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Philosophy of Photography最新文献

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Reconsidering cameraless photography 重新考虑无相机摄影
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00036_2
Tomáš Dvořák
{"title":"Reconsidering cameraless photography","authors":"Tomáš Dvořák","doi":"10.1386/pop_00036_2","DOIUrl":"https://doi.org/10.1386/pop_00036_2","url":null,"abstract":"This article introduces the Special Issue on cameraless photography and the translation of Georg Christoph Lichtenberg’s treatise on electrical figures. It summarizes previous discussions on cameraless photography, namely those by Geoffrey Batchen and suggests relating the photogram to current post-lenticular technologies such as radiography, digital scanning or machine vision. It outlines the emergence of cameraless imaging in late eighteenth- and early nineteenth-century scientific research, taking Lichtenberg’s figures as an emblem of automatically generated images situated between duration and instantaneity, between image making and measurement, between nature and culture.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46340641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Pureness or corruption: Spectres and ghosts between photography and X-rays 纯洁还是堕落:摄影和x射线之间的幽灵和幽灵
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00041_1
Martin Charvát
{"title":"Pureness or corruption: Spectres and ghosts between photography and X-rays","authors":"Martin Charvát","doi":"10.1386/pop_00041_1","DOIUrl":"https://doi.org/10.1386/pop_00041_1","url":null,"abstract":"This article investigates the paradoxical nature of cameraless photography. Born after the invention of early photography, the camera apparatus is clearly a precondition of the idea and practice of cameraless photography (photography made without a camera). Yet, at the same time, cameraless photography is situated as a form of pure photography, giving rise to the idea that the spirit of photography lies somewhere beyond the mediation of the camera. This article approaches the paradoxical nature of cameraless photography in an indirect manner by considering the spectrality of photography: from conceptions of early photography as itself spectral, to the manifestation of spectres in spirit photography, to the decomposition of the spectres by X-rays and radioactivity. Cameraless photography plays a twofold role in this genealogy of photographic spectres: first, it goes against a certain understanding of the spirit of photography as conditioned by the manipulating force of the camera apparatus; second, it proves the existence of spectres by uncovering the ontological convulsions of the world.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46573219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
On the photographic status of images produced by generative adversarial networks (GANs) 生成对抗性网络图像的摄影状态
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00044_1
A. Somaini
{"title":"On the photographic status of images produced by generative adversarial networks (GANs)","authors":"A. Somaini","doi":"10.1386/pop_00044_1","DOIUrl":"https://doi.org/10.1386/pop_00044_1","url":null,"abstract":"The text analyses the new images produced by artificial neural networks such as Generative Adversarial Networks (GANs) from the perspective of photography and, more specifically, cameraless photography. The images produced by GANs are located within the wider framework of the impact of machine learning technologies on contemporary visual culture and contemporary artistic practices. In the final section, the article focuses on the work of two artists who have explicity tackled the relations between GAN-generated images and the traditions of photography and cameraless photography, with their multiple intertwinings of human and non-human agencies: Mario Klingemann and Grégory Chatonsky.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45876240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Pechblende Pechblende
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00039_7
Susanne Kriemann
{"title":"Pechblende","authors":"Susanne Kriemann","doi":"10.1386/pop_00039_7","DOIUrl":"https://doi.org/10.1386/pop_00039_7","url":null,"abstract":"Bringing together an assemblage of archival materials, photo documents, literature and found objects, Pechblende investigates concepts of scale, proximity and distance in relation to radioactivity and the body. Centred on the highly radioactive and uranium-rich mineral pitchblende (German: Pechblende), the work traces a history of scientific and photographic processes narrated through the interconnected sites of laboratory, archive, museum and mine. Pitchblende was mined in the Ore Mountains of the former German Democratic Republic between 1946 and 1989. Today, the former mining sites are under way to being transformed into a tranquil mountain vista, with few recognizable traces of the still-radiating industrial worksites. Concerned with both the literal and the political invisibility of radioactivity, Kriemann produced ‘autoradiographs’ – a unique type of photograph that is the result of directly exposing light-sensitive paper to the pitchblende specimens. Aiming to visualize what is invisible and yet acutely present: radioactivity.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49016803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Kinemorphic cursives: Self-imaging and the non-mimetic source of photoimaging 动态草书:自我成像和照相成像的非拟态来源
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00038_1
Christophe Wall-Romana
{"title":"Kinemorphic cursives: Self-imaging and the non-mimetic source of photoimaging","authors":"Christophe Wall-Romana","doi":"10.1386/pop_00038_1","DOIUrl":"https://doi.org/10.1386/pop_00038_1","url":null,"abstract":"The motive for late eighteenth-century proto-technics of photography and cinema was never quite mimetic representation: it was generating autonomous impressions of natural phenomena within the tradition of Naturphilosophie. The article analyses a series of connections between ‘natural hieroglyphs’ (von Lichtenberg), Jacques-Alexandre-César Charles’s ‘megascope’, Wedgwood’s pre-photography, Lavater’s silhouettes and antecedents of Marey’s ‘graphic method’. The goal is to document precursor ideas, devices, setups and frameworks of photoimaging medias to show that the genealogy of photography and cinema intersected through many polymath transverses within the ambit of natural philosophy (and the context of slavery).","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41749025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Spiritualism and the material performance of cameraless photography: Notes on and around a séance with Eusapia Palladino 唯心论和无相机摄影的物质表现:与尤萨皮亚·帕拉迪诺的一次谈话及其周围的笔记
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00040_1
N. Leonardi
{"title":"Spiritualism and the material performance of cameraless photography: Notes on and around a séance with Eusapia Palladino","authors":"N. Leonardi","doi":"10.1386/pop_00040_1","DOIUrl":"https://doi.org/10.1386/pop_00040_1","url":null,"abstract":"This article examines the cameraless negatives revealing the imprints of four fingers obtained in Turin in February 1907 during the second of two séances with renowned medium Eusapia Palladino organized by physiologists Alberto Agazzotti, Carlo Foà and Amedeo Hertlizka. By looking at the material and performative components of the séance, it presents spiritualist cameraless photography as a productive tool for rethinking and reframing the photographic medium from a cross-disciplinary perspective questioning medium specific histories and dominant genealogies.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48087551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Relieve de Cine en Relieve Relieve de Cine en Relieve
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00045_7
Bernd Behr
{"title":"Relieve de Cine en Relieve","authors":"Bernd Behr","doi":"10.1386/pop_00045_7","DOIUrl":"https://doi.org/10.1386/pop_00045_7","url":null,"abstract":"This series of images forms part of the ongoing project Soft Ground, Hard Light, which speculates on a multiscalar spatial ontology of photography emanating from the Arditurri silver mine complex in the Basque Country. Evoking the mountainous massif around Arditurri where silver ore and galena have been extracted since Roman presence in the area, the depicted topographies are, in fact, data transcriptions from atomic force microscopy (AFM) probing the analogue film stock of an early 1930s experiment in 3D cinema, Cine en Relieve, by the Basque cinematographer Teófilo Mingueza. In contrast to optical or electron microscopy, AFM uses a scanning probe to physically touch the specimen, recording its surface undulations at the atomic scale of a nanometre, or a billionth of a metre. As a haptic operation based on direct contact between instrument and sample, between apparatus and referent, AFM is literally a contact print, a ‘blind’ scan that senses not the visual content of the recorded image but ‘feels’ its underlying material substrate of silver nanoparticles within the 35 mm film emulsion. The resulting image assemblies visualize a topography resulting from the intra-action between the silver nanoparticles and the scanning probe as much as its transcription through the particular parameters afforded by the AFM analysis software. Hard Light, Soft Ground was initiated during an artist’s residency at Tabakalera Centre for Contemporary Culture, Donostia-San Sebastián, and is currently in production as part of the wider research project Esper Syndrome: Archaeotopologies of the Image at the Royal College of Art, funded by the AHRC through the London Arts & Humanities Partnership. With additional thanks to the Basque Film Archive and Gustavo Ariel Schwartz at the Materials Physics Centre, Donostia-San Sebastián.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45004915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
First treatise containing general experiments on a new method for researching the nature and movement of electrical matter presented at the public meeting of the Royal Society of Sciences on 21 February 1778 1778年2月21日，在英国皇家科学学会的公开会议上发表了第一篇论文，其中包含关于研究电物质性质和运动的新方法的一般实验
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00037_1
G. Lichtenberg
{"title":"First treatise containing general experiments on a new method for researching the nature and movement of electrical matter presented at the public meeting of the Royal Society of Sciences on 21 February 1778","authors":"G. Lichtenberg","doi":"10.1386/pop_00037_1","DOIUrl":"https://doi.org/10.1386/pop_00037_1","url":null,"abstract":"This text was first published as ‘De nova methodo naturam ac motum fluidi electrici investigandi’ in Novi Commentarrii Societatis Regiae Scientiarum Gottingensis. Commentationes physicae et mathematicae classis 8 (Göttingen 1778: 168–80). It also appeared in a printing by Joann Christian Dieterich in Göttingen in 1778. Lichtenberg delivered this talk personally to the Royal Society of Sciences in Göttingen on 21 February 1778. Although Lichtenberg was not present, he had already informed the Royal Society of Lichtenberg’s discovery of the electrical figures at a meeting on 3 May 1777. The present German version was first published in Lichtenberg’s Vermischte Schriften, vol. 9 (Physikalische und mathematische Schriften, vol. 4) (Göttingen, 1806) pp. 49–80. Wolgang Promies suggests that the German translation was likely done by Friedrich Christian Kries, who was a co-editor of the Vermischte Schriften and Lichtenberg’s student (see Georg Christoph Lichtenberg [1974], Schriften und Briefe, [ed. Wolfgang Promies (K II: Kommentar zu Band III)], Munich: Carl Hanser Verlag, p. 11). Lichtenberg was the first to propose the use of + and – to designate electricity in this article.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48292420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Photographing hyperobjects: The non-human temporality of autoradiography 拍摄超物体:放射自摄影的非人类时间性
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00042_1
Olga Moskatova
{"title":"Photographing hyperobjects: The non-human temporality of autoradiography","authors":"Olga Moskatova","doi":"10.1386/pop_00042_1","DOIUrl":"https://doi.org/10.1386/pop_00042_1","url":null,"abstract":"In the aftermath of the Fukushima power plant disaster, autoradiography became an increasingly widespread artistic technique for producing cameraless photography. By exposing photographic film directly using contaminated objects and materials, contemporary artists autoradiograph the geopolitics and local histories of atomic contamination due to bombing, testing, nuclear reactor explosions, mining or uranium disposal cells. In my article, I discuss the implications these autoradiographic works have for the concept of photography by drawing on Timothy Morton’s notion of hyperobjects. Being hyperobjective, radioactivity confronts human beings with a vast non-human temporality, which, in turn, necessitates a shift in our understanding of photography. While photo theory has often been modelled on snapshot photography, privileging instantaneity and pastness, autoradiography is a durational and pluri-temporal procedure that points emphatically towards the future and invites us to reconceptualize the basis of photographic ontology.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47207068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
To scan a memory: On Anouk De Clercq’s LiDAR film Thing 扫描记忆:在阿努克·德·克莱克的激光雷达电影上
Philosophy of Photography Pub Date : 2022-04-01 DOI: 10.1386/pop_00043_1
M. Beugnet
{"title":"To scan a memory: On Anouk De Clercq’s LiDAR film Thing","authors":"M. Beugnet","doi":"10.1386/pop_00043_1","DOIUrl":"https://doi.org/10.1386/pop_00043_1","url":null,"abstract":"LiDAR (Light Detection and Ranging) is a remote sensing technology. It needs no ambient light, nor the guidance of the human eye to capture and reproduce a likeness of the world around us. Although LiDAR generates a constant stream of technical literature, LiDAR images, once envisaged for their aesthetic and expressive value, seem to call for alternative modes of analysis. How do we approach the fast-expanding archive of scanner images? How do we adequately describe the intriguing, spectral visualizations that its blind process of recording produces? Following a general introduction, I look at Anouk De Clerk’s film Thing (2013), a work entirely comprised of LiDAR images. De Clerk encourages us to envisage LiDAR counterintuitively, not as the product of technological novelty, but as part of an interdisciplinary history of the arts.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45522783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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