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In: The Oxford literary review: OLR ; critical analyses of literary, philosophical political and psychoanalytic theory, Band 32, Heft 2, S. 203-230
ISSN: 1757-1634
In: The Oxford literary review: OLR ; critical analyses of literary, philosophical political and psychoanalytic theory, Band 32, Heft 2, S. 203-231
ISSN: 0305-1498
In: Fashion, Style & Popular Culture, Band 8, Heft 2, S. 153-154
ISSN: 2050-0734
In: Journal of perpetrator research: JPR, Band 2, Heft 2, S. 37
ISSN: 2514-7897
In: 9/11 and the War on Terror, S. 129-152
In: Defence science journal: DSJ, Band 34, Heft 1, S. 45-56
ISSN: 0011-748X
In: Political science quarterly: a nonpartisan journal devoted to the study and analysis of government, politics and international affairs ; PSQ, Band 43, Heft 1, S. 76-89
ISSN: 1538-165X
In: Political science quarterly: PSQ ; the journal public and international affairs, Band 43, S. 76-89
ISSN: 0032-3195
In: Visual studies, Band 33, Heft 1, S. 11-27
ISSN: 1472-5878
In: Evaluation review: a journal of applied social research, Band 14, Heft 1, S. 100-107
ISSN: 0193-841X, 0164-0259
Both photography and philosophy are invested in light as a form of intelligence, but while representation is central to photography as a recording practice, for Heidegger it is fundamental to the alienation of human beings from the world, and for Deleuze it is the foundation of political conservatism. This chapter brings together these critiques of representation and demonstrates that photography is both the visual form of Western metaphysics and the means for overcoming the boundaries imposed by the representational paradigm. It is argued that far from being rooted in 'objectivity', photography is usually interpreted through a philosophical framework that imposes upon it the concomitant ideologies of subjectivity and realism. It further contends that when photography is liberated from the totalizing effects of representation it begins to offer a fractured and fragmented 'image' of the interface between current technical, social and cultural norms.
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A lively and polemical analysis of photography and today's vernacular photographic culture. In Photography After Capitalism, Benedict Burbridge makes the case for a radically expanded conception of photography, encompassing the types of labor too often obscured by black-boxed technologies, slick platform interfaces, and the compulsion to display lives to others. His lively and polemical analysis of today's vernacular photographic cultures shines new light on the hidden work of smartphone assembly teams, digital content moderators, Street View car drivers, Google "Scan-Ops", low-paid gallery interns, homeless participant photographers, and the photo-sharing masses
In: Computers, Environment and Urban Systems, Band 15, Heft 1-2, S. 74