Abstract
The philosophical exploration of photography has been an area of interest since Walter Benjamin’s seminal work, “The Work of Art in the Age of Mechanical Reproduction” (1935). This text discusses how the nature of photographic and filmic image challenges traditional notions of art and originality. The act of capturing images or video and the nature of the camera have since been scrutinized for their philosophical implications. According to philosopher Gilbert Simondon, a photograph represents a unique moment in time, analogous to a point of informational tension and the initiation of individuation within the technical ensemble. This concept is exemplified by the reception of iconic images like “Mushroom Cloud Over Nagasaki” by Lieutenant Charles Levy in 1945, which fundamentally alters the viewer’s perception. The same shift occurs in filmed events. This demonstrates how the camera (a technical ensemble) can provoke an ontogenetic process, wherein the reception of an image signifies a beginning in the world, an emergence from the pre-individual state. This emergence resolves inherent tensions and creates a new mode of being. Additionally, this process activates an “associated milieu,” a connective force that sustains the solidarity of subsequent operations within the newly altered culture. Thus, the nature of photography and the act of viewing images transcend mere representation, becoming dynamic processes of transformation and individuation within milieus and culture.
Presenters
Peggy BloomerAssistant Professor, Graphic Information Design, Central Connecticut State University, Connecticut, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Authenticity, Image, Ontogenesis, Culture
