Philosophy of Photography - Volume 4, Issue 2, 2013

The development of X-ray diffraction photography was central to the discovery of the helical structure of DNA in 1953. Unfortunately the story of how this technique was developed receded into the background as subsequent attention focused on the moment of discovery by Watson and Crick. As a result the importance of photography as ‘data’ and the role it plays in scientific discovery is underplayed. We seek to rectify this situation by presenting this story and by drawing conclusions about the importance of this form of photography in scientific investigation as well as for the insights it gives us regarding the process of discovery.

In turning to photography the paper explores ways of conveying historical truth. It seems that contemporary art places itself at the very limit of representation in an attempt to remain faithful to historical eventuality. In fact, one is reminded of the type of historical occurrence which can be grasped only through ‘as-if presentations’, to remember the Kantian term. ‘Fiction’, therefore, is no longer opposed to ‘truth’, but becomes its conductor and ally.

Taking the Face of Sydney – which is a digital composite image – as its point of departure this article begins an investigation into the relation between August Sander’s Weimar facial typologies and the digital Face of Sydney. This leads on to a reflection on the nature of the photographic image in relation to knowledge, technology and time. The conclusion proposed is that the photographic image has to be understood as an entity that is quite distinct from the forms of technicity that allow it to appear. Indeed, in following Roland Barthes, I argue that the photographic image, like the image in general, is uncoded and thus unnamed. The question raised in light of this is: what is the nature of the human in the context of such an approach to the image?

This article examines Lincoln Clarkes’ photographic series Heroines, exploring the ways in which it demonstrates that available models for writing about photography are insufficient. The author argues that the Heroines series’ blurs the boundaries between commercial, documentary and fine art photography. The article examines how these images supplement a tradition of documentary after postmodernism and its critique of representation. Heroines evidences an as-yet uncategorizable form, one that brings into relief the ways in which certain theories of photography fail to explain and fully interpret such photographs. On this basis, the article argues that the importance of Heroines lies ultimately in how it suggests new strategies of evaluating the political work of photography in the aftermath of identity politics.

The article focuses on the work of Ian Wallace, Jeff Wall and Rodney Graham, in particular, a notion of the studio that provides both an anchor and departure for the work of all three. This genealogy turns primarily on Wallace’s photo-conceptual work from the 1970s, which establishes the space of the studio as an allegory of painting or the modernist tradition, and as the topological equivalent of the museum and street. Using Wallace’s model of post-studio practice as an analytic, the article unpacks the tensions of Wall’s notion of cinematography, highlighting his mounting hesitations with photography understood on the model of the studio system, as an inside/outside relationship and as the mimesis of painting. Finally, the article puts the notions of studio as genealogy and dispositif to work in order to understand the logic of Graham’s emphasis on the durational art of film.

François Laruelle (2012) Photo-Fiction, a Non-Standard Aesthetics Univocal, Minneapolis, pp. 160 ISBN 9781937561116, p.b., £18.12.

Digital divide: Society for Photographic Education conference