Genealogy of ‘the photographic’

Prior to the modern movement in the visual arts, painting was an exercise in incomplete realism. Painters had already disavowed that which would interest Heidegger and that which Heidegger would go on to question. Their painterly exercises in incomplete realism, though, attest to the fact that painters, seemingly not interested in philosophy, had through the…

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The Wizard of Oz

In essence, Art has always been a trace of alterity. But at some point in the nineteenth century there seems to have occurred a very curious development, namely that the painter walked out and in his stead appeared the photography apparatus. With the advent of photography, the Arts were finally introduced to technology and could,…

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Si fallor, sum

It is superfluous, in light of the present Zeitgeist, to stay arguing on whether error is or is not a strictly human phenomenon. Error, defined as “a wandering, straying, a going astray” (HARPER 2001-2021), error, therefore, whose meaning hinges on metaphorical borrowings from human actions, is necessarily to be understood as a strictly human phenomenon.…

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Investment

The photograph is the result of light painting itself. The painting is the action of the hand showing. In the former case, there is no translation involved in beholding the objet d’art: light paints itself on the photographic film/sensor and the result is seen by the eyes which function through the transmission of the same…

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Atomised

It is common knowledge that the relationship analogue photography has with light is different from the relationship digital photography has with light. In the former case, the relationship with light is non-arbitrary; in the latter case, the relationship with light is arbitrary. Can we use this perceived relational difference these two types of photography have…

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