Five Notes for a Phenomenology of the Photographic Image

Datos Bibliográficos

ID7936628
AutoresHubert Damisch (autor de correspondencia)
Año1978
Volumen5
Páginas70
Fecha de publicación1978-01-01
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaOctober (JOURNAL)
Identificadores de la revistaISSN: 0162-2870 • E-ISSN: 1536-013X
EditorialJSTOR (PUBLISHER)
DOI10.2307/778645
OpenAlexW2332557688
IdiomaEN
Citas recibidas11

1. Theoretically speaking, is nothing other than a process of recording, a technique of inscribing, in an emulsion of silver salts, a stable image generated by a ray of light. This definition, we note, neither assumes the use of a camera, nor does itimply that the image obtained is that of an object or scene from the external world. We know of prints obtained from film directly exposed to a light source. The prime value of this type of endeavor is to induce a reflection on the nature and function of the photographic image. And insofar as it successfully eliminates one of the basic elements of the very idea of photography (the camera obscura, the camera), it produces an experimental equivalent of a phenomenological analysis which purports to grasp the essence of the phenomenon under consideration by submitting that phenomenon to a series of imaginary variations

Aesthetics · Art · Art history · Epistemology · Phenomenology (philosophy · Photography · Visual arts · Philosophy · Photography and Visual Culture · Visual Culture and Art Theory