Sparks of reality: on the temporalities of the photographic image

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2018-11-04 DOI:10.13128/AISTHESIS-23456

N. Conceição

引用次数: 1

Abstract

Within the context of the contemporary heterogeneity of photographic practices, the present text describes some of the possibilities of understanding the temporality of photographs, giving an account of some important theoretical references (Benjamin, Kracauer, Barthes, Derrida). Bearing this in mind, describing photographs as sparks of reality is a way of expanding the Benjaminian proposal and avoiding the strict logics of causality. The strength of photography unfolds the technologically rooted paradox of photographs, whose contemporary relevance can be analysed in the intersection between aesthetics, history and politics. The film 48 , by the Portuguese filmmaker Susana Sousa Dias, explores this intersection by using and showing the cracks of the political prisoners’ mug shots.

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现实的火花:论摄影影像的时间性

在摄影实践的当代异质性背景下，本文描述了理解照片的时间性的一些可能性，并给出了一些重要理论参考(本杰明、克拉考尔、巴特、德里达)。考虑到这一点，将照片描述为现实的火花是一种扩展本杰明提议的方式，并避免因果关系的严格逻辑。摄影的力量展现了摄影的技术根源悖论，其当代相关性可以在美学，历史和政治的交叉中进行分析。葡萄牙电影制作人苏珊娜·索萨·迪亚斯(Susana Sousa Dias)的电影《48》，通过使用和展示政治犯面部照片的裂缝，探索了这一交叉点。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.