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Photo-texts
What do photographs want? Do they need any accompaniment in today's image-saturated society? Can writing inflect photography (or vice versa) in such a way that neither medium takes precedence? Or are they in constant, inexorable battle with each other? Taking nine case studies from the 1990s French-speaking world (from France, North Africa and the Caribbean), this book attempts to define the interaction between non-fictional written text (caption, essay, fragment, poem) and photographic image. Having considered three categories of 'intermediality' between text and photography - the collaborative, the self-collaborative and the retrospective - the book concludes that the dimensions of their interaction are not simple and two-fold (visuality versus/alongside textuality), but threefold and therefore 'complex'. Thus, the photo-text, as defined here, is concerned as much with orality - the demotic, the popular, the vernacular - as it is with visual and written culture. That text-image collaborations give space to the spoken, spectral traces of human discourse, suggests that the key element of the photo-text is its radical provisionality.
Art & reconstruction
Et si les arts et les artistes étaient d'abord articulés au passé, au point qu'il serait plus adéquat de parler de reconstruction plutôt que de création, car, du passé, non seulement on ne pourrait faire table rase, mais surtout on tenterait toujours de le reconstruire. Reconstruction de soi, reconstruction de sa propre œuvre, reconstruction de son art et enfin, reconstruction de l'art : cet ouvrage explore cette thématique entre art et reconstruction au travers de sept contributions d'artistes et de chercheurs.
Images d'images
Qu'en est-il des usages et des appropriations créatrices des images dans l'art contemporain, donc des images d'images ? Quand le faire prend l'air d'un refaire, nous rapportons-nous de la même manière aux oeuvres, aux procédés de création, ainsi qu'à la photographie et à l'art lui-même ? Cet ouvrage propose d'étudier en quoi les images d'images renouvellent les problématiques concernant à la fois la conception, la diffusion et la réception des oeuvres.
Egonline
Le selfie exprime la fascination culturelle et cultuelle contemporaine pour l'exercice de l'auto-représentation; il se donne comme étant non seulement un moyen d'expression de soi, mais également une forme créative de "self branding" ("marque"). Il est ce qui questionne l'identité globale dans notre monde globalisé auquel les écrans sont désormais totalement intégrés. Serait-il donc une preuve d'authenticité d'une identité réelle ?
Semiotics, Law & Art
This book presents an interdisciplinary study of the relation between semiotics, law & art. Focusing on Greimasian semiotics, it examines specific works of art (from Giotto to Banksy) that deal with the theme of justice, promoting a more sensitive and humanized perception of the values that surround law. The book offers readers a comprehensive review of the semiotics of law, critically examining the relation between law & art. It covers a variety of topics, including semiotics, law and art; semiotics, art and experience; and society, law and art, as well as semiotics, law and painting; semiotics, law and architecture; semiotics, law and theatre; semiotics, law and literature; and semiotics, ...
Artful Deceptions
Selected papers from a conference organized at the National University of Ireland, Galway, in April 2004.
Frontières & mémoires, arts & archives
Les archives sont apparemment là pour nous aider ; mais est-ce si simple de faire histoire - quelle(s) histoires(s) ? - et faire mémoire - quelle(s) mémoire(s) ? Et que traduit cette injonction à la mémoire ? Mais les artistes, les œuvres et les arts nous offrent des horizons nouveaux, positifs car complexes, singuliers, particuliers : ils renouvellent la problématique et articulent, à mémoires et archives des frontières, fictions et récits, narrations et interrogations.
Touching Surfaces
Who isn’t seduced by the idea of an affinity between aging and aesthetics? Yet, when does aging truly begin? What attributes does the aesthetic embrace? Looking into startling photographic art of the past three decades, this book is prompted by such questions and turns them into a meditation on how aesthetics mediates our relation to time. The photographic approach of the corporeal is at the center of the book. Within a phenomenological framework, Cristofovici brings into focus the physical and the psychic body to read aging as a process of change and becoming over time. Her understanding of aging sees beyond difference into larger patterns of perceptions that we share. Offering valuable insights into aging as a process of subject construction, this book will be of interest to students and scholars of visual culture, photography, art history, age studies, and theories of knowledge. This cross-disciplinary study that puts theory to the test of life’s and art’s paradoxes in an evocative style will also appeal to a wider readership interested in how photography and aging illuminate each other.
