Philosophy of Photography - Volume 5, Issue 2, 2014

Thomas Demand’s photography has often been understood by critics as questioning the causality of the medium, through an emphasis on personal artistic intentionality. Yet to focus on Demand’s production technique overlooks the fact that in his images, the world is not seen to be entirely under his control. By questioning at the boundaries of human and technological power, Demand gestures towards the historical construct which Heidegger called ‘the essence of technology’, the tendency in contemporary thought to believe that beings can be understood only insofar as they relate to humanity and our needs. Demand’s work ironizes this mindset, within which we experience the world as merely a picture, and thereby begins to suggest that other ways of being may be possible.

Ariella Azoulay’s concept of ‘the civil contract of photography’ innovatively responds to the long tradition of social contract theory inaugurated by Thomas Hobbes. I argue that a comparative analysis between Hobbes and Azoulay (through a Schmittian lens) exposes both Azoulay’s debt to ‘the monster of Malmesbury’, while simultaneously exposing to view the profound limits this debt imposes on Azoulay’s ethical project to wrest the concept of citizenship free from the ideology of the nation state.

Many contemporary imaging systems share a striking quality: their output need not be limited to images. Instead the raw data such systems collect and generate can just as easily appear as acoustic signals or as text. Furthermore, of those images an unexpected proportion bears the familiar form of the photograph. These two phenomena, I argue, stem from an unconditioned bias towards images, on our behalf, and from the cognitive accessibility of photographic images in particular. This should be seen as a unique epistemic advantage. Arguably, this advantage has not diminished much in the course of the last decades. This is especially surprising given the wide anxiety about the ‘end’ of photography and what will, or has, come after it. Confusingly, this anxiety has given rise to the term analogue photography, which is, I argue, somewhat misguided. Accordingly I propose revised definitions for the terms ‘analogue’ and ‘digital’ in respect to photography. These facilitate an alternative understanding of what photographic images are.

Senses of Embodiment: Art, Technics, Media, Mika Elo and Miika Luoto (eds) (2014) New York: Peter Lang, 183 pp., ISBN: 3034312334, p/bk, £40.00