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Journal ArticleDOI

Replacing References to Photography with References to the Web in Vilém Flusser's “Towards a Philosophy of Photography” (1983)

01 Sep 2011-English Language Notes (Duke University Press)-Vol. 49, Iss: 2, pp 161-163
About: This article is published in English Language Notes.The article was published on 2011-09-01. It has received 3 citations till now. The article focuses on the topics: Photography.
Citations
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01 May 2013
TL;DR: This article explored how American staged art photographers in the 1970s problematized a traditional, visualist approach to the photograph as mediator or interface between human subject and reality, which had been present in the straight photography that had dominated American art photography from the early decades of the twentieth century.
Abstract: The aim of this study is to explore how American staged art photographers in the 1970s problematized a traditional, visualist approach to the photograph as mediator or interface between human subject and reality, which had been present in the straight photography that had dominated American art photography from the early decades of the twentieth century. Instead of viewing the camera as an objective, optical device and photographs as mechanically reproducible artistic products, the proponents of the new "staged photography" seized the possibilities of conveying holistic life experiences by employing a full range of sensory impressions. American staged art photography of the 1970s is researched using the statements and artworks of four photographers: Les Krims, Duane Michals, Lucas Samaras, and Arthur Tress. The four photograhers' works and statements are analyzed against a theoretical backdrop constructed from phenomenology and postphenomenology, and their approach to photography is found to be phenomenologically influenced. The analysis shows both how traditionalist visualist approaches to camera and photography as mediator between human subject and reality was criticized as reductionist, and how the studied photographers of the 1970s tried to transcend the limitations of the purely visual effect of photography through making artworks where the haptic is reintroduced to the concept of visuality. (Less)

10 citations

Journal ArticleDOI
TL;DR: The authors discusses a curatorial approach to authorship as a model for thinking about what they describe as an iterative modular poem, a poetic text composed of appropriated segments, and argues that the established paradigms of authorship, creativity and originality are inadequate with respect to contemporary experimental poetic practices to suggest a shift from creating to collecting and curating as a possible alternative model for think about instances of iterative creative writing.
Abstract: This article discusses a curatorial approach to authorship as a model for thinking about what I describe as an iterative modular poem, a poetic text composed of appropriated segments. As a response to contemporary proliferation of literary and artistic works created by iterative means, i.e. through acts of appropriation, remixing and remediation, the article is an attempt at putting forward ‘the curatorial’ as an emerging paradigm of writing for the twenty-first century. The article approaches established paradigms of authorship, creativity and originality as inadequate with respect to contemporary experimental poetic practices to suggest a shift from creating to collecting and curating as a possible alternative model for thinking about instances of iterative creative writing. The argument focuses on Robert Fitterman’s Holocaust Museum (2011) as an example of an iterative modular poem and a text emblematic of such curatorial approach to authorship.

3 citations

Journal ArticleDOI
TL;DR: English Language Notes, under the sponsorship of the University of Colorado, is published twice per year, in Spring/Summer and Fall/ Winter, in this paper, with back numbers of ELN beginning with Vol. XX, Number 1 are available for $24.00 each from CO 80309-0226.
Abstract: English Language Notes, under the sponsorship of the University of Colorado, is published twice per year, in Spring/Summer and Fall/ Winter. Institutional subscriptions are $65.00 for the United States and Canada, $75.00 for all other countries. Personal subscriptions are $40.00 for the United States and Canada, $48.00 for all other countries. Back numbers of ELN beginning with Vol. XX, Number 1 are available for $24.00 each from CO 80309-0226. Periodicals postage is paid at Boulder, CO. Claims for undelivered subscription numbers will be honored if received within one year of the publication date. No refunds offered for cancellations.

3 citations

References
More filters
Book
01 May 2013
TL;DR: This article explored how American staged art photographers in the 1970s problematized a traditional, visualist approach to the photograph as mediator or interface between human subject and reality, which had been present in the straight photography that had dominated American art photography from the early decades of the twentieth century.
Abstract: The aim of this study is to explore how American staged art photographers in the 1970s problematized a traditional, visualist approach to the photograph as mediator or interface between human subject and reality, which had been present in the straight photography that had dominated American art photography from the early decades of the twentieth century. Instead of viewing the camera as an objective, optical device and photographs as mechanically reproducible artistic products, the proponents of the new "staged photography" seized the possibilities of conveying holistic life experiences by employing a full range of sensory impressions. American staged art photography of the 1970s is researched using the statements and artworks of four photographers: Les Krims, Duane Michals, Lucas Samaras, and Arthur Tress. The four photograhers' works and statements are analyzed against a theoretical backdrop constructed from phenomenology and postphenomenology, and their approach to photography is found to be phenomenologically influenced. The analysis shows both how traditionalist visualist approaches to camera and photography as mediator between human subject and reality was criticized as reductionist, and how the studied photographers of the 1970s tried to transcend the limitations of the purely visual effect of photography through making artworks where the haptic is reintroduced to the concept of visuality. (Less)

10 citations

Journal ArticleDOI
TL;DR: The authors discusses a curatorial approach to authorship as a model for thinking about what they describe as an iterative modular poem, a poetic text composed of appropriated segments, and argues that the established paradigms of authorship, creativity and originality are inadequate with respect to contemporary experimental poetic practices to suggest a shift from creating to collecting and curating as a possible alternative model for think about instances of iterative creative writing.
Abstract: This article discusses a curatorial approach to authorship as a model for thinking about what I describe as an iterative modular poem, a poetic text composed of appropriated segments. As a response to contemporary proliferation of literary and artistic works created by iterative means, i.e. through acts of appropriation, remixing and remediation, the article is an attempt at putting forward ‘the curatorial’ as an emerging paradigm of writing for the twenty-first century. The article approaches established paradigms of authorship, creativity and originality as inadequate with respect to contemporary experimental poetic practices to suggest a shift from creating to collecting and curating as a possible alternative model for thinking about instances of iterative creative writing. The argument focuses on Robert Fitterman’s Holocaust Museum (2011) as an example of an iterative modular poem and a text emblematic of such curatorial approach to authorship.

3 citations

Journal ArticleDOI
TL;DR: English Language Notes, under the sponsorship of the University of Colorado, is published twice per year, in Spring/Summer and Fall/ Winter, in this paper, with back numbers of ELN beginning with Vol. XX, Number 1 are available for $24.00 each from CO 80309-0226.
Abstract: English Language Notes, under the sponsorship of the University of Colorado, is published twice per year, in Spring/Summer and Fall/ Winter. Institutional subscriptions are $65.00 for the United States and Canada, $75.00 for all other countries. Personal subscriptions are $40.00 for the United States and Canada, $48.00 for all other countries. Back numbers of ELN beginning with Vol. XX, Number 1 are available for $24.00 each from CO 80309-0226. Periodicals postage is paid at Boulder, CO. Claims for undelivered subscription numbers will be honored if received within one year of the publication date. No refunds offered for cancellations.

3 citations