Aim Duelle Luski and Horizontal Photography

Häftad, Engelska, 2014

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Exploring radically new possibilities for contemporary photography by an internationally leading theorist. This book is the product of a unique collaboration between Israeli artist and philosopher Aïm Deüelle Lüski and visual culture theorist Ariella Azoulay. In their longstanding working relationship, they research how to theorize the structure of the contemporary scopic regime and open a space for its civil transformation. On this occasion, Azoulay interprets a particular series of cameras built by Deüelle Lüski, along with photographs taken by these cameras. Unlike conventional cameras and their vertical photography, Deüelle Lüski's cameras seek to generate new sets of relations between the camera and the world. Azoulay's text unfolds four different ‘short histories' of problems in photography, each of which deconstructs what otherwise might appear as a coherent photographic regime, yet which is shown to be based solely on principles of sovereignty and possession. Through and with Deüelle Lüski's project Azoulay seeks to ‘potentialize' the history of photography, that is, to recover long forgotten, un-materialized possibilities. The book contains 100 images and a conversation between the author and the artist. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Produktinformation

Utgivningsdatum2014-01-06
Mått160 x 239 x undefined mm
Vikt907 g
FormatHäftad
SpråkEngelska
SerieLieven Gevaert Series
Antal sidor262
FörlagLeuven University Press
ISBN9789058679499

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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