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Media type:
Book
Title:
Herterogeneous objects
:
intermedia and photography after modernism
Contains:
Automat, automatic, automatism : Rosalind Krauss and Stanley Cavell on photography and the "photographically-dependent" arts
/ Diarmuid Costello
Eleven color photographs : Nauman, Man Ray and Wittengenstein : the skepticism of the medium
/ Raphaël Pirenne
The return of the panorama
/ Alexander Streitberger
Panoptic city : topography and photography of the scrutinizing gaze
/ Steven Jacobs
The visual flow : fixity and transformation in photo- and videographic imagery
/ Yvonne Spielmann
From perception to projection : on the future of technical images
/ Marcel René Marburger
Orozco, Heidegger and the visibility of things
/ Joanna Lowry
Intermediality, for the sake of radical neutrality, in Peter Friedl's work
/ Hilde Van Gelder.
Description:
Heterogeneous objects provides various essays that explore the encounter of photography with other media since the 1960s. The essays offer new ways of thinking about photography beyond modernist notions of medium specificity and autonomy based upon the idea that a photograph does not rely on a coherent system of codes but is almost always encountered as a fragmented, partial object. Addressing recent debates in art history and photography theory, film studies, and media theory, the contributions cover a broad array of approaches, relating photography to issues of the panorama, surveillance, sculpture, transformation and processuality, and the development of new media categories. Rather than conceiving of photography as a medium, the aim is to reconsider the photograph as a historically, theoretically, and culturally embedded heterogeneous object that is always related to, in contact with, or shaped by other media
Heterogeneous Objects' provides various essays that explore the encounter of photography with other media since the 1960s. The essays offer new ways of thinking about photography beyond modernist notions of medium specificity and autonomy based upon the idea that a photograph does not rely on a coherent system of codes but is almost always encountered as a fragmented, partial object. Addressing recent debates in art history and photography theory, film studies, and media theory, the contributions cover a broad array of approaches, relating photography to issues of the panorama, surveillance, sculpture, transformation and processuality, and the development of new media categories. Rather than conceiving of photography as a medium, the aim is to reconsider the photograph as a historically, theoretically, and culturally embedded heterogeneous object that is always related to, in contact with, or shaped by other media