The Tourist and “The One Who Waits
The Double Time of Modern Photography
Bibliographic Data
| ID | 6136164 |
|---|---|
| Authors | Mauricio Lissovsky (0000-0002-0734-790X, Berlin University of the Arts, corresponding author) |
| Translators | Lúcia Leao (0000-0002-6680-5106) |
| Year | 2019 |
| Volume | 4 |
| Issue | 4 |
| Publication date | 2019-11-21 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Anthropology & Materialism (JOURNAL) |
| Journal identifiers | ISSN: 2364-0480 • E-ISSN: 2364-0480 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/am.1019 |
| OpenAlex | W2991288766 |
| Language | EN |
| References cited | 3 |
To consider photographs as historical objects is necessarily to rediscover them in one of those bifurcations where, as Walter Benjamin proposes, the conscious and the unconscious—lived and unlived—come face to face. In convolute D of The Arcades Project, the chronological milestones the philosopher assigns to the triumphal entry of boredom into culture coincide with the invention of photography. In contrast to boredom and monotony, however, the predominant topic in convolute D is not leisure or entertainment but rather "waiting." Based upon this premise, the paper suggests that it is in this bifurcation, where modern photography is born, that we find, in dialectical tension, the viewfinder that frames the world and the shutter that interrupts the temporal flow, the "tourist" and "the one who waits
Archaeology · Business · Geography · Tourism
| Citation velocity | historical |
|---|---|
| Highly cited | No |