Four Arts of Photography: An Essay in Philosophy (New Directions in Aesthetics)

Four Arts of Photography: An Essay in Philosophy (New Directions in Aesthetics)

Language: English

Pages: 200

ISBN: 111905317X

Format: PDF / Kindle (mobi) / ePub

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century.

  • Re-examines the history of art photography through four major photographic movements and with case studies of representative images
  • Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach
  • Advances a new theory regarding the nature of photography that is grounded in technology but doesn’t place it in opposition to painting
  • Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland

Understanding Pictures

The Beautiful: An Introduction to Psychological Aesthetics

Aesthetic Themes in Pagan and Christian Neoplatonism: From Plotinus to Gregory of Nyssa

The Future of the Image











on the Pencil of Nature Edited by Scott Walden 7. Art and Ethical Criticism Edited by Garry L. Hagberg 8. Mirrors to One Another: Emotion and Value in Jane Austen and David Hume Eva Dadlez 9. Comic Relief: A Comprehensive Philosophy of Humor John Morreall 10. The Art of Videogames Grant Tavinor 11. Once‐Told Tales: An Essay In Literary Aesthetics Peter Kivy 12. The Art of Comics: A Philosophical Approach Aaron Meskin and Roy T. Cook 13. The Aesthetics of Wine Douglas Burnham and Ole Martin

duplicated object, that leaves us with an interest in the thought expressed by the photograph. Now the profile of the s­ econd art comes into focus: we are looking for photographs that use belief‐ independent feature tracking to duplicate scenes and thereby express thoughts. The artistic standing of works in the second art is consistent with the theory of photography represented by (S1), with the link between thought and representational art that is forged in (S3), and with the presumption, in

most legwork.”147 Paris, Montparnasse choreographs this movement, in which we swing from one perspective to the other, seeking their integration. Thinking Through Photographs: The Second Art   55 Readings of Paris, Montparnasse and Mimic as snippets of social ­commentary—racism is wrong, we live like bees in hives or rabbits in hutches—fail to explain some important features of each photograph, including the staging of near documentary and the staging of the picture viewer in gallery space.

information may not be packaged depictively. In other words, some photographs inform us about scenes even though we do not and cannot see the scenes in them. Depiction may fail in p­hotography. Anyone who has ever played around with a camera has at least been tempted to take pictures that push the boundaries of depictive legibility. Often, the result is a complete loss of information—a friend once sent me a box full of snapshots of philosophers attending a conference, but the shots were so badly

it requires nothing controversial. 280 Lopes, Sight and Sensibility, pp. 25–8. 281 Peter Kivy, Philosophies of Arts: An Essay in Differences (Cambridge: ­Cambridge University Press), ch. 1. 282 For example, Scruton, “Photography and Representation,” p. 591. 283 Nanay, “The Macro and the Micro.” 284 Anna Atkins, Photographs of British Algae: Cyanotype Impressions (London), pp. 1843–53. 285 Erica Fahr Campbell, “Outer Space: Thomas Ruff’s Altered Reality,” Time (October 17, 2011). 286 See

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