The Concept of Non-Photography (English and French Edition)
Myriads of negatives inform of the area, talking between themselves, constituting an unlimited dialog, filling a photosphere that's positioned nowhere. yet one unmarried photograph is sufficient to exhibit the true that every one photographers aspire someday to catch, with out ever fairly succeeding in doing so. however, this actual cohabits in detail with negatives, with clichés as embedded in our lives as they're imperceptible. photos are the thousand flat features of an ungraspable identification that merely shines - and infrequently very faintly - via whatever else. What extra is there to a photograph than a curious and prurient look? And but it's also a desirable secret.
The thought of Non-Photography develops a rigorous new taking into account the photo in its relation to technological know-how, philosophy and paintings, and introduces the reader to the entire key ideas of Laruelle's 'non-philosophy'.
Bilingual (English/French) version
Mathematical and logical ability. yet we will additionally describe it in taking over, ourselves, a systematic stance - fo r instance treating images and its power-of-semblance (if no longer of resemblance) as a brand new theoretical item with out identical in philosophical theories of the mind's eye and of illustration, han· dling the latter like an insignificant fabric that allows you to produce a brand new, extra common illustration of the picture, of the representatio n of the photograph. For a technological know-how of representa· tion and of the.
Relation to technological know-how, philosophy and an, and introduoo; the reader [0 the entire key innovations of LarueUe's 'non-philosophy.' FRANC;:OIS LARUELLE, professor emeritus on the college of Paris West Nanrerre los angeles Defence, is the founding father of 'non-philosophy' and the au tho r of round cwemy works, includ ing Une biographie de l'homme ordinaire, Principes de los angeles non-philosophie, Christfutur: Une teron d'hbisie, and Philosophie non-standard_ An introductory number of his essays, u From selection 10.
In an aiming on the item, and semblance as real-presentation, that's to claim Identitypresentation. This strength of semblance doesn't owe to the invariance of its help, of its content material of illustration, [0 the id of gadgets and features which are grafted onto it. it's both kind of than the limitless continuity of pictures, the id o f one picture on my own that suffices to exhaust the event of the common. without doubt it rests upon a help that's given first of all within the type of.
as a result of its gadgets, yet a result of manner it grasps them, or perhaps extra, as a result foundation, positioned in itself by myself, of this fashion of taking a look. UN IV E R SAL PHOTOGRAPHIC FICT IO N allow us to proceed the speculation. The photographer has want of a stance that's, no longer naive, yet is inside naivety. He instantly postulates a use of (less than a rapport 15 THE proposal OF NON - images what's visible IN a photograph ? or a relation with) the realm , of his physique, of his digital camera, which renders.
Photographer - an relief to belief (its research, its rationalization, etc.). images has its personal ' purpose' - it truly is that quasi-field of natural photographic apparition, of the common photographic visual appeal or Fiction (that of the vision-stance) . And it's philosophically sterile: images happens in an immanent demeanour, it has not anything to turn out, and it does not even inevitably have a will - for instance, to critique and to transfonn the area, is performed out in other places than inside of it -.