Aim Duelle Luski and Horizontal Photography

Ariella Azoulay is a theorist of photography, curator and documentary filmmaker. She teaches in the departments of Modern Culture and Media (MCM) and Comparative Literature at Brown University.

• Part 1. A Short History of Photography in Dark TimesFour Birth JunctionsThe Body of the CamerasPinhole(s) CamerasThe Photographer and the InventorNot at the Click of a ButtonThe World is Not an Object to be PossessedCamera as a Means, Camera as a Participating PresenceLocal IndexBack-to-BackThe Scene of the MurderThe Place and TimeThe Big Bang and Sovereign-Possessive-Instrumental Scopic RegimeOur TimePart 2. The CamerasLemons Camera, 1977-1978Neighborhood Camera, 1977Horizontal Camera, 199872-Centimeters Clay-Wood Camera, 1992Refugee Camp Camera (Clay), 1994-1995 Shoulder Camera, 1996North-East-South-West (NESW) Camera, 1992Pita Camera, 2004Musical Notes Cameras: Mahler (1988), Scriabin (2012)Ball Camera, 2004 Cake Camera, 2010Cards Camera, Vertical & Horizontal, 2010Wine Barrel Camera, 2012Scaled Camera, 1978Football Camera, 2012Part 3. A Threshold is a PlaceAriella Azoulay talks with Aïm Deüelle Lüski

Deüelle Lüski's camera project is instructive in its non-technological determinism: it exemplifies the fact that technologies are not teleological, but are malleable. In the case of photography, through its flexibility, it can disrupt attempts -; no matter how forceful -; to fix their ontology, their products and the messages they produce. Subversive projects such as Deüelle Lüski's may be increasing through community connections made easier with new media technologies; we will have to see where the threshold era that Azoulay and Deüelle Lüski claim we are in will take us in terms of civil engagement. Nonetheless, to see the threshold as a horizon instead of an obstructive, vertical plane is already a positive step.Sonya de Laat, Western University, Visual Studies 2015 - http://dx.doi.org/10.1080/1472586X.2015.1020084