第24页 IN PLATO'S CAVE
- 章节名：IN PLATO'S CAVE
- 页码：第24页 2016-09-16 10:54:21
3Photographs really are experience captured, and camera is the ideal arm of consciousness in its acquisitive mood.
Treacherous; used as describing photographic images 5But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does.
5The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph.Photograph furnish evidence.
yes. Doubts seem proven when being shown in a photograph; this can be part of its 'utility' but indicates more of treacherousness. as it is not objective as we imagine.the picture may distort. But there's always a presumption that something exists, or did exist.
she mentioned polaroid: showing something "out there"; note-taking activity. note-taking. as im doing right now. but recording texts requires interpretations(or are interpretation themselves) and understanding; you dont really need to interpret an image although it does and always does contain complexity and subjectivity; sonja: let it stand on its own! ( like how can it do this it's a baby 1871, photo used as tool of surveillance and control of mobile populations. Record justifies.A photograph passes for incontrovertible proof that a given thing happend.
6 Photography: a narrowly selective transparency. Photographers: always imposing standards on their subjects. using precise expression to support their own notions of poverty, beauty, light, texture, etc. ignorant and supercilious consumer of a moment?the subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images.
An industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography as art.
1840s. first invented camera. early popular use:memorializing the achievements of individuals considered as members of families
in contemporary photography, artists began to transform the essence of this very first utilization into one of a much more conceptual construction 13In fact, using a camera is not a very good way of getting at someone sexually. Between photographer and the subjet, there has to be distance. The camera doesn't rape, or even possess, and, at the farthest reach of metaphor, assassinate—all activists that, unlike the sexual push and shove, can be conducted from a distance, and with some detachment.Just as the camera is a sublimation of the gun, to photograph someone is a sublimed murder--a soft murder, appropriatee to a sad, frightened time.
16A photograph is both a pseudo-presence and a token of absence.
Photographs may be more memorable than moving images, because they are a neat slice of time, not a flow.
21 **Aesthetic distance seems built into the very experience of looking at photographs, if not right away, then certainly with the passage of time. Time eventually positions most photographs, even the most amateurish, at the level of art.
Photograph: a thin slice of space as well as time.In a world ruled by photographic images, all borders ("framing") seem arbitrary. Anything can be separated, can be made discontinuous, from anything else: all that is necessary is to frame the subject differently. (Conversely, anyrhing can be made adjacent to anything else.)
**The camera makes reality atomic, manageable, and opaque. **All possibility of understanding is rooted in the ability to say no. **Nevertheless, the camera's rendering of reality must always hide more than it discloses. **The very muteness of what is, hypothetically, comprehensible in photographs is what constitutes their attractions and provocativeness. 24The omnipresence of photographshas an incalculable effect on our ethical sensibility; by furnishing this already crowded world with a duplicate one of images, photography makes us feel that the world is more available than it really is.Ultimately, having an experience becomes identical with taking a photograph of it, and participating in a public event comes more and more to be equivalent to looking at it in photographed form.
The significance of image-making is, essentially, utilizing our presumptions of a single photograph revealing authentic existence, although we might all know that this is never gonna be true
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