Photography And Ontology: Unsettling Images (routledge History Of Photography)

This Edited Collection Explores The Complex Ways In Which Photography Is Used And Interpreted: As A Record Of Evidence, As A Form Of Communication, As A Means Of Social And Political Provocation, As A Mode Of Surveillance, As A Narrative Of The Self, And As An Art Form. What Makes Photographic Images Unsettling And How Do The Re-uses And Interpretations Of Photographic Images Unsettle The Self-evident Reality Of The Visual Field? Taking Up These Themes, This Book Examines The Role Of Photography As A Revelatory Medium Underscored By Its Complex Association With History, Memory, Experience And Identity-- Cover......Page 1 Half Title......Page 2 Series Page......Page 3 Title Page......Page 4 Copyright Page......Page 5 Table of Contents......Page 6 List of Illustrations......Page 8 Color Plates......Page 9 Acknowledgments......Page 10 Photography and Ontology: An Introduction......Page 12 Unsettling Images: The Essays......Page 15 Notes......Page 20 Chapter 1: Ontology or Metaphor?......Page 21 Metaphors They Photographed By......Page 22 The Sun Picture......Page 23 Mirror, Memory, Shadow, Vision......Page 26 Index......Page 28 Notes......Page 32 The Man in a Smart Suit......Page 35 Waldmü llerstrasse 1......Page 38 Smugglers and the Opel Kapitan......Page 42 Operation Biscaya......Page 47 Unsettling the Archive......Page 48 Notes......Page 49 Chapter 3: Dark Archive: The Afterlife of Forensic Photographs......Page 52 Notes......Page 63 Chapter 4: Hard Looks: Faces, Bodies, Lives in Early Sydney Police Portrait Photography......Page 67 “Birds of Passage”......Page 69 Identity Games......Page 71 Forget Me Not......Page 72 Digital Mobilities......Page 74 Four Rememberings......Page 77 Conclusion......Page 79 Notes......Page 81 Chapter 5: Anticipatory Photographs: Sarah Pickering and An-My Lê......Page 83 An-My Lê : Imagining Wars......Page 89 Notes......Page 94 Introduction......Page 106 The City of Blood......Page 107 Fantastique Social......Page 109 The Pichard Image......Page 115 Notes......Page 120 Chapter 7: The Presence of Video: Making the Displaced and Disappeared Self Visible......Page 123 Notes......Page 135 Chapter 8: Contemplating Life: Rinko Kawauchi’s Autobiography of Seeing......Page 138 Photography and Life 1: Photography in/as Autobiography......Page 139 Photography and Life 2: Photography and the Self......Page 140 Photography and Life 3: Personal Photography and the Photo-Diarist......Page 141 Reframing the Personal: Kawauchi and the Photobook......Page 143 Child-like, Dream-like: Kawauchi’s Mode of Looking......Page 144 Kawauchi’s Equivalence of Attention......Page 145 Conclusion......Page 146 Notes......Page 147 Between Political Economy and Psychoanalysis: Benjamin Buchloh and Margaret Iversen on Orozco’s Photography......Page 151 Jacques Ranciè re on Artistic Modernity and Aesthetic Experience......Page 153 Orozco’s Photographs and the Suspension of Productive Time......Page 156 Notes......Page 161 Chapter 10: Photography as Indexical Data: Hans Eijkelboom and Pattern Recognition Algorithms......Page 163 Hans Eijkelboom......Page 166 The Computer as Hyperviewer: Photography and “Deep Learning”......Page 170 The Data Selfie: From Google to Amazon’s Echo Look......Page 174 Conclusion......Page 178 Notes......Page 180 Chapter 11: Afterword: Photography Against Ontology......Page 185 Ontology Against Photography......Page 186 Relational Ontology......Page 187 Variable Ontology......Page 190 The Political Ontology of Photography......Page 192 Notes......Page 194 Contributors......Page 198 Bibliography......Page 200 Index......Page 213