Images: A Reader

Images: A Reader

Language: English

Pages: 169

ISBN: 2:00259561

Format: PDF / Kindle (mobi) / ePub


Images: A Reader provides a key resource for students, academics, practitioners and other readers engaged in the critical, theoretical, and practical study of images. The Reader is concerned with the notion of the ‘image’ in all its theoretical, critical and practical contexts, uses and history. It provides a map of the differences and similarities between the various disciplinary approaches to images, breaking the ground for a new interdisciplinary study of images, in the arts and humanities and beyond. The selection of over 80 key readings, across the domains of philosophy, art, literature, science, critical theory and cultural studies tells the story of images through intellectual history from the Bible to the present. By including both well-established writings and more recent, innovative research, the Reader outlines crucial developments in contemporary discourses about images.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

investing a murti with the ability to look at us in return, is a tactic for bringing it into social relations and thus constituting its p er sonhood . [... ] People in Bhaktapur are made. They are constituted through two main social semiotics: rites of passage, and a n et of social relations. First, for Newars, creating a person is not a natural process, but a ritual process. The chief set of rituals are the ri tes of passage (samskaras}, a developmental sequence of life star ting with writing on

culture 100 Lynch, Michael 302-.3 M oxi e)', Keith 83-4 m terp r et ant 102, 10 7- 9 ml ert ex!ualtty 243 intnnSlc meamng 87- 8. 9 0- \ inven t ion , Go m bn ch 9 1-4 phanrasmago n a 196 Mull er , [ohann es 272 muh l-dl m cn siona l attention 16S--1i MacO onald , SCOII 81 MacD o ugall , David 286 - 7 Mcl.uh an , Mar >I>.l1 219 , 243 , Mu lvey, l.au r a I,n , 156-9 evldence 284 pri vate photographs 2 14- 1S pu blic photograp hs 214-1S rememhenng 2 14-16 ,11(,m 256- 60

B R I CH The revisi o n I advocate in the sto r v o f visual discoveries, in fact , can be paralleled w ith the revision that h~s been demanded for th e history of scien ce. Here, too , the nin e tee nth ce ntur y beli eved in passive recor ding, in unbiased observation of un intc r p r c tcd facts . The tech n ical te rm for thi s outlook is the bel ief in in du ct ion, the belief that the patie nt co lle ction of one instance after L11l' o ther w ill gradually bu ild up into a co r re ct image

\ co ars e nails, his trashy r ing (here we ar c alrea dy at the limit of th e mean obvious m eaning , like the vapid smi le of the m an in glass es in th e background , obviously an ass- kisser ). In other words, the obtuse meaning is not st ructurally situ at ed, a scmanto logiSJ wo uld no t acknowledge its ob jecti ve existence (but What is an objccth·e reading?). t.. . 'T[hc obtuse meaning is a signil1c.r Without Sign ified ; whence the di fficu lty of naming it: m ~' n:ading re mai ns ~u

empirical content of these images, we must appeal to the modes of implicit knowledge wEich con stitute expe r ience. However, in p erception such modes of knowledge. rem ain in a lat ent state of ,empty intentions.' Consequently, we cannot assert that perception is composed of sensations to which judgment adds modes of knowledge . Modes of implicit knowledge ar e not known fconnu] as such. Rather, as latent in the form of images, they are incarnate in objects. In this manner, im ag ination comes

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