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Posts Tagged ‘philosophy’

Wall1This is a text I wrote for the Pact Of Disengagement event that took place at Temple Bar Gallery and Studios back in May, which Teresa Gillespie and Ben Woodard kindly invited me to be part of. The idea was to explore the question of the nature of the relationship between art and philosophy, or as Teresa and Ben put it, their ‘mutual abuses’. I was one of a panel of speakers (Paul Ennis, Francis Halsall, Matthew Slack, Edia Connole, Jonathan Mayhew, Micheal O’Rourke, Rob Murphy, Lily Cahill and Tina Kinsella), each of whom had five minutes to articulate some thoughts on the subject. This text was written to be ‘read out’, rather than ‘read’, so you could always read it aloud to get the full effect

I am going to talk about this idea of abuse – the notion that more often than not art and philosophy are engaged in a form of mutual abuse that is not particularly constructive. Abuse of philosophy by artists. Abuse of art by philosophers. I’m going to suggest though that maybe abuse isn’t always bad and that we might take, not an uncritical view of it, but at least a view that is open to the possibilities that such abuse might present. I’m going to largely confine myself to artists abusing philosophy rather than the other way around. (more…)

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Susan Sontag’s On Photography is a text that every photography theory student grapples with at one point or another. I read it myself a good year before starting this course but if there was ever a case of something you read going in one eye and out the other this was it. Second time around it’s a bit more accessible but the sheer density of ideas in it makes it a challenging read. “The Image World” is the last essay in the book and sums up many of the ideas that went before.

In spite of the claims of science and humanism that an objective non-image based understanding of reality is now possible, our culture has become more and more dependent on images, rather than less, and this can be attributed to the influence of photography. Photography and the “Image World” that it creates, has unique and peculiar properties that make it radically different to other forms of image-making, and Sontag’s essay explores the ramifications of this.

Photography can provide knowledge independent of experience and can capture, classify and store the information in a way that provides possibilities for control not feasible under earlier forms of information storage. It is an incomparable tool for predicting, analysing and controlling behavior because it is closer to the real, in fact it is a “trace, something directly stenciled off the real”. Like Barthes, in Camera Lucida, Sontag sees photographs, and the reality they depict, as inextricably linked. A photograph is an “extension of the subject” and a “potent means of acquiring it, of gaining control over it”. This echoes pre-Christian attitudes towards the image: photography has rekindled “something like the primitive status of images”.

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from The Photography Reader, edited by Liz Wells

Roland Barthes’ Camera Lucida is a classic text of the realist school of Photography theory. I’ve been reading extracts from it as published in The Photography Reader (ed. Liz Wells). This post covers parts 1, 2,4 and 5 of the original text.

Barthes commences by describing how a photograph of Napoleon’s brother caused him to start questioning what is the essence of photography’s uniqueness, and to what extent photography has a ‘genius’ of it’s own. He rejects the idea of trying to understand photography in terms of classification systems on the grounds that those systems can just as easily be applied to other forms of visual representation and hence can’t possibly get to the heart of photography’s uniqueness.

His first insight is that a photography captures a unique event that can never re-occur. Furthermore, each photograph is intrinsically bound to this event, or referent (or vice versa): the referent cannot be photographed again, the photograph cannot be retaken in order to point to a different referent. This strongly emphasizes the realist view that the photograph is the referent, and it is pointless to speak of the photograph as some sort of entity with its own life, unshackled from the referent.

He claims that there is no particular reason to choose a particular moment or event as referent (as any other might just as easily have been chosen) and hence photography is unclassifiable, has no meaning in itself. Books on photography, whether technical, historical or sociological, infuriate him for this reason, and because they tell him to shun the sort of ‘Amateur Photography’ that he enjoys – the sort of photography that is all about the referent and nothing else, such as family pictures.

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