Philosophy of Photography - Volume 2, Issue 2, 2012

This article re-examines Vilém Flusser's philosophy of photography and its relation to what I will name the philosophical question of 'image-thinking'. It places his work on photography in the context of the much discussed 'pictorial' and 'iconic' turns in the study of visual culture and, through this, aims to reveal the depth of Flusser's approach to understanding media culture and to argue for the significance and continuing relevance of his philosophy of photography.

This article explores the genealogy of a paradox in the evidentiary logic of the press photograph. While such photographs are supposed to gain their special authority from their unmediated relationship to the events they represent, they are often illegible without supplementary graphical material. The picture press of the 1920s and 1930s, saturated with re-creations of brutal crimes and messy accidents, fashioned an elaborate system of arrows, daggers, circles and crosses added by hand in paint or ink to help guide the viewer's attention to the salient detail. Examining the hybrid idiom of the photo-diagram, this article investigates how photography's indexicality and its multiplicity seek reconciliation at this revealing juncture in media history, and explores the ramifications for the evidentiary status of the press photograph in the digital era.

In this article, the post-war institutional interpretation of Jacob A. Riis' photographs is measured against their nineteenth-century capacity for mass media communication. The conventions that today determine the proper meaning and origin of these celebrated photos first emerged with an exhibition held in 1947. The ensuing, and dominant, mode of interpretation is shown here to be fundamentally at odds with the conditions for image use in early mass media communication. This article examines the clash and argues for an alternative mode of interpretation that is capable of accounting for the distinct production of iconic meaning afforded by the media that Riis employed.