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Why we must forget photography and reject the frame of reality it prescribes and delineates. The central paradox this book explores is that at the moment of photography's replacement by the algorithm and data flow, photographic cultures proliferate as never before. The afterlife of photography, residual as it may technically be, maintains a powerful cultural and representational hold on reality, which is important to understand in relationship to the new conditions. Forgetting photography is a strategy to reveal the redundant historicity of the photographic constellation and the cultural immobility of its epicenter. It attempts to liberate the image from these historic shackles, forged by art history and photographic theory. More important, perhaps, forgetting photography also entails rejecting the frame of reality it prescribes and delineates, and in doing so opens up other relationships between bodies, times, events, materials, memory, representation and the image. Forgetting photography attempts to develop a systematic method for revealing the limits and prescriptions of thinking with photography, which no amount of revisionism of post-photographic theory can get beyond. The world urgently needs to unthink photography and go beyond it in order to understand the present constitution of the image as well as the reality or world it shows. Forgetting photography will require a different way of organizing knowledge about the visual in culture that involves crossing different knowledges of visual culture, technologies, and mediums. It will also involve thinking differently about routine and creative labor and its knowledge practices within the institutions and organization of visual reproduction.
'Forget Me Not' explores the relationship between photography and memory and shows how ordinary people have sought to strengthen the emotional appeal of photographs, primarily by embellishing them to create strange and often beautiful hybrid objects.
AcknowledgmentsI: Collective Memories, Images, and the Atrocity of War II: Before the Liberation: Journalism, Photography, and the Early Coverage of Atrocity III: Covering Atrocity in Word IV: Covering Atrocity in Image V: Forgetting to Remember: Photography as Ground of Early Atrocity MemoriesVI: Remembering to Remember: Photography as Figure of Contemporary Atrocity Memories VII: Remembering to Forget: Contemporary Scrapbooks of Atrocity Notes Selected Bibliography Index Copyright © Libri GmbH. All rights reserved.
A collection of photographs of the Mexican artist Frida Kahlo by the Hungarian-born photographer Nickolas Muray. Kahlo met Muray in Mexico in 1931, and they began an affair that was to continue over several years, sustained at a distance by an exchange of paintings, photographs and passionate love letters, a selection of which are included here.
A new philosophy of photography that goes beyond humanist concepts to consider imaging practices from which the human is absent, as both subject and agent. Today, in the age of CCTV, drones, medical body scans, and satellite images, photography is increasingly decoupled from human agency and human vision. In Nonhuman Photography, Joanna Zylinska offers a new philosophy of photography, going beyond the human-centric view to consider imaging practices from which the human is absent. Zylinska argues further that even those images produced by humans, whether artists or amateurs, entail a nonhuman, mechanical element—that is, they involve the execution of technical and cultural algorithms that shape our image-making devices as well as our viewing practices. At the same time, she notes, photography is increasingly mobilized to document the precariousness of the human habitat and tasked with helping us imagine a better tomorrow. With its conjoined human-nonhuman agency and vision, Zylinska claims, photography functions as both a form of control and a life-shaping force. Zylinska explores the potential of photography for developing new modes of seeing and imagining, and presents images from her own photographic project, Active Perceptual Systems. She also examines the challenges posed by digitization to established notions of art, culture, and the media. In connecting biological extinction and technical obsolescence, and discussing the parallels between photography and fossilization, she proposes to understand photography as a light-induced process of fossilization across media and across time scales.
We all have moments we wish we could relive. We'd give anything to skid down the toboggan hills of our youth, to breathe in the smell of our children as babies, or to spend just one more minute with someone we've lost. Dear Photograph provides a way to link these memories from the past to the present, overlapping them to see how the daydreams of our memories collide with our current realities. The idea is simple: hold up a photograph from the past in front of the place where it was originally taken, take a second photograph, and add a sentence of dedication about what the photograph means to you. The results, however, are astounding, which is why millions have flocked to dearphotograph.com and thousands have submitted their own Dear Photographs. This stunning visual compilation includes more than 140 never-before-seen Dear Photographs, as well as a space for you to attach your own cherished photo. By turns nostalgic, charming, and poignant, Dear Photograph evokes childhood memories, laments difficult losses, and, above all, celebrates the universal nature of love.
Photographs documenting daily life of artist's father at work and at home.
"Forget how good design is supposed to look. What you think is good design, is what other designers think is good design too. That's why design is in a rut. And that's not good. That's boring. This book is about how to get out of that rut; how to take an ordinary graphic problem and turn it into an original graphic solution. The 146 examples of the wit and imagination of Gill's solutions to the graphic problems in this unique collection are remarkable. But the most remarkable thing is that although 30 years of his work is represented here, you won't be able to tell Gill's early designs from his most recent ones."--Jacket.
While buying the ingredients for her first cake--a surprise for her mother's birthday--Sarah shares secrets with the friendly neighborhood shopkeepeers, especially with the Singers, who have blue numbers on their arms.