The essay is concentrated on emotional affects caused by representation of violence in the case of Russia’s war against Ukraine and beyond. Instant accessibility to first-hand visual information created fertile soil for planting and then multiplying manipulative strategies of one or another political interest. Meanwhile, the demand for shocking content continues to steadily rise because it guarantees popularity, spectacle and even a form of pleasure. This, in turn, supports a very propagandistic version of reality where violence plays a central role in the overall design and transmission of contents, which is driven by shock as an affective medium. Blind Spot, Gradual Loss of Vision and Speck in the Eye represent a body of works by Mykola Ridnyi, address the question of what potential response(s) could be given by artistic interventions understood as a dialectical and critical framework able to face and make visible the problem of dehumanization through violence?
{"title":"Loss of vision: On emotional affects caused by the representation of violence in Russia’s war against Ukraine and beyond","authors":"Mykola Ridnyi","doi":"10.1386/pop_00064_7","DOIUrl":"https://doi.org/10.1386/pop_00064_7","url":null,"abstract":"The essay is concentrated on emotional affects caused by representation of violence in the case of Russia’s war against Ukraine and beyond. Instant accessibility to first-hand visual information created fertile soil for planting and then multiplying manipulative strategies of one or another political interest. Meanwhile, the demand for shocking content continues to steadily rise because it guarantees popularity, spectacle and even a form of pleasure. This, in turn, supports a very propagandistic version of reality where violence plays a central role in the overall design and transmission of contents, which is driven by shock as an affective medium. Blind Spot, Gradual Loss of Vision and Speck in the Eye represent a body of works by Mykola Ridnyi, address the question of what potential response(s) could be given by artistic interventions understood as a dialectical and critical framework able to face and make visible the problem of dehumanization through violence?","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46547587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Toward the Critique of Violence: A Critical Edition, Walter Benjamin, Peter Fenves (ed.) and Julia Ng (ed.) (2021) Stanford, CA: Stanford University Press, 368 pp., ISBN 978-0-80474-952-7, h/bk, $25.00
{"title":"Toward the Critique of Violence: A Critical Edition, Walter Benjamin, Peter Fenves (ed.) and Julia Ng (ed.) (2021)","authors":"S. Truskolaski","doi":"10.1386/pop_00065_5","DOIUrl":"https://doi.org/10.1386/pop_00065_5","url":null,"abstract":"Review of: Toward the Critique of Violence: A Critical Edition, Walter Benjamin, Peter Fenves (ed.) and Julia Ng (ed.) (2021)\u0000 Stanford, CA: Stanford University Press, 368 pp.,\u0000 ISBN 978-0-80474-952-7, h/bk, $25.00","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42642591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the role of photography in the assassination of the Russian Ambassador to Turkey in 2016. The photography exhibition titled Russia through Turkish Eyes was the background for the assassination. The author argues that photography occupies a paradoxical position of a metalanguage of an event that it simultaneously announces, records, destroys and celebrates while assuming the role of an impartial observer. Photography operates as a counter-factual, exceeding the documentary, and assuming the function not of a witness but of an active participant. The author suggests that in a primitive culture like ours, some objects acquire the status of a portal that facilitates the transformation between symbolic, imaginary and real forms of existence. A camera is one such object. The article concludes that the assassination of the Russian Ambassador cannot be easily separated from the photographic event that preceded it, accompanied it and immortalized it.
{"title":"‘A knife without a blade, for which a handle is missing’: On the pleasure of photographic violence","authors":"Danny Rubinstein","doi":"10.1386/pop_00059_1","DOIUrl":"https://doi.org/10.1386/pop_00059_1","url":null,"abstract":"This article explores the role of photography in the assassination of the Russian Ambassador to Turkey in 2016. The photography exhibition titled Russia through Turkish Eyes was the background for the assassination. The author argues that photography occupies a paradoxical position of a metalanguage of an event that it simultaneously announces, records, destroys and celebrates while assuming the role of an impartial observer. Photography operates as a counter-factual, exceeding the documentary, and assuming the function not of a witness but of an active participant. The author suggests that in a primitive culture like ours, some objects acquire the status of a portal that facilitates the transformation between symbolic, imaginary and real forms of existence. A camera is one such object. The article concludes that the assassination of the Russian Ambassador cannot be easily separated from the photographic event that preceded it, accompanied it and immortalized it.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42161945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: A Black Gaze: Artists Changing How We See, Tina M. Campt (2021) Cambridge, MA: MIT Press, 232 pp., ISBN 978-0-26204-587-2, h/bk, $29.95 Dark Mirrors, Stanley Wolukau-Wanambwa (2021) London: Mack Books, 240 pp., ISBN 978-1-91362-039-4, p/bk, £25.00
{"title":"A Black Gaze: Artists Changing How We See, Tina M. Campt (2021)","authors":"Flora Dunster","doi":"10.1386/pop_00066_5","DOIUrl":"https://doi.org/10.1386/pop_00066_5","url":null,"abstract":"Review of: A Black Gaze: Artists Changing How We See, Tina M. Campt (2021)\u0000 Cambridge, MA: MIT Press, 232 pp.,\u0000 ISBN 978-0-26204-587-2, h/bk, $29.95\u0000 \u0000 Dark Mirrors, Stanley Wolukau-Wanambwa (2021)\u0000 London: Mack Books, 240 pp.,\u0000 ISBN 978-1-91362-039-4, p/bk, £25.00","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48368771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article takes inspiration from Allan Sekula’s remarks on New Topographics photography, as well as his own ‘geography lessons’, to interrogate how photographs of ‘man-altered landscapes’ give visual form to the problems of temporality, natural history and historical agency that mark life in the Capitalocene. It proposes that combining Fredric Jameson’s analysis of the way that capital congeals ‘quantities of the past’ into dead labour with Andreas Malm’s diagnosis of our ‘warming condition’ allows us both to diagnose and counter the temptation to a sublime inhumanity that so often haunts contemporary panoramas of ecological devastation.
{"title":"Landscape and autopsy: Photography and the natural history of capital","authors":"A. Toscano","doi":"10.1386/pop_00060_1","DOIUrl":"https://doi.org/10.1386/pop_00060_1","url":null,"abstract":"This article takes inspiration from Allan Sekula’s remarks on New Topographics photography, as well as his own ‘geography lessons’, to interrogate how photographs of ‘man-altered landscapes’ give visual form to the problems of temporality, natural history and historical agency that mark life in the Capitalocene. It proposes that combining Fredric Jameson’s analysis of the way that capital congeals ‘quantities of the past’ into dead labour with Andreas Malm’s diagnosis of our ‘warming condition’ allows us both to diagnose and counter the temptation to a sublime inhumanity that so often haunts contemporary panoramas of ecological devastation.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47123329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the work of three artists – Harun Farocki, Hito Steyerl and Rabih Mroué – who in different ways mobilize the cinematic device of ‘shot/countershot’ in two distinct post-cinematic contexts (the moving image installation and the performance lecture) as a tool for scrutinizing images of war and violence from divergent historical, socio-economic, geopolitical and ethical perspectives. In returning to and reworking this classical cinematic device as an experimental and essayistic mode of montage and critical reflection, all three artists, as I argue, variously seek to counter the ideological naturalization and interpretive framing of representations of war and violence under conditions of digitalization and globalization, as well as to interrogate the interconnections between forms of direct, symbolic and systemic violence.
{"title":"Shot/countershot: Essaying images of war and violence in the work of Harun Farocki, Hito Steyerl and Rabih Mroué","authors":"Alex Fletcher","doi":"10.1386/pop_00061_1","DOIUrl":"https://doi.org/10.1386/pop_00061_1","url":null,"abstract":"This article examines the work of three artists – Harun Farocki, Hito Steyerl and Rabih Mroué – who in different ways mobilize the cinematic device of ‘shot/countershot’ in two distinct post-cinematic contexts (the moving image installation and the performance lecture) as a tool for scrutinizing images of war and violence from divergent historical, socio-economic, geopolitical and ethical perspectives. In returning to and reworking this classical cinematic device as an experimental and essayistic mode of montage and critical reflection, all three artists, as I argue, variously seek to counter the ideological naturalization and interpretive framing of representations of war and violence under conditions of digitalization and globalization, as well as to interrogate the interconnections between forms of direct, symbolic and systemic violence.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44974421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This publication presents a selection from ‘Negative’: a landscape project on the aftermath of the recent political unrest in Hong Kong.
这份出版物从“负面”中挑选了一部分：这是一个关于香港最近政治动荡后果的景观项目。
{"title":"‘Negative’","authors":"Jimmy Lee","doi":"10.1386/pop_00063_7","DOIUrl":"https://doi.org/10.1386/pop_00063_7","url":null,"abstract":"This publication presents a selection from ‘Negative’: a landscape project on the aftermath of the recent political unrest in Hong Kong.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42289111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on documents made by the Soviet military secret service detailing the arrest, interrogation, trial and execution of Sergei Tret’iakov in Moscow in 1937. The original documents were published in Russian in 1997 as part of Return my Freedom, a collection of archival records edited by Vladimir Kolyazin that details the fate of Russian and German cultural figures who fell victim to the Stalinist terror. This record of Tret’iakov’s violent death has received little attention, even in Russia or in Russian studies. The book presents facsimiles of 60 separately numbered and dated sheets containing records of Tret’iakov’s arrest and the search of his home. There are two written confessions; a first short admission of guilt and a second longer account of his supposed crimes that also claims parts of the first to be fictitious. These are followed by a transcript of his interrogation, a very brief account of his trial and the even briefer report of his execution. A historical gap separates these from documents of Tret’iakov’s official rehabilitation in 1954 which his wife, Olga Tret’iakov was instrumental in securing. Return my Freedom also contains the record of her arrest, interrogation and release in 1937. The article presents translated extracts from the official record of Tret’iakov’s interrogation and execution for the first time in English, and it explores these documents in relation to core strategies and critical commitments that shaped Tret’iakov’s influential conception of Factography.
{"title":"Life and death in the production of a Factographic object","authors":"Andrew Fisher","doi":"10.1386/pop_00062_1","DOIUrl":"https://doi.org/10.1386/pop_00062_1","url":null,"abstract":"This article focuses on documents made by the Soviet military secret service detailing the arrest, interrogation, trial and execution of Sergei Tret’iakov in Moscow in 1937. The original documents were published in Russian in 1997 as part of Return my Freedom, a collection of archival records edited by Vladimir Kolyazin that details the fate of Russian and German cultural figures who fell victim to the Stalinist terror. This record of Tret’iakov’s violent death has received little attention, even in Russia or in Russian studies. The book presents facsimiles of 60 separately numbered and dated sheets containing records of Tret’iakov’s arrest and the search of his home. There are two written confessions; a first short admission of guilt and a second longer account of his supposed crimes that also claims parts of the first to be fictitious. These are followed by a transcript of his interrogation, a very brief account of his trial and the even briefer report of his execution. A historical gap separates these from documents of Tret’iakov’s official rehabilitation in 1954 which his wife, Olga Tret’iakov was instrumental in securing. Return my Freedom also contains the record of her arrest, interrogation and release in 1937. The article presents translated extracts from the official record of Tret’iakov’s interrogation and execution for the first time in English, and it explores these documents in relation to core strategies and critical commitments that shaped Tret’iakov’s influential conception of Factography.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46661956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This interview with the art historian and curator Julian Stallabrass was conducted by Alex Fletcher and Andrew Fisher over the winter of 2022–23. It takes as its point of departure Stallabrass’s recent and large-scale study Killing for Show: Photography, War, and the Media in Vietnam and Iraq (2020), in order to consider the changing ways in which images have been used to both document and to wage war. The interview explores Stallabrass’s central historical contrast between photography in the Iraq and Vietnam Wars. It considers the relative critical values of photojournalism and art in their engagements with violence and what the problems and possibilities of photojournalism tell us about the wider fate of liberal notions of the public sphere. The interview ends by linking these themes in Killing for Show to the photographic mediation of current conflicts and the visual cultures of contemporary capitalism.
{"title":"Killing for Show: Interview with Julian Stallabrass","authors":"J. Stallabrass, Alex Fletcher, Andrew Fisher","doi":"10.1386/pop_00058_7","DOIUrl":"https://doi.org/10.1386/pop_00058_7","url":null,"abstract":"This interview with the art historian and curator Julian Stallabrass was conducted by Alex Fletcher and Andrew Fisher over the winter of 2022–23. It takes as its point of departure Stallabrass’s recent and large-scale study Killing for Show: Photography, War, and the Media in Vietnam and Iraq (2020), in order to consider the changing ways in which images have been used to both document and to wage war. The interview explores Stallabrass’s central historical contrast between photography in the Iraq and Vietnam Wars. It considers the relative critical values of photojournalism and art in their engagements with violence and what the problems and possibilities of photojournalism tell us about the wider fate of liberal notions of the public sphere. The interview ends by linking these themes in Killing for Show to the photographic mediation of current conflicts and the visual cultures of contemporary capitalism.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46933017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This editorial articulates key questions and striking phenomena of violence that confront the theory and practice of photography today. It introduces contributions to this Special Issue of Philosophy of Photography (POP), which is Part 1 of a two-issue exploration of questions of violence.
{"title":"Editorial","authors":"","doi":"10.1386/pop_00057_2","DOIUrl":"https://doi.org/10.1386/pop_00057_2","url":null,"abstract":"This editorial articulates key questions and striking phenomena of violence that confront the theory and practice of photography today. It introduces contributions to this Special Issue of Philosophy of Photography (POP), which is Part 1 of a two-issue exploration of questions of violence.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47314407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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