Philosophy of photography:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Leuven
Leuven Univ. Press
2007
|
| Schriftenreihe: | Lieven Gevaert series
6 |
| Schlagworte: | |
| Online-Zugang: | Klappentext Inhaltsverzeichnis |
| Beschreibung: | 126 S. zahlr. Ill. |
| ISBN: | 9789058675989 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Henri
Van Lier s contribution to the field of photography is comparable, in its scope as well as
in its achievements, to the work of all those we now consider being the great modern classics:
Walter Benjamin,
André Bazin, André Malraux,
John
Berger,
Susan
Sontag,
or
Roland Barthes.
Less well known, probably for having worked and published in Belgium, Henri Van
Lier
had
written with Philosophy of Photography a profoundly original and innovative reflection on the
medium, both on its formal peculiarities and on its social, cultural, and anthropological functions.
Much more than other theoreticians, Van
Lier
succeeds in combining an astute sense of the
detail with an extremely broad interest in the meaning of the medium for mankind (for Van
Lier,
photography is always analyzed in the light of a new discipline he coined as anthropogeny
and which studies the gradual emergence of what makes us human through the history of the
species). Moreover, having no particular institutional agenda to defend, Henri Van
Lier
is able
to gather a wide range of disciplinary insights and questions -semiotics, history, aesthetics, and,
why not, also philosophy.
The present translation is the very first to appear in English, yet it is also much more.The book
has received a completely new set of illustrations, meant to be more than merely illustrative .
Made by sixteen young photographers all trained by the Belgian photographer
Geert Goiris,
who devoted an open master class to Henri Van Lier s work, all these images represent both an
homage to the author of Philosophy of Photography and a timely exemplification of the use-value
of the ideas defended in the book. Each of the photographers has indeed attempted to suggest
in his or her own image(s) the echoes which specific points ofVan Lier s work are able to create
in the mind, the eyes, but also the hands of contemporary readers and viewers. In this sense, this
book is not just a scholarly work; it has become a work of art.
PHILOSOPHY
OF
PHOTOGRAPHY
TABLE
OF
CONTENTS
WHATWE CAN LEARN FROM
HENRIVAN
LIER
6
Jan Baetens &
Geert Goiris
TOWARDS A PHILOSOPHY INSTIGATED BY PHOTOGRAPHY
9
PART ONE: THE TEXTURE AND STRUCTURE OF THE PHOTOGRAPH I I
I THE ABSTRACTIVE IMPRINT 1
4
2.
INDICES AND INDEXES
17
3.
FIELD EFFECTS BEFORE DENOTATIONS AND CONNOTATIONS
2
1
4..THE NON-SCENE: ON THE OBSCENE IN STIMULI-SIGNS AND FIGURES
28
5.
REPRODUCTION AND TRANSMUTABILITY: PROCESS AND RELAY
32
6.
REALITY AND THE REAL
36
THE COSMOS-MUNDUS ANDTHE UNIVERSE
THE POSSIBLE ANDTHE BLACK BOX
7.THETRIGGERING OF MENTAL
SCHEMAS 39
8.
TYPES DIFFERING FROM BLACK AND WHITE
47
PART TWO: PHOTOGRAPHIC INITIATIVES
53
I .THE INITIATIVE OF INDUSTRIALTECHNOLOGY
54
2.THE INITIATIVE OF NATURE
59
3.THE INITIATIVE OFTHE SPECTACLE: PHOTOGENICITY
62
4.THE INITIATIVE OFTHE PHOTOGRAPHER:
71
TRAP AND SWITCH MEDIUMISM
PART THREE: PHOTOGRAPHIC BEHAVIORS
77
I
.
PRAGMATIC BEHAVIORS
79
I.ARTISTIC BEHAVIORS
95
3.
SCIENTIFIC, DOCUMENTARY AND TESTIMONIAL BEHAVIORS
103
POSTSCRIPT: NEWTHEORETICAL PERSPECTIVES 1
07
APPENDIX: PEIRCE AND PHOTOGRAPHY I 1
7
PHOTOGRAPHERS
124
|
| adam_txt |
Henri
Van Lier's contribution to the field of photography is comparable, in its scope as well as
in its achievements, to the work of all those we now consider being the great modern classics:
Walter Benjamin,
André Bazin, André Malraux,
John
Berger,
Susan
Sontag,
or
Roland Barthes.
Less well known, probably for having worked and published in Belgium, Henri Van
Lier
had
written with Philosophy of Photography a profoundly original and innovative reflection on the
medium, both on its formal peculiarities and on its social, cultural, and anthropological functions.
Much more than other theoreticians, Van
Lier
succeeds in combining an astute sense of the
detail with an extremely broad interest in the meaning of the medium for mankind (for Van
Lier,
photography is always analyzed in the light of a new discipline he coined as 'anthropogeny'
and which studies the gradual emergence of what makes us human through the history of the
species). Moreover, having no particular institutional agenda to defend, Henri Van
Lier
is able
to gather a wide range of disciplinary insights and questions -semiotics, history, aesthetics, and,
why not, also philosophy.
The present translation is the very first to appear in English, yet it is also much more.The book
has received a completely new set of illustrations, meant to be more than merely 'illustrative'.
Made by sixteen young photographers all trained by the Belgian photographer
Geert Goiris,
who devoted an open master class to Henri Van Lier's work, all these images represent both an
homage to the author of Philosophy of Photography and a timely exemplification of the use-value
of the ideas defended in the book. Each of the photographers has indeed attempted to suggest
in his or her own image(s) the echoes which specific points ofVan Lier's work are able to create
in the mind, the eyes, but also the hands of contemporary readers and viewers. In this sense, this
book is not just a scholarly work; it has become a work of art.
PHILOSOPHY
OF
PHOTOGRAPHY
TABLE
OF
CONTENTS
WHATWE CAN LEARN FROM
HENRIVAN
LIER
6
Jan Baetens &
Geert Goiris
TOWARDS A PHILOSOPHY INSTIGATED BY PHOTOGRAPHY
9
PART ONE: THE TEXTURE AND STRUCTURE OF THE PHOTOGRAPH I I
I THE ABSTRACTIVE IMPRINT 1
4
2.
INDICES AND INDEXES
17
3.
FIELD EFFECTS BEFORE DENOTATIONS AND CONNOTATIONS
2
1
4.THE NON-SCENE: ON THE OBSCENE IN STIMULI-SIGNS AND FIGURES
28
5.
REPRODUCTION AND TRANSMUTABILITY: PROCESS AND RELAY
32
6.
REALITY AND THE REAL
36
THE COSMOS-MUNDUS ANDTHE UNIVERSE
THE POSSIBLE ANDTHE BLACK BOX
7.THETRIGGERING OF MENTAL
SCHEMAS 39
8.
TYPES DIFFERING FROM BLACK AND WHITE
47
PART TWO: PHOTOGRAPHIC INITIATIVES
53
I .THE INITIATIVE OF INDUSTRIALTECHNOLOGY
54
2.THE INITIATIVE OF NATURE
59
3.THE INITIATIVE OFTHE SPECTACLE: PHOTOGENICITY
62
4.THE INITIATIVE OFTHE PHOTOGRAPHER:
71
TRAP AND SWITCH MEDIUMISM
PART THREE: PHOTOGRAPHIC BEHAVIORS
77
I
.
PRAGMATIC BEHAVIORS
79
I.ARTISTIC BEHAVIORS
95
3.
SCIENTIFIC, DOCUMENTARY AND TESTIMONIAL BEHAVIORS
103
POSTSCRIPT: NEWTHEORETICAL PERSPECTIVES 1
07
APPENDIX: PEIRCE AND PHOTOGRAPHY I 1
7
PHOTOGRAPHERS
124 |
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| index_date | 2024-07-02T20:16:49Z |
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| isbn | 9789058675989 |
| language | English |
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| title | Philosophy of photography |
| title_auth | Philosophy of photography |
| title_exact_search | Philosophy of photography |
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| title_full | Philosophy of photography Henri Van Lier |
| title_fullStr | Philosophy of photography Henri Van Lier |
| title_full_unstemmed | Philosophy of photography Henri Van Lier |
| title_short | Philosophy of photography |
| title_sort | philosophy of photography |
| topic | Ästhetik (DE-588)4000626-8 gnd Fotografie (DE-588)4045895-7 gnd |
| topic_facet | Ästhetik Fotografie |
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