Philosophy of Photography - Volume 3, Issue 2, 2012

When world’s most famous taxidermist, Carl Akeley, died in 1926, many obituaries cited his consummate skill and innovative technique, often arguing that he had elevated taxidermy from a craft to an art. Such claims notwithstanding, taxidermy tends still to be considered as a craft. While scholars have studied the various ways in which taxidermy has been deployed within art practices – to critique gender, colonialism and concepts of mortality – late nineteenth- and early twentieth-century attempts to classify it as a fine art failed. This critical and historical asymmetry frames the following article, which explores what it tells us about how art is conceived today. I argue that taxidermy ‘failed’ as a form of art not because its procedures were distasteful, nor because its practice lacked the skill and vision an art might require. Rather, taxidermy remains outside of art due to a confluence of historical shifts in art practice and theory in the late nineteenth century, particularly those associated with the rise of instant photography and the advent of the snapshot. In this context, the making and display of taxidermied specimens entailed tensions – between ideal and real, type and example, multiple and singular, index and object – that were and remain central to photography and art. But, unlike photography, around which art historians have developed a sophisticated discourse, taxidermy lacks a critical vocabulary. Importantly, I argue, the taxidermied animal’s status involves no author-function, thus throwing into question methods of production and display. And, in light of this, I delineate taxidermy’s ‘failure’ in order to elucidate some of the tacit exclusions enacted by art history, particularly with regard to works that simultaneously reveal and negate their own manufacture.

The biologist and founder of Umwelt-Research Jakob von Uexküll used cinematographic techniques in many ways. This article explores three of these. First, Uexküll uses chronophotography to investigate the locomotion of marine organisms and insects, making multiple exposures on a single photographic surface to facilitate comparison between different phases of locomotion. Second, according to Uexküll, observing the motions of the living being in this way renders visible the ‘conformity with plan’ that is particular to each organism. The technique of cinematography is therefore original to his investigation of the plan-like character of organisms. Third, in his later works Foray into the World of Humans and Animals ([1934] 2010) and Theoretical Biology ([1920] 1926), Uexküll uses cinematography to demonstrate his theory that the life of every living being unfolds in its own perceptual world possessing of its own subjective time and spatiality. It is in this context that one has to understand the centrality of his references to ‘pre-cinematographic’ experiments on and theories of perception.

This article sets out to develop a critical and theoretical interpretation of what scale means in and for photography, an investigation provoked by the expansive character of photography in the context of networked digital culture that also involves questions relating to historical practices and theorisations of photography. Scale has many different meanings in these contexts and these are normally addressed separately in specialised discursive frameworks. This article explores an alternative, namely, that it is its very diversity which gives the clue to what scale means for photography. The article projects a concept of ‘photographic scale’ to delineate the relational form of scale in photography and argues that photographic scale has ontological significance for photography. This concept denotes a ubiquitous, variegated and compound play between differing but necessarily associated scales that inform the spatiotemporality of photography, that allow for its sense as a form of visual representation, that structure its modes of materialisation and that figure significantly in determinations of its global geo-political processes.

What is ubiquitous photography? The article addresses this question and argues that ubiquity signals something more than the proliferation and dispersal of photography into everyday life. Moving beyond the question of digitization and of new or digital media, the premise of the argument is that ubiquitous photography is inseparable from the claims and innovations associated with the wider field of ubiquitous computing. Here, photography and the photographic are realigned within the terms of the technoscience industries and their quest to generate ambient intelligent environments, automated systems such as face recognition technology (FRT), animated artefacts and augmented reality (AR). Employing a feminist approach to technoscience, the article offers a gendered, genealogical and interventionist critique of photography’s ‘everywhere’ status.

The merging of the positions of photographer and collector defines the drive of a certain kind of photographic work, for which the camera becomes a collecting device, accumulating a collection that speaks the subjectivity of its author – the photographer. There are, however, two impulses at work here: the photographer-as-collector and the collector-as-photographer. Both are present in the work of Martin Parr, who has openly admitted that he has ‘the collecting gene’, but also, somewhat earlier, in the work of Walker Evans whose obsession with collectibles and whose mode of photographic collecting provide a striking historical precedent for Parr’s compulsive practice. My article explores the collecting impulse that motivates these photographers and, more particularly, shapes a new mode of making photographs and cataloguing social life that seem to escape established genre categories, including especially the category of documentary.

A Portrait of the Philosopher as an Old Man

Gilles Deleuze from A to Z, Gilles Deleuze (2011) Gilles Deleuze in interview with Claire Parnet, Semiotext(e), New York, DVD set, Dir., Pierre-Andre Boutang, French with English subtitles trans., Charles J. Stivale, run time 453 minutes, ISBN: 1584351012, £23.72

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Face Value: An Essay on the Politics of Photography, Nathaniel Cunningham (2012) 1st ed., New York: Workingroup, 116 pp., ISBN: 978-0-615-69902-8, p/bk, $10.00.

Hide and Seek: Camouflage, Photography and the Media of Reconnaissance (2012) Hannah Rose Shell: Zone Books, New York, £22.95 hb, ISBN: 9781935408222, pp, 240.