“一个能捕捉一切的装置。”苏珊·桑塔格和照片想象的局限性

Daniele Garritano
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引用次数: 0

摘要

“一个能捕捉一切的设备”。苏珊·桑塔格与摄影想象的极限。桑塔格的论文集《论摄影》(1977)将摄影凝视视为一种体验和定义现实的方式,通过一种有争议的碎片化和极权化的欲望的混合,这是资本主义社会的典型特征。全球现代性的不同视觉语言表明,我们对现实的感知是通过给予我们大量的视觉经验来构建的。如果后福特主义文化加强了对图像生产消费的上瘾态度,我们仍然可以认识到并赋予我们赋予它们不可预见的意义的能力,例如通过认知疏远的过程。本文的最后一部分将桑塔格对现实的摄影建构的观点与马克·费雪的“资本主义现实主义”概念进行了比较。通过这样做,我探索了一种批判性的摄影良知的可能性,基于通过相机的滤镜体验现实的奇怪效果,这在Diane Arbus的作品中尤为明显。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Un congegno che capta ogni cosa”. Susan Sontag e i limiti dell’immaginario fotografico
“A device that captures it all”. Susan Sontag and the limits of photographic imaginary. Sontag’s collection of essays  On Photography  (1977) identifies the photographic gaze as a way of experiencing and defining reality through a controversial mix of fragmentation and desire of totalization, which is typical of capitalistic societies. Different visual languages of the global modernity show that our perception of reality is constructed by giving us an immense amount of visual experience. If post-Fordist culture has reinforced an addictive attitude towards the production-consumption of images, we can nonetheless recognize and empower our capability to assign them unforeseen meanings, for instance through processes of cognitive estrangement. The final part of this article compares Sontag’s perspective on the photographic construction of reality to Mark Fisher’s notion of “capitalist realism”. By doing this, I explore the possibility of a critical kind of photographic conscience, based on the weird effects of experiencing reality through the filter of a camera, which is particularly evident in Diane Arbus’ body of works.
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