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Robert Pujade
None
Campus
None
The Educated Eye
The creation and processing of visual representations in the life sciences is a critical but often overlooked aspect of scientific pedagogy. The Educated Eye follows the nineteenth-century embrace of the visible in new spectatoria, or demonstration halls, through the twentieth-century cinematic explorations of microscopic realms and simulations of surgery in virtual reality. With essays on Doc Edgerton's stroboscopic techniques that froze time and Eames's visualization of scale in Powers of Ten, among others, contributors ask how we are taught to see the unseen.
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 et photographie
En l'espace d'une décennie (1975-1985), deux évènements culturels importants vont bouleverser le monde de la photographie, considérée jusque là comme le parent pauvre des arts plastiques. La naissance d'une critique spécialisée dans les quotidiens nationaux est l'occasion de la faire découvrir auprès du public comme une forme d'art à part entière. Parallèlement à cette consécration, la création photographique est fortement remise en cause dans les différents genres où elle s'est distinguée. A la naissance de la critique photographique correspond un état de crise qui pose de façon nouvelle le débat entre art et photographie.
Fantastique et photographie
Existe-t-il un genre fantastique en photographie ? Si les procédés narratifs du récit littéraire sont aptes à mettre en scène des situations et des objets irréels, la photographie n'a pour champ de visée que ce que la réalité lui propose. Depuis le début de son histoire, la photographie ne s'est pourtant pas limitée à cette fidélité au réel, affirmant par là même sa capacité à produire des fictions et à multiplier ses régimes de visibilité. Le rapprochement avec le Fantastique interroge donc les visibilités que la photographie met en oeuvre.
Raw Histories
Photographs have had an integral and complex role in many anthropological contexts, from fieldwork to museum exhibitions. This book explores how approaching anthropological photographs as 'history' can offer both theoretical and empirical insights into these roles. Photographs are thought to make problematic history because of their ambiguity and 'rawness'. In short, they have too many meanings. The author refutes this prejudice by exploring, through a series of case studies, precisely the potential of this raw quality to open up new perspectives. Taking the nature of photography as her starting point, the author argues that photographs are not merely pictures of things but are part of a dyn...
