The age of ubiquitous photography has not only embedded the ability to easily share photographs, it has also constructed widespread expectations of content being shared. Such presumptions of sharing are profoundly influencing our relationship with photography, particularly as the hypervisibility of shared images produces an increasingly unstable invisibility of ‘unshared’ images. These contemporary concerns can be productively explored and theorized by considering the work of artists Eva and Franco Mattes. In recent works that use personal photographs, the Matteses reveal prescient insights into photographic concerns around latency, (in)visibility and shifting distinctions between personal/private/public. By investigating the Matteses’ works through these prisms, I argue that the age of social media entails internalized and naturalized presumptions of sharing. This has not only affected how and why photographs are taken, it transforms the status of contemporary photography more generally, creating conditions where once unshared/private personal photographs may now instead exist in a broader state of ‘social latency’.
{"title":"Socially latent images: Eva and Franco Mattes’s personal photographs","authors":"Kate Warren","doi":"10.1386/pop_00014_1","DOIUrl":"https://doi.org/10.1386/pop_00014_1","url":null,"abstract":"The age of ubiquitous photography has not only embedded the ability to easily share photographs, it has also constructed widespread expectations of content being shared. Such presumptions of sharing are profoundly influencing our relationship with photography, particularly\u0000 as the hypervisibility of shared images produces an increasingly unstable invisibility of ‘unshared’ images. These contemporary concerns can be productively explored and theorized by considering the work of artists Eva and Franco Mattes. In recent works that use personal photographs,\u0000 the Matteses reveal prescient insights into photographic concerns around latency, (in)visibility and shifting distinctions between personal/private/public. By investigating the Matteses’ works through these prisms, I argue that the age of social media entails internalized and naturalized\u0000 presumptions of sharing. This has not only affected how and why photographs are taken, it transforms the status of contemporary photography more generally, creating conditions where once unshared/private personal photographs may now instead exist in a broader state of ‘social latency’.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43714662","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}
The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver, whether mechanical (the camera), biological (the eye‐brain as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe, concerning space and time, impact on the way we perceive photographic and optical images. Viewed from this perspective, photographs can be treated as light projections of sections of the four-dimensional observable world onto two-dimensional spatial photographic or viewing surfaces. I shall show that despite the severe reduction that such projections imply, these modern considerations have the important consequence of bestowing a complex temporality upon optical images, including photographs. This realization dramatically changes the way we view photographs. I give examples of this rich temporality through considerations of terrestrial images ‐ and more significantly images of the Sky, where these temporal effects are far more pronounced.
{"title":"The time(s) of the photographed","authors":"R. Tavakol","doi":"10.1386/POP_00015_1","DOIUrl":"https://doi.org/10.1386/POP_00015_1","url":null,"abstract":"The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver, whether mechanical (the camera), biological (the eye‐brain\u0000 as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe,\u0000 concerning space and time, impact on the way we perceive photographic and optical images. Viewed from this perspective, photographs can be treated as light projections of sections of the four-dimensional observable world onto two-dimensional spatial photographic or viewing surfaces. I shall\u0000 show that despite the severe reduction that such projections imply, these modern considerations have the important consequence of bestowing a complex temporality upon optical images, including photographs. This realization dramatically changes the way we view photographs. I give examples\u0000 of this rich temporality through considerations of terrestrial images ‐ and more significantly images of the Sky, where these temporal effects are far more pronounced.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41520917","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}
{"title":"Editorial","authors":"","doi":"10.1386/pop_00013_2","DOIUrl":"https://doi.org/10.1386/pop_00013_2","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44430281","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}
{"title":"You are my territory","authors":"Liz Orton","doi":"10.1386/pop_00007_7","DOIUrl":"https://doi.org/10.1386/pop_00007_7","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43649407","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}
Abstract This article addresses traditional perceptions about photography's position between nature and culture and concomitant schools of thinking focusing pre-dominantly on the photographic image as a form of visual representation. Aiming to develop an alternative perspective it considers a biosemiotic approach and turns to Jakob von Uexküll's model of subjective sentient worlds (Umwelt) that critically dissolves the perceived dualism between nature and culture that has also underpinned most theoretical thinking about photography in the past. Today photography is largely embedded into social media platforms and their interlinked digital networks, which holds far-reaching consequences for a medium that in this current form can only be fully understood if it is considered as a form of embodied material practice. Aiming to understand some of the complex manifestations this technical evolution entails the article further considers the relevance of recent non-representational concepts arising out of cognition theory and cultural geography and uses the 'selfie' as a 'theoretical object'.
{"title":"Between nature and culture: Jakob von Uexküll's concept of Umwelten and how photography shapes our worlds","authors":"J. Froese","doi":"10.1386/pop_00003_1","DOIUrl":"https://doi.org/10.1386/pop_00003_1","url":null,"abstract":"Abstract This article addresses traditional perceptions about photography's position between nature and culture and concomitant schools of thinking focusing pre-dominantly on the photographic image as a form of visual representation. Aiming to develop an alternative perspective\u0000 it considers a biosemiotic approach and turns to Jakob von Uexküll's model of subjective sentient worlds (Umwelt) that critically dissolves the perceived dualism between nature and culture that has also underpinned most theoretical thinking about photography in the past. Today\u0000 photography is largely embedded into social media platforms and their interlinked digital networks, which holds far-reaching consequences for a medium that in this current form can only be fully understood if it is considered as a form of embodied material practice. Aiming to understand some\u0000 of the complex manifestations this technical evolution entails the article further considers the relevance of recent non-representational concepts arising out of cognition theory and cultural geography and uses the 'selfie' as a 'theoretical object'.","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43449849","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}
{"title":"Editorial","authors":"","doi":"10.1386/pop_00001_2","DOIUrl":"https://doi.org/10.1386/pop_00001_2","url":null,"abstract":"","PeriodicalId":40690,"journal":{"name":"Philosophy of Photography","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46581436","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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