literary, eminently modern técnica: photographic technology. Rulfo’s short story collection El llano en llamas (1953) is viewed through three intersecting critical frames: Walter Benjamin’s writings on the modern shock experience, the idea of the ‘knock-out’ in Julio Cortázar’s theory of the short story, and Roland Barthes’s notion of the photographic punctum. My contention is that an aesthetics of photographic shock underlies Rulfo’s short stories, producing tears in the narrative fabric, and invoking the reader’s participation through particular, personal, contingent effects.

- by Lucy Bell
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- Walter Benjamin, Julio Cortázar, Photography Theory, Mexican Literature
- by Jorgelina Escudero
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- Film Analysis, Jorge Luis Borges, Roland Barthes, Punctum

Bu makalede Roland Barthes’ın Camera Lucida adlı kitabında açıklamış olduğu Punctum kavramının hareketli görüntü alanındaki karşılığı incelenecektir. Roland Barthes Punctum’u anlatırken “kaza” kelimesini kullanmış ve sadece gerçek yaşamdan alınmış sabit görüntülerde bulunabileceğini iddia etmiştir. Günümüzde ise görüntüler çoğunlukla geri sarılabilir ve durdurulabilir durumdadır. Bu yüzden Punctum hareketli görüntünün her alanında fark edilebilir. Bu iddia üzerine kurulacak olan makaleye Punctum kavramı detaylıca açıklanıp örnekler verilerek başlanacaktır. İkinci bölümde ise imgelerin zaman ile olan ilişkisi göz önüne alınarak Punctum kavramının sınırları genişletilecektir. Son bölümde ise “kaza” olgusunun sanatsal konjoktürdeki yeri incelenecektir. Hareketli imge ve kaza arasındaki bağın oluşturabileceği sanatsal ve sosyolojik potansiyeller tartışmaya açılacaktır. Makale genelinde incelenecek video örnekleri video sanatı, sinema, animasyon, buluntu videolar ve canlı yayın kayıtları gibi hareketli görüntünün birçok alanından seçilmiş, Punctum’un kavramsal bütünlüğünü karşıladığı düşünülen örneklerdir.
Anahtar Kelimeler: Roland Barthes, Camera Lucida, Punctum, Studium, video sanatı, hareketli imge, kaza, fotoğraf

- by Kadir Kayserilioglu
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- Photography, Video Art, Roland Barthes, Film, Moving images
- by Juan Ledezma
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- Performance Studies, Biography, Roland Barthes, Exile

Estudio de la poética de los efectos visuales en Titanic, Aliens, Terminator, y Abyss

- by José Antonio Palao Errando
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- Film and Media Studies, James Cameron, Visual Effects, Terminator
- by César Moreno-Márquez
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- Filosofía, Punctum, Eidos, Rostro

Overlooking Lago di Orta in the foothills of the Northern Italian Alps, the Renaissance-era Sacro Monte di Orta (a UNESCO World Heritage site) is spectacle and hagiography, theme park and treatise. Sacro Monte di Orta is a sacred mountain complex that extolls the life of St. Francis of Assisi through fresco, statuary, and built environment. Descending from the vision of the 16th-century Archbishop Carlo Borromeo, the design and execution of the chapels express the Catholic Church's desire to define, or, perhaps redefine itself for a transforming Christian diaspora. And in the struggle to provide a spiritual and geographical front against the spread of Protestantism into the Italian peninsula, the Catholic Church mustered the most powerful weapon it had: the widely popular native Italian saint, Francis of Assisi.Sacred Views of Saint Francis: The Sacro Monte di Orta examines this important pilgrimage site where Francis is embraced as a ne plus ultra saint. The book delves into a ...

- by Kathleen ( K A T I E ) Peters
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- Art, Anthropology of Pilgrimage, Pilgrimage, Renaissance Art

The article discusses various theoretical approaches that develop the concepts of punctum and formless in relation to the photographic image. Their connection with the concept of “visual turn” in aesthetics and art theory is examined. Using examples from contemporary artistic and photographic practice, the author demonstrates the change in ideas about the boundaries of representation and ways of reinterpreting modern photography. / В статье рассматриваются различные теоретические подходы, развивающие понятия punctum и «бесформенное» применительно к фотографическому образу. Исследуется их связь с концепцией «визуального поворота» в эстетике и теории искусства. На примерах из современной художественной и фотографической практики демонстрируется изменение представлений о границах репрезентации и способах реинтерпретации современной фотографии.

- by Художественная Культура
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- Photography, Narrative, Modernism, Interpretation

Die Welt der Slaven LVII, 2012.

Il cinema come termometro dell’immaginario, ricettacolo di ossessioni e paure dell’epoca contemporanea: è questo lo snodo centrale del volume di Antonietta Buonauro, una lettura piacevole che si muove in maniera disinvolta tra l’arte, la fotografia e il cinema mainstream. La cornice metodologica del volume è quella degli studi sul trauma, che hanno avuto il merito di intrecciare l’approccio psicoanalitico al trattamento dello shock con lo studio dei fenomeni mediatici collegati ai traumi collettivi, a partire dall’Olocausto e dalla guerra del Vietnam. Questo rigoroso approccio teorico, che fornisce anche un’ampia discussione di testi mai tradotti in Italia, si stempera nell’analisi di film noti al grande pubblico come Memento (2000) e Inception (2010), attraverso la quale Buonauro mostra come la cultura visuale non solo testimonia l’evento traumatico: mediante il bombardamento di immagini e video, e il conseguente innalzamento della soglia dell’ansia collettiva, i media sono il luogo in cui il trauma avviene, il mezzo attraverso il quale migliaia di fruitori vivono un ‘trauma vicario’. Mostrando la genealogia e le filiazioni delle immagini traumatiche che ci invadono, Buonauro offre gli strumenti per una maggiore consapevolezza della funzione affettiva che i media rivestono nell’elaborazione collettiva di eventi traumatici: una tematica che si rivela di fondamentale attualità.

- by Antonietta Buonauro
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- Film Theory, Photography, Film Analysis, Trauma Studies
- by José Antonio Palao Errando
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- Photography, Sigmund Freud, Roland Barthes, Intertextuality

Resumo: Este artigo visa aproximar o conceito de mito, como definido por Roland Barthes em sua obra Mitologias, da noção de studium estabelecida em seu outro livro, A câmara clara, uma vez que essa noção barthesiana acena com a possibilidade de compreensão a partir de uma espécie de remanejamento daquele conceito de mito para o campo do fotográfico. Trabalhamos com a hipótese de que esses operadores barthesianos podem ainda ser úteis para pensar as imagens na contemporaneidade dos estudos de visualidade. Abstract: How to read images? The Roland Barthes's lesson-This paper aims to bring together the concept of myth as Roland Barthes has defined it in his work Mythologies; as well as the notion of studium established in another of his books, The camera lucida, since this Barthesian notion beckons with the possibility to be understood as a sort of rehandling of this concept of myth to the field of photography. We work with the hypothesis that these Barthes's operators can still be useful in the analysis of images in the contemporary studies of visuality.

- by Rodrigo Fontanari
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- Roland Barthes, Punctum, Studium, Teorias Da Imagem
- by Zeny May Recidoro
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- Photography, Psychogeography, Geohumanities, Punctum

The article is devoted to the study of personal and national identities on the example of sports photos as a symbolic capital. The purpose of this study is to show how photography and sports come together, in a way that together contributes to the consolidation of the nation, contributes to national pride and identity, and hence—to forming personal identity on the base of them either. The structural-functional approach is used, in particular, the theory of ‘social action’ by the American philosopher J. G. Mead. Photography is the channel through which the most international language such as sports can be transmitted, and the individual experience by it unified and integrated in the process of forming personal identity. Of particular interest are the photographs of athletes in Europe and how they contribute to the accumulation of symbolic capital for nation-states, and for self-determination of personal identity. The authors note that photography is an important part of people’s daily lives, and its significance goes beyond their nature to entertain. A photographic image provides the basis for identification. A person through a visual image seeks to determine his personal, and then national identity. In today’s world, identity is a dynamic system. In this regard, it can be compared with sports, which also constantly develop and ultimately open up new sports, modify qualification competitions, etc. Another social field that is on the rise at the same time is professional sports. By the mid-20th century, the sport of the privilege of the rich was becoming a mass sport. It was not until the 20th century that workers, women and minority groups had access to sports. The authors conclude that in the context of the importance of interdisciplinary research, which allows revealing the processes of formation of national and personal identity, research of this nature can take on further development. *Keywords: identity, self-identity, self-identification, national identity, self-determination, visual image, punctum, philosophy of sports, social philosophy, symbolic capital.

The article examines references to photography in Marcel Proust’s In Search of Lost Time. In contrast to a well-established view of this medium’s role in the writer’s universe as secondary and purely negative, this article proceeds from the assumption that the invention and proliferation of photography in the 19th century was a major influence on Proust’s artistic vision. Photographs are present in Proust’s novel both as physical objects and as metaphors. As the former they appear mainly in social contexts, where they embody and visualize emotional exchanges, degrees of intimacy, connection and division of various milieus. Proust shows society, especially its elite strata, as operating in a quasi-mechanical way, and the photograph as an automatically produced image echoes this aspect of human relationships. On the other hand, metaphorical references to photography tend to emphasize the “internal” quality of the changes which the film undergoes, as well as their temporal dimension: a pause that lies at the very heart of the ever-increasing pace of modernity. Paradoxically combining the meanings of the serial and the unique, the photograph becomes a site where massified technical reproducibility becomes ‘dislocated’, creating a quintessentially modern experience of luxury.

- by Ksenia Gusarova
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- Social Capital, Henri Bergson, Roland Barthes, Philosophy of Photography

Phantasmagoric deception of a spectator’s senses drifted from a cathartic and anaesthetizing phenomenon to a twenty-first century tactic that awakens and confronts us. In a sense, phantasmagoric interactions made a movement away from ‘knowing you were being tricked’ within explicit boundaries of a friend/enemy dichotomy (à la magic lanternist and spectator) toward a mode of constant trickery within a ubiquitous larval state. This sensorial, phantasmagoric realignment parallels Biswas Mellamphy’s observations regarding alternative politics in the new millennium.

- by Jessica Wawra (Kesselring)
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- Horror Film, Politics, Horror Cinema, Catharsis
- by ana gorría
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- Análisis del Discurso, Retórica, Filosofía De La Historia, Holocausto
- by Kadir Kayserilioglu
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- Photography, Video Art, Roland Barthes, Camera Lucida
- by Seung-hoon Jeong
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- Film Studies, Film Theory, Cinephilia, Aura

- by Rodrigo Fontanari
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- Roland Barthes, Punctum, Studium, Teorias Da Imagem

Rear Curtain / authors Seda Manavoglu, Tina Bastajian ; ed. Delphine Bedel. – [Arnhem] : [Dutch Art Institute], 2009. – 19 p. : ill. ; 25 cm. –Artist Book. – Part of the editorial project "The Publications Project" by the Dutch Art... more

- by Tina M Bastajian
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- Provenance, Photography Theory, Montage, Arranged Marriages
- by Elizabeth Nichols
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- Film Theory, Photography, Roland Barthes, Affect (Cultural Theory)
- by Konstantinos Sipitanos
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- Action Research, Multimodality, Social Semiotics, Punctum
- by Kieran Murphy
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- Photography, Roland Barthes, Jacques Derrida, Edgar Allan Poe
- by orestis pangalos
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- Semiotics, History, Visual Semiotics, Street Art

L'opera d'arte nulla può mutare e nulla rimediare; una volta ch'esiste di fronte agli uomini sta come la natura, in sé colma, a se stessa affaccendata [..] pure è costituita da un elemento umano, dagli estremi di patimento e di gioia,-e qui è la chiave di quel tesoro d'inesauribile consolazione, che sembra accumulato nell'opera d'arte e su cui appunto il solitario può far valere un suo singolare, inesprimibile diritto." In questo passo R.M. Rilke cerca di disvelare il mistero dell'opera d'arte, frutto di una ricerca viscerale dell'artista, guidata da estreme emozioni. In quel preciso momento si apre uno spiraglio nel Kaos, luogo indefinibile che dà origine al tutto. È lì che noi riusciamo a "sentire". L'opera d'arte non è lontana dallo spettatore, con esso condivide l'elemento umano. Lì in un punto preciso cattura l'attenzione e ci collega all'opera. Da sempre mi affascina l'altrove che non ha dimensione fisica, la quale è generatrice ed è essenza delle "cose". Yves Klein ha impiegato gran parte della sua ricerca sul blu simbolo dell'essenza. Trova nel colore la fisicità alla quale aggrapparsi per intravedere l'assoluto. Il blu è metafora della presenza di un altro. Il colore è l'opera.

- by Aurora Alberti
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- Reading, Reflection, Art Studies, Rainer Maria Rilke
- by Rémi Plaud
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- Walter Benjamin, Ekphrasis, Claude Simon, Punctum
- by Mahamed Prata
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- Fotografia, Punctum, Revista