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Index
Cover
Title
Copyright
Contents
1. Introduction
Impure vision in a photo-historical perspective
Purpose and research objectives
The literature
Theoretical points of departure
Embodied mind—the phenomenological turn
Optics and haptics
Approaching American staged art photography—materials and method
The photographers—short biographies and works, 1970–80
Disposition
2. Dethroning optical vision
Epistemological redefinitions and investigations
Redefining photographic vision—an anti-Adams wave
The estranging effects of optical vision
Uncanny revelations
The uncanny at a motif level—the unhomely homes of Krims and Tress
The disembodying illusions of Michals and Samaras
Theatre and narration—resurrecting the hybrid
Samaras and Tress—directors of Verfremdungseffekt
Photograph and text—narrative hybrids in the work of Krims and Michals
Conclusion
3. Communicating inner life
Thoughts, emotions, and disrupted communication
Focusing on the metaphor—the equivalents of Minor White
The empty appearance of emotion
Technology and mind
Camera as extra cognitive organ
Real dreams—Michals and Tress stretch the concept of reality
Conclusion
4. Haptic vision
Vision and touch—a separation and a reunification
The disembodied twin
The haptics of the Polaroid—immediacy, presence, and skin
Punctum and indexicality
Vision, touch, and punctum
Indexicality
Magic principles
The contagious magic of photography
Photography as voodoo and place for violent acts
Conclusion
5. Summary and concluding comment
Notes
Bibliography
List of images
Thanks
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