How Photography Changed Philosophy (Routledge History of Photography)

By analysing the philosophical lineage of notions of representation, time, being, light, exposure, image, and truth, this book argues that photography is the visual manifestation of the philosophical account of how humans encounter beings in the present. Daniel Rubinstein argues that traditional understandings of photography are determined by the notions of verisimilitude and representation, and this limits our understanding of photographic materiality. It is suggested that the photographic image must be closely read not for the objects, events and situations represented in it, but for the insights it affords into the structure of contemporary consciousness. The book will be of interest to scholars working in photography, media studies, philosophy, fine art, and art history. Cover Half Title Series Page Title Page Copyright Page Table of Contents Acknowledgements Preface: the emergence of photo-philosophy Introduction I | Transition to after-photography II | Deconstructing the index III | Technology, previously known as life 1 | The shadow of representation I | Archaeology of representation II | Representation and ancient philosophy III | Enlightenment and representation IV | Representation and post-Enlightenment 2 | Time I | Photographic sublime II | A hole in time III | The leap out of metaphysics 3 | The event I | Critiques of ocularcentrism II | The archive and its discontents III | The fractal image 4 | Simulacrum I | Original, copy, simulacrum II | Simulacrum and Platonism III | A question of ethics 5 | Latent image I | The trap of the visual II | The originary trace III | Difference at a standstill Conclusion The outside of thought References Index "By analysing the philosophical lineage of notions of time, being, light, exposure, image, and representation, this book argues that photography is the visual manifestation of the philosophical account of how humans encounter beings in the present. Daniel Rubinstein argues that traditional understandings of photography are determined by the notions of likeness and correspondence, and this limits our understanding of photographic materiality. It is suggested that the photographic image must be closely read not for the objects, events and situations represented in it, but for the insights it affords into the structure of contemporary consciousness. The book will be of interest to scholars working in photography, media studies, philosophy, fine art, and art history"-- Provided by publisher