what hes trying to say is that basically, depending on who is presenting the material, the image and its message are manipulated and interpreted based on the culture in which the author is presenting it. Which to me seems sort of obvious. Ofcourse a photograph is portrayed a cetain way based on its cultural values. there is a denoted message (an analogy of a certain event in reality taking place. It Doesn’t capture the actual reality itself, is more of a still representation. He later states that depending upon the way you take a photo, you can either make something look very light or harmless, or you could portray something to be very dark and ominess, which Is if I’m not mistaken, is the whole basis of our art. Don’t each of us try to photographic things that could be very basic to some people, represent something much more significant. He basically repeats himself on very surface photographic theory. (but i'm not claiming to know much more by any means.)
“Inventory of a box of Photographs” This reading I found very different than the rest of them. This author cites past personal experiences from his own childhood as examples. At first, he discusses that photographs are used to preserve memories, but pale in comparison to his actual personal memories that he concretely remembers. But THEN he says “These memories go back to when I was three years old. My very first memories must be aural. I have no memories of photographs or which coincide with a photograph – I remember the pictures, but I have no recollection of having lived them.” Maybe I am reading this incorrectly but did he not just say the polar opposite a page prior? Later Faucon discusses all the posed family portraits he has had to participate in over the years, and how he much rather prefers more candid, abstract photos. He states “these photographic correspondences, though almost professional, do not interest me. I’m looking for a different kind of disorder.” I think this speaks to most photographers, in that we are constantly looking for our own individual way to interpret the world as we experience it.
"Camera Lucida"
Barthes finds the empirical study of photography to strip it of its natural primitiveness, reducing it to a science as opposed to a medium of entirely creative expression, as the capturing of and choosing an event in reality is left entirely up to the photographer. The motive behind a photo being taken as opposed to the referent itself seems to resonate most powerfully with the spectator. The thoughts and feelings a photo enacts within the spectator as opposed to how well the photo abides by the conventional rules of photography are what truly make a photo worthwhile.
Ghost Image After reading, Inventory a box of Photographs, I felt when Guibert states “I belong to my parents”, he creates an interesting topic. I feel he is saying that the reason his parents created images of him crying, bleeding, or smiling is because those images create proof of who (as a child belong to). Another interesting point he brings up are that incidents happening to himself (during birthday parties, family outings) but the photo-reality is showing evidence of another truth that happened. I thought this was weird because when I remember my childhood (aside from the fact that we, as adults, don’t remember all of our childhood) and the pictures my parents have are cheesy and staged some aren’t. But I can remember things happening in a completely different way. Which can also explain when he talks about how the history we remember is a literary history but the photo boxes hold a superficial history. A part that I completely was awkward was when he was talking about his father wanting to capture the beauty in his sisters breasts because he at that point in her life she could lose her beauty. WEIRDO. Even worse I understand the concept he was trying to convey. The whole time Guibert is looking through boxes of black and white photographs searching for the mystery photo that would screw up the flow of the photo-reality in the boxes, such as a picture of a crocodile or something not ordinary. I feel like he wouldn’t be able to find one unless it wasn’t hidden.
Rhetoric of the Image - Roland Barthes He begins with stating the most important problem is the semiology of an image is that the representation produce the true signs and/or a form of simple signs. Then he moves on to describing signs and signifiers. But first he talks about the three messages in an image. They are linguistics, coded iconic message and non-coded message. He is referencing a Panzani Advertisement throughout the reading. When talking about advertisement, “the significance is undoubtedly intentional.” Now, the linguistic (language) of the the Panzani Ad is the caption, labels, and Panzani, which is a sign that refers to an Italian name (Barthes refers to it as “Italiancity”). The coded message is the relationship between the the sign and signifier, such as the scene looks like someone just got back from the market, its ready to cooked (“freshness and domestic”), and bringing the colors together makes up think of Italy. The non-coded message is the difference between the literal message and the symbolic message, which is don’t you want to have this pasta product to you can make fresh pasta with tomato sauce. And enjoy a delicious dinner.
The Photographic Message - Roland Barthes He starts off with the process of a Press Photo: a message formed by a source of emission, then channel of transmission, then to a point of reception. Its obvious that with press photography you can not avoid a photo or image without the accompany text. He said that people are more likely to read the headlines than the caption but only if the caption not to close to the image. Which I didn’t understand, if you wanted to read the caption wouldn’t you read the caption whether or not the distance from the image. Then he brings up the content of a photographic message which is a literal reality that shows doesn’t show the correct proportion, perspective or even color of the subject. It doesn’t seem like it would be an artistic image because its basically their to better inform the reader about the article, its gives a small visual connections to the text. I do agree that journalism, its now called, its a kind if photography. He starts to talk about the connotation and denotation messages; connotation message is a message that implied in the work is divided into two separate decisions meaning and symbols and denotation messages defines what the viewer is seeing. Then he moves into the connotation procedures of the image. There are six of them; trick effects, pose, objects, photogenic, aestheticism, and syntax.
Camera Lucida - Roland Barthes I felt this was completely different in any other reading that I have read of Roland Barthes. It was like I was reading his diary of discovering photography. He begins with the classification of photography but then says photography is unclassifiable. Odd. He talks how we can not escape the finger pointing; “here is blah blah”, “this is my puppy” and basically owning or claiming the subject in the image. Which makes the subject the is the spectator and the photographer is the operator. But it was really interesting reading how he got his picture taken and how I could relate to it. Also, I enjoyed following his journey as a photographer.
Photography: Theory & Criticism will examine historic and contemporary philosophical, aesthetic, and epistemological topics addressing the evolution of theories germane to contemporary photographic discourse. As a class, we will address structuralism, post-structuralism, deconstruction, semiotics, and the taxonomy of visual representation from simulacrum to social classification analysis. Conceptual understanding and the successful application of the topics addressed throughout this course are designed to further develop your photographic lexicon. The application of thoughtful, theory-based ideas can be employed to promote visual solutions to challenges in the design, execution, and creation of your work. Theories and topics discussed in the readings will be introduced with supporting imagery for discussion and debate. Active discussion and participation are core requirements of this course.
COURSE OBJECTIVES:
This course is designed to introduce critical theory and foster the understanding of multiple expectations/interpretations and potential message(s) contained within the photographic image. By deconstructing the conceptual design, formal elements, and the ever-evolving cultural architecture requisite to a contemporary visual language, we will develop the required skill sets to actively seek qualified meaning beyond an image’s superficial mimetic qualities. The ideas, theories, philosophies, and positions expressed by the assigned authors are subject to sensitive trends within ethnographical movements. Through multiple writing exercises, interviewing artists and critics, and attending gallery/museum exhibitions, we will define and articulate points of long-term personal aesthetic/conceptual interest.
TEACHING ASISTANT:
FRANCES JAKUBEK
The teaching assistant will provide structural support for all class discussion topics, assist with logistical preparation, and participate in the on-going critical analysis of readings, written reviews, and presentations. Ms. Jakubek’s position is to be informative and knowledgeable on all subject matter addressed in class, accessible for project-related conceptual development, and to respectfully challenge the integrity of your work in all of its manifestations.
This semester, Ms. Jakubek will be leading select critical discussions, as well as supporting lecture(s) on critical/theoretical essays in conjunction with on-going class curriculum.
If you have any questions for or regarding your teaching assistant, please feel free to contact me or Ms. Jakubek.
COURSE CONTENT:
Readings, presentations, papers, reviews, and class participation are the primary curriculum-based assignments. Additional research to qualify independent papers and projects will be contingent upon the identified subject matter, and at your discretion. Assignments:
Readings: This course will focus on the academic discourse of photography as a medium, ethnographic measure, and emotional outlet, and will address the power structure within political and social confines. The majority of our classes will be dedicated to response, support, and/or deconstruction of essays provided in class. It is critical that all assigned readings are completed prior to class to promote qualified discussions on identified subjects.
Research Paper & Presentation: One self-defined presentation will be required. This presentation must be forty-five minutes in length and accompanied by supporting media (PowerPoint, video, web, or alternative sources to support your thesis). Relevant reading(s) must be distributed one-week prior to your presentation to establish general interest/context. The presentation will enable you to explore a genre, aesthetic philosophy, artistic movement (visual/conceptual/other), introduce multiple perspectives on your selected text, and establish a dialogue on the topic introduced.
Class Participation: Due to the nature of this course, participation, discussion, and debate on all subject matter will be critical to the development of ideas. Interdisciplinary approaches are employed to encourage individualized understanding and unique interpretations of the philosophies addressed in/outside of class and will not be exclusively object-based.
It is expected that all reading, notes, points of debate, written responses, as well as personal evaluation(s), are completed prior to class without exception.
Paper(s): All papers and blog entries will be evaluated on the comprehension of subject matter, qualification of personal perspective, and the creative and thoughtful approaches to the presentation of your ideas.
Oh-yeah… Exhibitions, openings, and events are to be attended regularly independent from scheduled class trips and identified NEiA visiting lectures. View work critically and seek additional information from galleries, museums, and events whenever possible. Supporting material contributes to the advancement of ones understanding and experience of the work. You are encouraged to bring to class discoveries of new images, artists, or ideas. These topics will always be addressed in class or independently with the instructor.
Class Policies:
Any student who has special needs that may affect his or her performance in this class is asked to identify his/her needs to the instructor in private by the end of the first day of class.
Instructor Availability Outside of Class:
Messages may be left for the instructor on voice mail or via email. Office hours will be announced. All appointments may be scheduled at instructor/student convenience.
Other Class Policies:
You are expected to conduct yourselves in a professional manner demonstrating great respect for self, peers, and faculty. The classroom is an open environment for the sharing of thoughts, beliefs, and ideas as well as the acceptance/tolerance of perspectives that may conflict with your own. Intolerance, disrespect, or belligerent behavior will not be tolerated and faculty reserves the right to intervene at any point.
Attitude and presentation (of self and ideas) are critical aspects of what we do as professionals. Conduct yourself in a manner that reflects these principals.
Academic Support/Learning Disabilities:
Students with known disabilities should contact their instructors as well as the Student Services Office. Academic Support (tutoring) is provided to any student in need of tutoring. Students who feel they are able to assist with tutoring this course should also contact their instructor and/or the Academic Support Center.
2 comments:
Theory week 2 response
“The photographic Message”
what hes trying to say is that basically, depending on who is presenting the material, the image and its message are manipulated and interpreted based on the culture in which the author is presenting it. Which to me seems sort of obvious. Ofcourse a photograph is portrayed a cetain way based on its cultural values.
there is a denoted message (an analogy of a certain event in reality taking place. It Doesn’t capture the actual reality itself, is more of a still representation.
He later states that depending upon the way you take a photo, you can either make something look very light or harmless, or you could portray something to be very dark and ominess, which Is if I’m not mistaken, is the whole basis of our art. Don’t each of us try to photographic things that could be very basic to some people, represent something much more significant. He basically repeats himself on very surface photographic theory. (but i'm not claiming to know much more by any means.)
“Inventory of a box of Photographs”
This reading I found very different than the rest of them. This author cites past personal experiences from his own childhood as examples. At first, he discusses that photographs are used to preserve memories, but pale in comparison to his actual personal memories that he concretely remembers. But THEN he says “These memories go back to when I was three years old. My very first memories must be aural. I have no memories of photographs or which coincide with a photograph – I remember the pictures, but I have no recollection of having lived them.” Maybe I am reading this incorrectly but did he not just say the polar opposite a page prior?
Later Faucon discusses all the posed family portraits he has had to participate in over the years, and how he much rather prefers more candid, abstract photos. He states “these photographic correspondences, though almost professional, do not interest me. I’m looking for a different kind of disorder.” I think this speaks to most photographers, in that we are constantly looking for our own individual way to interpret the world as we experience it.
"Camera Lucida"
Barthes finds the empirical study of photography to strip it of its natural primitiveness, reducing it to a science as opposed to a medium of entirely creative expression, as the capturing of and choosing an event in reality is left entirely up to the photographer. The motive behind a photo being taken as opposed to the referent itself seems to resonate most powerfully with the spectator. The thoughts and feelings a photo enacts within the spectator as opposed to how well the photo abides by the conventional rules of photography are what truly make a photo worthwhile.
Caitlyn Doolin
Week Two
Ghost Image
After reading, Inventory a box of Photographs, I felt when Guibert states “I belong to my parents”, he creates an interesting topic. I feel he is saying that the reason his parents created images of him crying, bleeding, or smiling is because those images create proof of who (as a child belong to). Another interesting point he brings up are that incidents happening to himself (during birthday parties, family outings) but the photo-reality is showing evidence of another truth that happened. I thought this was weird because when I remember my childhood (aside from the fact that we, as adults, don’t remember all of our childhood) and the pictures my parents have are cheesy and staged some aren’t. But I can remember things happening in a completely different way. Which can also explain when he talks about how the history we remember is a literary history but the photo boxes hold a superficial history.
A part that I completely was awkward was when he was talking about his father wanting to capture the beauty in his sisters breasts because he at that point in her life she could lose her beauty. WEIRDO. Even worse I understand the concept he was trying to convey.
The whole time Guibert is looking through boxes of black and white photographs searching for the mystery photo that would screw up the flow of the photo-reality in the boxes, such as a picture of a crocodile or something not ordinary. I feel like he wouldn’t be able to find one unless it wasn’t hidden.
Rhetoric of the Image - Roland Barthes
He begins with stating the most important problem is the semiology of an image is that the representation produce the true signs and/or a form of simple signs. Then he moves on to describing signs and signifiers. But first he talks about the three messages in an image. They are linguistics, coded iconic message and non-coded message. He is referencing a Panzani Advertisement throughout the reading. When talking about advertisement, “the significance is undoubtedly intentional.” Now, the linguistic (language) of the the Panzani Ad is the caption, labels, and Panzani, which is a sign that refers to an Italian name (Barthes refers to it as “Italiancity”). The coded message is the relationship between the the sign and signifier, such as the scene looks like someone just got back from the market, its ready to cooked (“freshness and domestic”), and bringing the colors together makes up think of Italy. The non-coded message is the difference between the literal message and the symbolic message, which is don’t you want to have this pasta product to you can make fresh pasta with tomato sauce. And enjoy a delicious dinner.
The Photographic Message - Roland Barthes
He starts off with the process of a Press Photo: a message formed by a source of emission, then channel of transmission, then to a point of reception. Its obvious that with press photography you can not avoid a photo or image without the accompany text. He said that people are more likely to read the headlines than the caption but only if the caption not to close to the image. Which I didn’t understand, if you wanted to read the caption wouldn’t you read the caption whether or not the distance from the image. Then he brings up the content of a photographic message which is a literal reality that shows doesn’t show the correct proportion, perspective or even color of the subject. It doesn’t seem like it would be an artistic image because its basically their to better inform the reader about the article, its gives a small visual connections to the text. I do agree that journalism, its now called, its a kind if photography.
He starts to talk about the connotation and denotation messages; connotation message is a message that implied in the work is divided into two separate decisions meaning and symbols and denotation messages defines what the viewer is seeing. Then he moves into the connotation procedures of the image. There are six of them; trick effects, pose, objects, photogenic, aestheticism, and syntax.
Camera Lucida - Roland Barthes
I felt this was completely different in any other reading that I have read of Roland Barthes. It was like I was reading his diary of discovering photography. He begins with the classification of photography but then says photography is unclassifiable. Odd. He talks how we can not escape the finger pointing; “here is blah blah”, “this is my puppy” and basically owning or claiming the subject in the image. Which makes the subject the is the spectator and the photographer is the operator. But it was really interesting reading how he got his picture taken and how I could relate to it. Also, I enjoyed following his journey as a photographer.
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