MATERIALITY OF A PHOTOGRAPHIC IMAGE: DISTRESSED NEGATIVES, INDEXICALITY, SPECTATOR’S BODY

O. S. Davydova / О. С. Давыдова

Abstract


The article deals with the possibility and transformations of materiality of a photographic image within contemporary digital culture. The main conceptual problem here seems to be this of indexicality. The notion of index elaborated by Charles S. Pierce and developed by further theory is one of the key ideas of the text. The other one is that of embodiment. Having entered digital era modern culture is often described as a crisis of representation. Still, the crisis turns out to be a striving for palpable verified images – and a movement towards embodiment. The article is based on a number of art projects by contemporary artists and curators and gives a reader an opportunity to follow the analysis of three embodiment modes. The first one is author’s embodiment; the second one is embodying of an art object; the third one is embodiment of the spectator’s body. 


Keywords


photography; indexicality, Pierce; digital photography; material; embodiment; body

References


Беньямин. В. Краткая история фотографии: [эссе]. – М.: Ад Маргинем Пресс, 2013. – 144 с.

Краусс Р. Подлинность авангарда и другие модернистские мифы. – М.: Художественный журнал, 2003. – 318 с.

Пирс Ч.С. Что такое знак? / пер. А.А.Аргамаковой под ред.Е.В.Борисова // Вестник Томского государственного университета. Философия, социология, политология. – 2009. – №3(7). – С.88-95.

Batchen G. Each Wild Idea: Writing, Photography, History. – Cambridge, MA: MIT Press, 2000. – 236 pp.

Mitchell W.J. The Reconfigured Eye: Visual Truth in the Post-Photographic Era. – Cambridge: MIT Press, 1992. – 273 pp.

Pierce Ch.S. Logic as Semiotic: The Theory of Signs // Photographic Theory: An Historical Anthology / ed. A.Hershberger. – Oxford: Wiley Blackwell, 2014. – P. 100-104.

Rosler M. Post-Documentary, Post-Photography? // Rosler M. Decoys and Disruptions: Selected Writings, 1975-2001. – The MIT Press, 2006. – P. 207-244.

Wells, Liz. Photography: A Critical Introduction / 5th ed. – London, New York: Routledge, 2015. – 442 pp.

TRANSLIT

Ben’yamin V. Kratkaya istoriya fotografii: [esse]. – M.: Ad Marginem Press, 2013 – 144 s.

Krauss R. Podlinnost’ avangarda i drugie modernistskie mify. – М.: Khudozhestvennyi zhurnal, 2003. – 318 s.

Pirs Ch.S. Chto takoe znak? / per. А.А.Argamakovoi pod red. E.V.Borisova // Vestnil Tomskogo gosudarstvennogo universiteta. Filosofiya, sotsiologiya, politologiya.– 2009. – №3(7). – S.88-95.

Batchen G. Each Wild Idea: Writing, Photography, History. – Cambridge, MA: MIT Press, 2000. – 236 pp.

Mitchell W.J. The Reconfigured Eye: Visual Truth in the Post-Photographic Era. – Cambridge: MIT Press, 1992. – 273 pp.

Pierce Ch.S. Logic as Semiotic: The Theory of Signs // Photographic Theory: An Historical Anthology / ed. A.Hershberger. – Oxford: Wiley Blackwell, 2014. – P. 100-104.

Rosler M. Post-Documentary, Post-Photography? // Rosler M. Decoys and Disruptions: Selected Writings, 1975-2001. – The MIT Press, 2006. – P. 207-244.

Wells, Liz. Photography: A Critical Introduction / 5th ed. – London, New York: Routledge, 2015. – 442 pp.


Refbacks

  • There are currently no refbacks.


Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.