Franz Prichard
Biographic Data
| ID | 4222930 |
|---|---|
| NAME | Franz Prichard |
| GIVEN NAMES | Franz |
| FAMILY NAME | Prichard |
| SIGNATURE | PRICHARD F |
| AFFILIATIONS | Florida State University |
| ORCID | 0000-0002-2855-4393 |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
A Brief Introduction to Nakahira Takuma's “The Illusion Called the Documentary
This translation of photographer and critic Nakahira Takuma's (1938-2015) 1972 essay, “The Illusion Called the Documentary: From the Document to the Monument,” illuminates a crucial shift in Nakahira's understanding of both the profound limitations—as well as the radical potential of—photography. The essay's contemporaneous insights into the role of photography during the infamous Asama-Sansō Incident in 1972 offers a crucial counter-perspective …
Seeing Through the In/Visible
This essay will explore the material and affective dimensions of the ongoing disaster caused by TEPCO’s Fukushima Dai’ichi reactor meltdowns from the perspective of Akagi Shūji’s photography. Mobilizing Twitter to record the uncanny traces of Fukushima city’s decontamination and recovery efforts, Akagi’s photography affords a renewed consideration of the lived struggles and unsettled realities of the ongoing disaster. Akagi’s work challenges the …
The Feedback and Noise of Hiroko Komatsu's Photographic Materialities
This article explores the dynamic forms of positive feedback found in Hiroko Komatsu's 2017 photography installation, The Execution of Personal Autonomy. This article details how Komatsu's installation generates an intensive interface among photographed materials and photochemical materialities that constitute a noise-like interface akin to the creative production of feedback in Noise music. As a redistribution of affective attunements that inher…
Introduction to “City as Landscape” (1970) by Matsuda Masao (1933–2020)
This introduction to Masao Matsuda’s essay, “The City as Landscape,” provides an outline of the essay’s role in the emergence of a radical discourse of landscape, known as fūkei-ron in Japan. In addition to illuminating crucial aspects of the political and discursive context of Matsuda’s writings, the introduction orients contemporary readers to this essay’s contributions to an expansion of the global imaginaries and aesthetic genealogies of the …
Residual Futures
Franz Prichard offers a path-breaking analysis of the works wrought from Japan's intensive urbanization in the the 1960s and 1970s. He maps the ways in which Japanese filmmakers, writers, photographers, and other artists came to grips with the entwined ecologies of a drastic transformation
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Residual Futures
Franz Prichard offers a path-breaking analysis of the works wrought from Japan's intensive urbanization in the the 1960s and 1970s. He maps the ways in which Japanese filmmakers, writers, photographers, and other artists came to grips with the entwined ecologies of a drastic transformation
Introduction to “City as Landscape” (1970) by Matsuda Masao (1933–2020)
This introduction to Masao Matsuda’s essay, “The City as Landscape,” provides an outline of the essay’s role in the emergence of a radical discourse of landscape, known as fūkei-ron in Japan. In addition to illuminating crucial aspects of the political and discursive context of Matsuda’s writings, the introduction orients contemporary readers to this essay’s contributions to an expansion of the global imaginaries and aesthetic genealogies of the …
The Feedback and Noise of Hiroko Komatsu's Photographic Materialities
This article explores the dynamic forms of positive feedback found in Hiroko Komatsu's 2017 photography installation, The Execution of Personal Autonomy. This article details how Komatsu's installation generates an intensive interface among photographed materials and photochemical materialities that constitute a noise-like interface akin to the creative production of feedback in Noise music. As a redistribution of affective attunements that inher…
A Brief Introduction to Nakahira Takuma's “The Illusion Called the Documentary
This translation of photographer and critic Nakahira Takuma's (1938-2015) 1972 essay, “The Illusion Called the Documentary: From the Document to the Monument,” illuminates a crucial shift in Nakahira's understanding of both the profound limitations—as well as the radical potential of—photography. The essay's contemporaneous insights into the role of photography during the infamous Asama-Sansō Incident in 1972 offers a crucial counter-perspective …
Seeing Through the In/Visible
This essay will explore the material and affective dimensions of the ongoing disaster caused by TEPCO’s Fukushima Dai’ichi reactor meltdowns from the perspective of Akagi Shūji’s photography. Mobilizing Twitter to record the uncanny traces of Fukushima city’s decontamination and recovery efforts, Akagi’s photography affords a renewed consideration of the lived struggles and unsettled realities of the ongoing disaster. Akagi’s work challenges the …
Art (4 works) · Aesthetics (3 works) · Archaeology (3 works) · History (3 works) · Law (3 works) · Political science (3 works) · Sociology (3 works) · Japanese History and Culture (2 works) · Literature and Cultural Memory (2 works) · Photography and Visual Culture (2 works)