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Artículos de revistas sobre el tema "Photographic theory"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 12 de febrero de 2022

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1

Tee, Sim-Hui. "Transparency, Photography, and the A-Theory of Time." Problemos 93 (October 22, 2018): 177–92. http://dx.doi.org/10.15388/problemos.2018.93.11761.

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 [full article, abstract in English; only abstract in Lithuanian] Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the depicted object situated from the space

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2

Browning, Kathy. "Scotland." Diversity of Research in Health Journal 1 (June 21, 2017): 144. http://dx.doi.org/10.28984/drhj.v1i0.62.

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I spent 14 days of intensive photographic research taking 10 000 photographs while travelling around the coast of Scotland. This includes the incredible architecture in ancient cities; amazing, magical landscapes of heather shrouded moorlands, expansive glens with grass covered hills and lowlands, and black and red mountains; and magnificent castles. Scotland is a part of my cultural heritage. This series of photographs is a merging of my artistic and academic skills as a visual arts researcher. It is similar to grounded theory (Glaser & Strauss, 1967) used for my academic research wherein

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3

Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.

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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic

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4

Ray, Larry. "Social Theory, Photography and the Visual Aesthetic of Cultural Modernity." Cultural Sociology 14, no. 2 (May 11, 2020): 139–59. http://dx.doi.org/10.1177/1749975520910589.

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Social theory and photographic aesthetics both engage with issues of representation, realism and validity, having crossed paths in theoretical and methodological controversies. This discussion begins with reflections on the realism debate in photography, arguing that beyond the polar positions of realism and constructivism the photographic image is essentially ambivalent, reflecting the ways in which it is situated within cultural modernity. The discussion draws critically on Simmel’s sociology of the visual to elucidate these issues and compares his concept of social forms and their developme

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5

Hess, Scott. "William Wordsworth and Photographic Subjectivity." Nineteenth-Century Literature 63, no. 3 (December 1, 2008): 283–320. http://dx.doi.org/10.1525/ncl.2008.63.3.283.

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This essay argues that William Wordsworth's poetry constructs a subject position analogous to that of the photographic viewer: hence, a photographic subjectivity. Critics have often read Wordsworth's writing as opposing imagination against visibility and mimetic realism. Many of the visual structures of his poetry, however, continue the structures of the picturesque, whose desire to capture the landscape as framed image culminated in the technology of photography. These structures of perception include the stationed point of view of the observer, focusing the scene from a single location; the

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6

Harrison, Barbara. "Photographic visions and narrative inquiry." Narrative Inquiry 12, no. 1 (September 26, 2002): 87–111. http://dx.doi.org/10.1075/ni.12.1.14har.

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This paper examines the ways in which photographic images can be used in narrative inquiry. After introducing the renewed interest in visual methodology the first section examines the ways in which researchers have utilised the camera or photographic images in research studies that are broadly similar to forms of narrative inquiry such as auto/biography, photographic journals, video diaries and photo-voice. It then draws on the published literature in relation to the author’s own empirical research into everyday photography. Here the extent to which the practices which are part of everyday pho

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7

Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN." Victorian Literature and Culture 33, no. 1 (March 2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.

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AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was d

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8

Brown, Terry M. "Transcending the colonial gaze: Empathy, agency and community in the South Pacific photography of John Watt Beattie1." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 151–70. http://dx.doi.org/10.1386/nzps_00035_1.

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For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a varie

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9

Ijuin, Takayuki. "Michelangelo Antonioni’s Blow-Up as Abstract Art Theory." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 59. http://dx.doi.org/10.25038/am.v0i19.307.

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As is well known, Blow-Up (1966) directed by Michelangelo Antonioni is based on Julio Cortázar’s short story; “Las babas del diablo” (1959). In literary terms, it is very difficult to find similarities between both works, except in their outlines. Many critics, therefore, thought Blow-Up was Antonioni’s own film with no special connection with “Las babas del diablo”. But we should focus on the common outlines of the two. Both deal with ‘vision’. The change of seeing through a viewfinder to seeing through a photographic print gives the protagonists a daydream-like experience.Cortázar was not on

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10

Moosavian, Rebecca. "Stealing ‘souls’? Article 8 and photographic intrusion." Northern Ireland Legal Quarterly 69, no. 4 (December 7, 2018): 531–58. http://dx.doi.org/10.53386/nilq.v69i4.190.

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In Article 8 ECHR privacy right jurisprudence, photographs are deemed distinct forms of information that are particularly intrusive in nature. This article is concerned with explaining why this is so. Part 1 examines the notion of ‘intrusion’ itself. It argues that ‘intrusion’ functions as a legal metaphor and plays an important role in constructing a binary between an outer self presented to the world and a ‘spiritual’, emotional interior that privacy purports to protect from transgression. Part 2 argues that this ‘spiritual intrusion’ metaphor is influential in the continental personality ri

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11

Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (October 2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.

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This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory the

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12

Schaefer, William. "Photographic Ecologies." October 161 (August 2017): 42–68. http://dx.doi.org/10.1162/octo_a_00303.

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In his body of photographs, Samalada (2008), the Chinese artist Adou uses extremely expired film; the resulting artifacts—marks of the animal, vegetable, and mineral matter composing film surfaces—are as visible a part of the photographs as their depictions of relations among humans, animals, plants, cultural artifacts, earth and sky in southwestern China. Adou and other photographers in China, Japan, and the West working in a time of environmental crisis understand film itself in ecological terms. The very materiality and forms of photographic images are emergent from and interact with larger

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13

Kukielko-Rogozinska, Kalina. "Twelve Insights into the Afghanistan War through the Photographs from the Basetrack Project: Rita Leistner’s iProbes and Marshall McLuhan’s Theory of Media." Arts 10, no. 2 (April 22, 2021): 27. http://dx.doi.org/10.3390/arts10020027.

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This article presents the iProbe concept developed by the Canadian photographer Rita Leistner. This analytical tool is one of the ways to present the image of modern warfare that emerges from messages in social media and photographs taken using smartphones. Utilized to understand the approach are photographs Leistner took at the American military base in Musa Qala (Helmand province, Afghanistan) during the implementation of the “Basetrack” media project in 2011. The theoretical basis for this study is Marshall McLuhan’s media theory, which was used by the photographer to interpret her works fr

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14

Stafford, Andy. "Bazin and Photography in the Twenty-First Century: Poverty of Ontology?" Paragraph 36, no. 1 (March 2013): 50–67. http://dx.doi.org/10.3366/para.2013.0077.

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According to André Rouillé (2005) the search for photography's ontology is both fruitless and pointless. Six decades after André Bazin's seminal essay, ‘The Ontology of the Photographic Image’ (1945), there is a concerted attempt to remove photography from the ‘reliquary’ of death in which Bazin had (seemingly) locked it. Preferring ‘genesis’ to ‘result’, Bazin had suggested that photography benefited from an ‘essential objectivity’ and that it was close to being a ‘natural phenomenon’: for the first time in history, representation of the external world emerges, mechanically, without human int

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15

Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.

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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide

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16

Laberge, Yves. "Photographic Theory: An Historical Anthology." British Journal of Aesthetics 56, no. 2 (April 2016): 203–6. http://dx.doi.org/10.1093/aesthj/ayu094.

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17

Bear, Jordan. "Photographic Theory: An Historical Anthology." History of Photography 39, no. 2 (April 3, 2015): 203–4. http://dx.doi.org/10.1080/03087298.2015.1030184.

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18

Singh, Amrita. "Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival." Studies in Comics 11, no. 2 (November 1, 2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.

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In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic

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19

Kanicki, Witold, and Geoffrey Batchen. "Magical Thinking: Conversation with Geoffrey Batchen." Magic, Vol. 5, no. 1 (2020): 4–9. http://dx.doi.org/10.47659/m8.004.int.

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His long-standing interest in the history of early photography makes Geoffrey Batchen the appropriate speaker to discuss the question of photographic magic. Therefore, our conversation oscillates between magic and realism, but also other antonyms within the medium: negative and positive, analogue and digital. Taking in consideration all these oppositional notions, Batchen suggests that theoreticians “need to acknowledge and embrace photography’s abstractions and contradictions”. Different contradictions within photography’s theory and history became pivotal in our conversation. We also discuss

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20

Rissanen, Mari-Jatta. "Entangled photographers: Agents and actants in preschoolers’ photography talk." International Journal of Education Through Art 16, no. 2 (June 1, 2020): 271–86. http://dx.doi.org/10.1386/eta_00031_1.

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Photographs taken by young children have engendered a growing amount of research across diverse academic disciplines. Photographs have been used as visual data for analysing for example children’s social relations and well-being. However, only a few studies have addressed the photographic practices of young children as means for them to explore, imagine and coexist with the surrounding world. In this article, I introduce a case study that draws on research from art education and sociology of childhood. The data were gathered in a photography workshop in a Finnish early childhood education and

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21

Niemelä-Nyrhinen, Jenni, and Janne Seppänen. "Visual communion: The photographic image as phatic communication." New Media & Society 22, no. 6 (September 14, 2019): 1043–57. http://dx.doi.org/10.1177/1461444819876237.

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Phatic communication is a mode of communication where the significative content of the used utterance gives way to the social bonding function of the utterance itself. This mode of communication appears to be increasingly common in our current media culture and is exemplified by frequent photo sharing through applications such as Snapchat. However, most theoretical discussions on phatic communication have taken place in the context of linguistic expressions. In this theoretical article, we broaden the focus to visual interpersonal communication by way of photography theory. We suggest that pho

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22

Flint, K. "Photographic Fictions." Novel: A Forum on Fiction 42, no. 3 (September 1, 2009): 393–99. http://dx.doi.org/10.1215/00295132-2009-033.

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23

Kondratiev, E. A. "Punctum and Reinterpretation in Photography." Art & Culture Studies, no. 2 (June 2021): 38–59. http://dx.doi.org/10.51678/2226-0072-2021-2-38-59.

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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.

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24

Fisher, Daniel. "The Meaning of Photographic Images (Eye Contact: Photographing Indigenous Australians)." Anthropology & Humanism 32, no. 1 (June 2007): 104–6. http://dx.doi.org/10.1525/ahu.2007.32.1.104.

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25

Wall, Gina. "Writing the world: photographing the text of the landscape." Excursions Journal 1, no. 1 (September 12, 2019): 123–42. http://dx.doi.org/10.20919/exs.1.2010.131.

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I am engaged in a practice led thesis, which has been challenged and shaped by thinkers in the fields of critical theory and philosophy. Although I work in dialogue with these theorists, I am principally a visual practitioner who is most at home with traditional, wet process photography.I began with a general concern regarding my own resistance to landscape photography as the depiction of the view, which has led me to question the persistence of the (illusion of) the unified photographic moment. My visual process, which began quite simply as a reaction against the pervasiveness of the view in

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26

Lee, Edmund W. J., and Shirley S. Ho. "Are Photographs Worth More Than a Thousand Words? Examining the Effects of Photographic–Textual and Textual-Only Frames on Public Attitude Toward Nuclear Energy and Nanotechnology." Journalism & Mass Communication Quarterly 95, no. 4 (January 3, 2018): 948–70. http://dx.doi.org/10.1177/1077699017741090.

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This study examines the impact of photographic–textual and risk–benefit frames on the level of visual attention, risk perception, and public support for nuclear energy and nanotechnology in Singapore. Using a 2 (photographic–textual vs. textual-only frames) × 2 (risk vs. benefit frames) × 2 (nuclear energy vs. nanotechnology) between-subject design with eye-tracking data, the results showed that photographic–textual frames elicited more attention and did have partial amplification effect. However, this was observable only in the context of nuclear energy, where public support was lowest when p

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Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe, and Jeannine Tang. "Residues of a Dream World." Theory, Culture & Society 28, no. 7-8 (December 2011): 358–89. http://dx.doi.org/10.1177/0263276411425834.

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The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines the public and public sphere of the High Line. H

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28

Pandey, Krishna P. "How Useful Photography is in Sociological Researches on Ethnic Identity Studies?" Himalayan Journal of Sociology and Anthropology 7 (April 12, 2017): 75–95. http://dx.doi.org/10.3126/hjsa.v7i0.17151.

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The origins of photography and sociology date back almost at the same time, but the relationship between them was not as intimate as it was to be. Sociologists refrained from using photography as a method in their researches until the importance of qualitative research was realized. Debate is still going on whether photographs expose total social reality or just provide the possibilities of subjective interpretations in the form of partial truths. Anthropologists, to some extent, are ahead in using photographs in their ethnographic works from early years. The essay deals photography only as a

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29

Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.

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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photog

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Amang Fathurrohman, Alfian Adi Saputra, Fauziyah Rahmawati, M. Wildan Adnan, and M. Rifqi Nur Habibi. "Peningkatan Kapasitas Fotografer Pemula Melalui Sekolah Fotografi Online (SeFO) Tingkat Jawa Timur Untuk Mewujudkan Fotografer Mahir dengan Handphone di Masa Pandemik Covid-19." SOEROPATI 2, no. 2 (May 31, 2020): 111–18. http://dx.doi.org/10.35891/js.v2i2.2064.

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Condition Pandemic Covid-19 has forced the Indonesian citizen to stay at home. There are no exception for novice photographers who want to add their photography skills. Through e-Comdev, the team carried out a beginner photographer's capacity building assistance through the East Java level of online photography (SeFO) by utilizing WhatsApp social media to parse the problems faced with learning photography during the Covid-19 pandemic. The results of this mentoring show that SeFO participants still have a sense of innovation in improving the capacity of photography. Their skills are also increa

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Suga, Keijiro. "Looking Back at the Phenomenocene." boundary 2 46, no. 3 (August 1, 2019): 117–18. http://dx.doi.org/10.1215/01903659-7614171.

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This essay is conceived as a supplement to Masao Miyoshi’s only book of photography. Miyoshi was an avid traveler and photographer all his life. He called his practice “anti-photography” and left a book titled This Is Not Here (2009). His photographic images are interesting in many ways, surprisingly fresh and often beyond words. But what is essential about photography is the fact that photography is never controllable. Photography, by its nature, is anti-ethics and anti-aesthetics. My thoughts are about the world of phenomena, appearances, and bodiless ghosts. These come in a thousand layers

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Čeferin, Hana. "Who’s Afraid of Photography?" Magic, Vol. 5, no. 1 (2020): 94–98. http://dx.doi.org/10.47659/m8.094.art.

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In contemporary horror, the photographic image is often used as the object of horror or even represents the main antagonist of the story. We can trace the origin of such depictions to the very invention of the technique of photography in the 19th century, which was also the heyday of spiritualist theories about photography making the soul of the deceased visible to the human eye using chemical compounds. A notorious example is the case of photographer William Mumler who offered well-off relatives of recently deceased people in the States to make portraits with the ghosts of their loved ones. T

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Djukić, Emina, and Ana Peraica. "Studio Portraiture as a Construct: Interview with Ana Peraica." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 14–17. http://dx.doi.org/10.47659/m5.014.int.

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Dr. Ana Peraica was born into a family of photographers. Her grandfather, as well as her father after him, run a family photo studio Atelier Perajica on the main square of Diocletian’s palace in Split, Croatia. The studio went into Ana’s hands, and she still works there herself today. Besides running the business, her main focus is photographic theory, more precise the field of contemporary arts, visual culture studies and media theory. It is very thought- provoking to see how her background and studio practice influenced her research and vice versa. In her writings she focuses on networked so

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Chaudhary, Zahid R. "Desert Blooms." October 168 (May 2019): 92–109. http://dx.doi.org/10.1162/octo_a_00351.

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This essay considers the place of abstraction in documentary photography, a genre whose primary aesthetic-political commitment is usually assumed to be on the side of figuration, denotation, and facticity. Taking up photographer Fazal Sheikh's photographic series Desert Bloom, which records natural and human-made disturbances in the Naqab/Negev desert, the essay considers artistic abstraction in relation to other forms of economic, juridical, and political abstraction critical to settler colonialism in particular and capitalism more generally. How might abstraction be the very condition of pol

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Banerjee, Sandeep. "“NOT ALTOGETHER UNPICTURESQUE”: SAMUEL BOURNE AND THE LANDSCAPING OF THE VICTORIAN HIMALAYA." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 351–68. http://dx.doi.org/10.1017/s1060150314000035.

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During his third expedition into the higher Himalaya in 1866, the most ambitious of his three journeys into the mountains, Samuel Bourne trekked to the Gangotri glacier, the source of the Ganges. At that site he took “two or three negatives of this holy and not altogether unpicturesque object,” the first photographs ever made of the glacier and the ice cave called Gomukh, meaning the cow's mouth, from which the river emerges (Bourne 96). These words of Victorian India's pre-eminent landscape photographer, importantly, highlight the coming together of the picturesque mode and the landscape form

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Mößner, Nicola. "Photographic Evidence and the Problem of Theory-Ladenness." Journal for General Philosophy of Science 44, no. 1 (May 3, 2013): 111–25. http://dx.doi.org/10.1007/s10838-013-9219-3.

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37

Eyre, Sarah, and Xanthe Hutchinson. "Re-touched." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 205–10. http://dx.doi.org/10.1386/fspc_00079_1.

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Re-touched is a collaborative project by collage artist Sarah Eyre and fashion photographer Xanthe Hutchinson. Both artists share an interest in the female body, particularly the notion of pleasure in display and gaze between women and the body. The body of work that forms Re-touched combines photographic and collage methods in order to embody a sense of sensuality through the opening up and enfolding of the female form, on set and through the process of collage. The artists position their work within a framework of feminist theory that questions the binary thinking around the gaze. They draw

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38

Aziz, Abdul, John Felix, and Candy Reggi Sonia. "PRESERVASI VISUAL JARAN KEPANG TEMANGGUNG MELALUI FOTOGRAFI ESSAY." Capture : Jurnal Seni Media Rekam 10, no. 1 (January 15, 2019): 75. http://dx.doi.org/10.33153/capture.v10i1.2208.

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<p><em>The Jaran Kepang Temanggung is a part of cultural products and was developed on the island of Java. The researcher seeks to raise the traditional art of Jaran Kepang Temanggung as research material presenting the topic of the problems related to the visual preservation of the Jaran Kepang Temanggung. It is an effort to preserve Jaran Kepang Temanggung's traditional arts through visual media, especially photography. The researcher will document the art through photographic means. The purpose of this study is how to make a photographic work as an effort to preserve Jaran Kepan

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39

Cartwright, Lisa. "On the Face of the Photograph, and the Moving Image: Geopolitical Affect in the Speculative Landscapes of Connie Samaras." Journal of Visual Culture 17, no. 2 (August 2018): 238–52. http://dx.doi.org/10.1177/1470412918783833.

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This article introduces the concept of geopolitical affect in landscape photography and video, focusing on two series by the US artist Connie Samaras: V.A.L.I.S. (2004-5) and Edge of Twilight (2011–2018). The article draws on the cybernetic affect theory of the mid-century US psychologist Silvan S Tomkins as well as the artist’s own concept of speculative landscape and critique of identity politics to consider surface, movement, and the face in landscape photography. As well, a photographic and audiovisual theory of geopolitical drive and affect, based on the work of Tomkins, is proposed.

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Banchik, Anna Veronica. "Too Dangerous to Disclose? FOIA, Courtroom “Visual Theory,” and the Legal Battle Over Detainee Abuse Photographs." Law & Social Inquiry 43, no. 04 (2018): 1164–87. http://dx.doi.org/10.1111/lsi.12336.

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As law deepens its engagement with visual data, legal scholars have expressed concern that courts all too often uphold photographic evidence as objective representations of truth, rather than as necessarily partial portrayals of reality. To combat this naïve realism in legal institutions, some are incorporating insights from media studies in calling for a jurisprudence of the visual. Drawing on an ongoing lawsuit over the disclosure of detainee abuse photographs taken in Iraq and Afghanistan after September 11, I suggest this project expand its scope to examine litigants' interpretations of im

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Maura, Eduardo. "La teoría crítica de la fotografía de Theodor W. Adorno." Laocoonte. Revista de Estética y Teoría de las Artes, no. 7 (December 21, 2020): 156. http://dx.doi.org/10.7203/laocoonte.0.7.17450.

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Resumen: Entre los pensadores vinculados al Institut für Sozialforschung, Walter Benjamin y Siegfried Kracauer son los más reconocidos en los debates sobre la fotografía y lo fotográfico en la cultura y el arte contemporáneo. Estas notas se proponen ampliar este aspecto de la teoría crítica a partir de la lectura de Theodor W. Adorno desde un punto de vista fotográfico.Abstract: In the debates about photography and the photographic in contemporary art and culture, Walter Benjamin and Siegfried Kracauer are the most recognized Institut für Sozialforschung-related thinkers. These notes aim at br

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Dahmen, Nicole Smith. "Behavior notwithstanding: Person perception and news photographs of the two leading candidates in the 2016 presidential election." Newspaper Research Journal 41, no. 2 (June 2020): 146–59. http://dx.doi.org/10.1177/0739532920919829.

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Applying person perception theory, this research uses quantitative content analysis to analyze 1,183 newspaper photographs of the two leading candidates from the 2016 presidential election. Study findings show that there were statistically significant differences in the photographic presentations of Hillary Clinton and Donald Trump in the 2016 election, with Clinton pictured more favorably than Trump.

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Brevern, Jan von. "Resemblance After Photography." Representations 123, no. 1 (2013): 1–22. http://dx.doi.org/10.1525/rep.2013.123.1.1.

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Resemblance did not come naturally to photography. Soon after it became a public medium in 1839, photography’s ability to produce resemblant images—and therefore portraits—was widely challenged. Proponents of photography quickly responded to those challenges by developing more complex concepts of the new medium. This article argues that photography played an important part in evolving debates on resemblance. It also maintains that resemblance, far from being the “epistemological obstacle” it was deemed by theoreticians in the twentieth century, was exceptionally fertile for early photographic

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Gunawan, Agnes Paulina. "Peranan Warna dalam Karya Fotografi." Humaniora 3, no. 2 (October 31, 2012): 540. http://dx.doi.org/10.21512/humaniora.v3i2.3397.

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In the photographic development, the existence of color as part of the supporting aspect in the art of photography, is definitely influencing the final work of a photographer - whether it is a theory of color as lighting, or color as part of a pigment or chemical compound as part of physique from an object. Choosing a photo object based on colors can also create a meaning or theme in a composition of picture. This is the same when photo shoot is done with lighting that contends specific character or qualities of colors. For example, the use of color gel on the lights can create a condition tha

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Attridge, John. "Detourism: Murray Bail’s Photographic Fiction." Journal of Commonwealth Literature 39, no. 3 (September 2004): 69–91. http://dx.doi.org/10.1177/0021989404047047.

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Oushakine, Serguei Alex. "Presence Without Identification: Vicarious Photography and Postcolonial Figuration in Belarus." October 164 (May 2018): 49–88. http://dx.doi.org/10.1162/octo_a_00323.

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This article explores photographic works produced by key members of the Minsk School of Photography before and after the collapse of the USSR in the 1980s and 1990s. Mostly reworking found images from the Soviet past, these artists employed the visual language of that period to disassociate themselves from Soviet practices of photographic recording. Appropriating conventions of the portrait genre, the Minsk photographers used them to create a stream of obfuscated representations in which individuals are presented devoid of their originary contexts, biographies, and, frequently, faces. Through

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Rowlands, D. Andrew. "Equivalence theory for cross-format photographic image quality comparisons." Optical Engineering 57, no. 11 (November 16, 2018): 1. http://dx.doi.org/10.1117/1.oe.57.11.110801.

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Reynolds, Q. G., and R. T. Jones. "Twin-electrode DC smelting furnaces—Theory and photographic testwork." Minerals Engineering 19, no. 3 (March 2006): 325–33. http://dx.doi.org/10.1016/j.mineng.2005.08.019.

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Buchloh, Benjamin H. D. "Ilse Bing: A Frankfurt School Photographer in Paris and New York." October 173 (September 2020): 176–206. http://dx.doi.org/10.1162/octo_a_00407.

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Ilse Bing was one of those Weimar photographers whose work was recognized or rediscovered later than that of many of her more famous female peers. Her photographic project sprang largely from her persistent subversion of the stylistic oppositions of New Vision photography and New Objectivity. Just as complex was the work she produced after moving to Paris, defined as it was by her cross-cutting of Weimar socialist and French Surrealist photographic mentalities. Comparable in her precise socio-political analysis to the Frankfurt School's critiques of emerging mass-cultural and political formati

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Zawojski, Piotr. "Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya." Artium Quaestiones 31, no. 1 (December 20, 2020): 101–22. http://dx.doi.org/10.14746/aq.2020.31.4.

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In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history

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