Skip to main content
Fachgebiete
Automobil + Motoren Bauwesen + Immobilien Business IT + Informatik Elektrotechnik + Elektronik Energie + Nachhaltigkeit Finance + Banking Management + Führung Marketing + Vertrieb Maschinenbau + Werkstoffe Versicherung + Risiko
DE
EN
Bücher
Zeitschriften
Themenseiten
Organisationspsychologie Projektmanagement Marketing Smart Manufacturing
Weitere Formate
Podcasts Webinare Technik Webinare Wirtschaft Kongresse Veranstaltungskalender Awards
Jetzt Einzelzugang starten
Zugang für Unternehmen
Referenzkunden
SLX-Digitalkonferenz: Zukunftswerkstatt 2024

Mehr Umsatz mit Top-Kontakten

Am 7. Mai erfahren Sie, wie Vertriebsteams Leadgenerierung, Leadnurturing und Leadstrategien effizient steuern können.
Erweiterte Suche
Anmelden
nach oben
Erschienen in:
Buchtitelbild

2018 | OriginalPaper | Buchkapitel

1. Introduction: Present Images

verfasst von : Paolo S. H. Favero

Erschienen in: The Present Image

Verlag: Springer International Publishing

Einloggen

Aktivieren Sie unsere intelligente Suche, um passende Fachinhalte oder Patente zu finden.

search-config
loading …

Abstract

Introducing readers to the notion of “present image” (the core contribution of the book), this chapter offers insights into the key theoretical tools on which the book builds. Starting with a discussion of the manifold ways in which images creep into everyday human life, the chapter addresses a number of theoretical pillars. It explores the idea of images as being a constitutive part of the lived world of human beings (they are in and of the world); it introduces the need to rethink dichotomic distinctions between the digital and the analog; and finally it looks into the politics of “present images”. The chapter ends with a brief overview of the structure of the book.

Sie haben noch keine Lizenz? Dann Informieren Sie sich jetzt über unsere Produkte:

Springer Professional "Wirtschaft+Technik"

Online-Abonnement

Mit Springer Professional "Wirtschaft+Technik" erhalten Sie Zugriff auf:

  • über 102.000 Bücher
  • über 537 Zeitschriften

aus folgenden Fachgebieten:

  • Automobil + Motoren
  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Elektrotechnik + Elektronik
  • Energie + Nachhaltigkeit
  • Finance + Banking
  • Management + Führung
  • Marketing + Vertrieb
  • Maschinenbau + Werkstoffe
  • Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

Jetzt informieren

Springer Professional "Wirtschaft"

Online-Abonnement

Mit Springer Professional "Wirtschaft" erhalten Sie Zugriff auf:

  • über 67.000 Bücher
  • über 340 Zeitschriften

aus folgenden Fachgebieten:

  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Finance + Banking
  • Management + Führung
  • Marketing + Vertrieb
  • Versicherung + Risiko




Jetzt Wissensvorsprung sichern!

Jetzt informieren

Springer Professional "Technik"

Online-Abonnement

Mit Springer Professional "Technik" erhalten Sie Zugriff auf:

  • über 67.000 Bücher
  • über 390 Zeitschriften

aus folgenden Fachgebieten:

  • Automobil + Motoren
  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Elektrotechnik + Elektronik
  • Energie + Nachhaltigkeit
  • Maschinenbau + Werkstoffe




 

Jetzt Wissensvorsprung sichern!

Jetzt informieren
Nächstes Kapitel Participated Images
Fußnoten
1
Funnily enough, Melinda and I ended up both using the expression “in the company of” as titles for two presentations we had for the same panel. She ended up completing that sentence with “images”, I with “things dead”.
 
2
In this critique, Latour refers to Cartesianism as the central pillar of modernism. According to him, Western societies have never been truly convinced and clear about the distinctions between nature and culture, body and soul, as it is often argued.
 
3
For the notion of auto-ethnography, see Okely and Callaway (1992) and Khosravi (2010).
 
4
By this I refer to my almost obsessive habit of making written, aural, and visual notes of all that happened during this process.
 
Literatur
Adorno, T.W. 2001. The Culture Industry: Selected Essays on Mass Culture. London/New York: Routledge.
Agamben, G. 1998. Homo Sacer. Stanford: Stanford University Press.
Baker, G. 2005. Photography’s Expanded Field. October Fall: 120–140.
Barbatsis, G., M. Camacho, and L. Jackson. 2004. Does It Speak to Me? Visual Aesthetics and the Digital Divide. Visual Studies 19: 36–51.CrossRef
Baudrillard, J. 1994. Simulacra and Simulation. Ann Arbor: University of Michigan.
Becker, H. 1986. Do Photographs Tell the Truth? In Doing Things Together: Selected Papers, 221–272. Evanston: Northwestern University Press.
Belting, H. 2011. An Anthropology of Images: Picture, Medium, Body. Princeton: Princeton University Press.
Bourriaud, N. 1998. Relational Aesthetics. Dijon: Les Presses du Reel.
Crary, J. 1990. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press.
Cubitt, S. 2016. Aesthetics of the Digital. In A Companion to Digital Art, Christiane Paul. London: Wiley-Blackwell.
Deleuze, G. 1997. Differenza e ripetizione. Milano: Raffaello Cortina Editore.
Der Derian, J. 1994. Simulation: The Highest Stage of Capitalism? In Baudrillard: A Critical Reader, ed. D. Kellner. London: Blackwells.
Driscoll, C., and M. Gregg. 2011. Convergence Culture and the Legacy of Feminist Cultural Studies. Cultural Studies 25 (4–5): 566–584.
Edwards, E. 2006. Photographs and the Sound of History. Visual Anthropology Review 1 & 2: 27–46.
Favero, P. 2013. Picturing Life-Worlds in the City: Notes for a Slow, Aimless and Playful Visual Ethnography. Archivio Anthropologico del Mediterraneo. Anno XVI (2013) 15 (2): 69–85.
———. 2015. For a Creative Anthropological Image-Making: Reflections on Aesthetics, Relationality, Spectatorship and Knowledge in the Context of Visual Ethnographic Work in New Delhi, India. In Media Anthropology and Public Engagement, ed. S. Abraham and S. Pink. Oxford: Berghahn.
———. 2016. ‘Analogization’: Reflections on Wearable Cameras and the Changing Meaning of Images in a Digital Landscape. In Digital Photography and Everyday Life: Empirical Studies on Material Visual Practices, ed. Z. Gómez Cruz and A. Lehmuskallio, 209–227. London/New York: Routledge.
———. 2017a. Curating and Exhibiting Ethnographic Images in a Digital Habitat. In The Routledge Companion to Digital Ethnography (The ‘Work’), ed. Larissa Hjorth, Heather Horst, Anne Galloway, and Genevieve Bell. London: Routledge.
———. 2017b. In Defence of the “Thin”: Reflections on the Intersections Between Interactive Documentaries and Ethnography. In Refiguring Techniques in Digital Visual Research, ed. E. Gómez Cruz et al. Basingstoke: Palgrave.
Florensky, P. 1977. Le porte regali. Milano: Adelphi.
———. 1993. Lo spazio e il tempo nell’arte. Milano: Adelhi.
Flusser, V. 2006. Per una filosofia della fotografia. Milano: Mondadori.
———. 2009. Into the Universe of Technical Images. Minneapolis: University of Minnesota Press.
Gehl, R. 2009. YouTube as Archive. International Journal of Cultural Studies 12 (1): 43–60.CrossRef
Gell, A. 1998. Art and Agency: An Anthropological Theory. Oxford: Clarendon Press.
Ginsburg, F. 2008. Rethinking the Digital Age. In The Media and Social Theory, ed. D. Hesmondhalgh and J. Toynbee, 127–144. London/New York: Routledge.
Gómez-Cruz, E., and A. Lehmuskallio. 2016. Digital Photography and Everyday Life: Empirical Studies on Material Visual Practices. London/New York: Routledge.
Hay, J., and N. Couldry. 2011. Rethinking Convergence Culture. Cultural Studies 25 (4–5): 473–486.
Hinkson, M. 2017. On the Edges of the Visual Culture of Exile: A View from South Australia. In Refiguring Techniques in Digital Visual Research, ed. Gomez Cruz et al. Cham: Springer.
Hoelzl, I., and R. Marie. 2015. Softimage: Towards a New Theory of the Digital Image. London: Intellects.
Ingold, T. 2010. Ways of Mind-Walking: Reading, Writing, Painting. Visual Studies 25 (1): 15–23.CrossRef
Jay, M. 1994. Downcast Eyes. The Denigration of Vision in Twentieth-Century French Thought. Berkeley/Los Angeles/London: University of California Press.
Jay, M. 1988. Scopic Regimes of Modernity. In Vision and Visuality, ed. H. Foster, 3–23. Seattle: Bay Press.
Jenkins, H. 2006. Convergence Culture. Where Old and New Media Collide. New York: New York University Press.
Kandinsky, W. 1989. Lo spirituale nell’arte. Milano: Brossura.
Kellner, D., and G. Kim. 2010. YouTube, Critical Pedagogy and Media Activism. Review of Education, Pedagogy and Cultural Studies 32: 3–36.CrossRef
Kember, S. 1998. Virtual Anxiety. Photography, New Technologies and Subjectivity. Manchester: Manchester University Press.
Khosravi, S. 2010. ‘Illegal’ Traveller: An Auto-Ethnography of Borders. Basingstoke: Palgrave Macmillian.CrossRef
Latour, B. 1993. We Have Never Been Modern. Cambridge, MA: Harvard University Press.
———. 2005. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press.
Mandiberg, M. 2012. In The Social Media Reader, ed. M. Mandiberg, 1–10. New York: New York University Press.
Marciano, A. 2014. Living the VirtuReal: Negotiating Transgender Identity in Cyberspace. Journal of Computer-Mediated Communication 19: 824–838.CrossRef
Marcuse, H. 2001 (1964). One-Dimensional Man: Studies in the Ideology of Adavcned Industrials Society. Boston: Beacon Press iBook.
McLuhan, M., and Q. Fiore. 1967. The Medium Is the Massage. London: Penguin.
McQuire, S. 2013. Photography’s Afterlife: Documentary Images and the Operational Archive. Journal of Material Culture 18 (3): 223–241.CrossRef
Merleau-Ponty, M. 1962. Phenomenology of Perception. Trans. C. Smith. London: Routledge & Kegan Paul.
Miller, D. 2011. Tales from Facebook. Cambridge: Polity.
Mitchell, W.J.T. 1984. What Is an Image? New Literary History 15(3): 503–537 (Image/Imago/Imagination).
———. 1992. The Reconfigured Eye: Visual Truth in the Post-photographic Era. Cambridge: MIT Press.
———. 2006. What Do Pictures Want? The Lives and Loves of Images. Chicago: The University of Chicago Press.
———. 2015. Image Science. Chicago/London: The University of Chicago Press.CrossRef
Murray, S. 2008. Digital Images, Photo-Sharing, and Our Shifting Notions of Everyday Aesthetics. Journal of Visual Culture 2008 (7): 147.CrossRef
Nichols, B. 2001. Introduction to Documentary. Bloomington: Indiana University Press.
Okely, J., and H. Callaway. 1992. Anthropology and Autobiography. London: Routledge.CrossRef
Peters, J.D. 1997. Seeing Bifocally: Media, Place, Culture. In Culture, Power and Place: Explorations in Critical Anthropology, ed. J. Ferguson and A. Gupta, 75–92. Durham: Duke University Press.
Pinney, C., and N. Thomas, eds. 2001. Beyond Aesthetics. Oxford: Berg.
Ranciere, J. 2008. The Future of the Image. London: Verso.
Ritchin, F. 1990. In Our Own Image: The Coming Revolution in Photography. New York: Aperture.
Rosen, P. 2001. Change Mummified: Cinema Historicity, Theory. Minneapolis: University of Minnesota Press.
Searle, J. 2015. Seeing Things as They Are: A Theory of Perception. Oxford: Oxford University Press.CrossRef
Stoller, P. 1984. Eye, Mind and Word in Anthropology. L’Homme 24 (3–4): 91–114.CrossRef
Taussig, M. 2001. Dying Is an Art, Like Everything Else. Critical Inquiry 28 (1): 305–316.CrossRef
Taylor, L., ed. 1994. Visualizing Theory. Selected Essays from V.A.R. 1990–1994. London: Routledge.
Uricchio, W. 2011. The Algorithmic Turn: Photosynth, Augmented Reality and the Changing Implications of the Image. Visual Studies 26 (1): 25–35.CrossRef
Uricchio, W. 2016. Data, Culture and the Ambivalence of Algorithms. The Datafied Society: Studying Culture Through Data, 125–138. Amsterdam: University of Amsterdam.
Metadaten
Titel
Introduction: Present Images
verfasst von
Paolo S. H. Favero
Copyright-Jahr
2018
Buch
The Present Image

Print ISBN: 978-3-319-69498-6

Electronic ISBN: 978-3-319-69499-3

Copyright-Jahr: 2018

DOI
https://doi.org/10.1007/978-3-319-69499-3_1