Tag Archives: Theory

Cadava on Photography & History

“We could even say that the lesson of the photograph for history — what it says about the specialization of light, about the electrical flashes of remote spirits — is that every attempt to bring the other to the light of… Continue reading

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Rancière on Rupture and Dissensus

“This is, after all, what ‘critique’ means: separation. When Rousseau wrote his Lettre sur les spectacles, this separation was emblema­tized by the apparently innocuous description of an ancient statue, that by Johann Joachim Winckelmann of the Torso of the Belvedere. The… Continue reading

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Campany on the banality of Universal Photographic Language

“If, as we are often told, the photograph is a universal form of communication, it is only at the level of the obvious and the already understood. It is clichés and only clichés that bind us in this increasingly fragmentary… Continue reading

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Rancière on Art, Politics and Reality

“There is no ‘real world’ that functions as the outside of art. Instead, there is a multiplicity of folds in the sensory fabric of the common, folds in which outside and inside take on a multiplicity of shifting forms, in… Continue reading

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Beshty on the Neutralisation of Self

“In this model of social anomie we lose ourselves in the ebb and flow of a realised utopia of our desires. Our perpetual movement between the limbos of non-places, such as airport terminals, thruways, malls, housing developments and pre-fab communities… Continue reading

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Agamben on History, Memory and Forgetting

“Despite the efforts of historians, scribes, and all sorts of archivists, the quantity of what is irretrievably lost in the history of society and in the history of individuals in infinitely greater than what can be stored in the archives… Continue reading

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Blanchot on the Object, the Image and Distance

“After the object comes the image. “After” means that the thing must first take itself off a ways in order to be grasped. But this remove is not the simple displacement of a moveable object which would nevertheless remain the… Continue reading

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Cadava on Benjamin, Photography and Death

“…the photographic event reproduces, according to its own faithful and deathbringing manner, the posthumous character of our lived experience. The home of the photographed is the cemetery.” — Eduardo Cadava “Mortification” in Words of Light: Theses on the Photography of History (1997)

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Mulvey on the Figure of the Woman

“Woman then stands in patriarchal culture as signifier for the male other, bound by a symbolic over in which man can live out his phantasies and obsessions through linguistic command by imposing them on the silent image of woman still… Continue reading

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Williams on Williams

“The art world is one of the few public areas that allow for speculative thought or slowed down vision. The camera, the gallery, the museum, the play between language and images, are all part of a workshop to make things… Continue reading

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