A2: Useful links

To be added to:

  • Donna Harraway, A Cyborg Manifesto, 1984 (Accessed 8/9/2019)

https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/fictionnownarrativemediaandtheoryinthe21stcentury/manifestly_haraway_—-_a_cyborg_manifesto_science_technology_and_socialist-feminism_in_the_….pdf

“Late twentieth-century machines have made thoroughly ambiguous the difference between natural and artificial, mind and body, self-developing and externally designed, and many other distinctions that used to apply to organisms and machines. Our machines are disturbingly lively, and we ourselves frighteningly inert.” (p.11)

“Modern machinery is an irreverent upstart god, mocking the Father’s ubiquity and spirituality.” (p.13)

“They [cyborgs] are about consciousness—or its simulation. 7” (p13)

“Ironically, it might be the unnatural cyborg women making chips in Asia and spiral dancing in Santa Rita Jail8 whose constructed unities will guide effective oppositional strategies.” (p.13)

Originality_in_Postmodern_AppropriationJULIE C. VAN CAMP (Academia.edu)

https://www.academia.edu/37808981/Originality_in_Postmodern_Appropriation_Art (Accessed 8/9/2019)

  • The Body in Pain, Elaine Scarry, 1985 (Accessed 8/9/2019)

http://www.oregoncampuscompact.org/uploads/1/3/0/4/13042698/the_body_in_pain_-_the_making_and_unmaking_of_the_world_-_introduction__elaine_scarry_.pdf

  • Hypernormalisation, Adam Curtis, 2016

https://www.bbc.co.uk/programmes/p04b183 (Accessed 8/9/2019)

  • Hyperreality (University of Chicago), Oberly, 2003

https://csmt.uchicago.edu/glossary2004/realityhyperreality.htm

  • Ecology for the picture/Fontcuberta

Quotes from Archive Notes, Pandora’s Camera, Joan Fontcuberta, 2014

“…the first critical duty of the historian is to de-institutionalise history, to deconsecrate it – in short, to strip it of authoritarian discourse. This is the work of the historian, but also the work of the parallel awareness that often expresses itself as art.

“All of Schmid’s work is informed by a concern with visual ecology: […] Far from satisfying our need for information, the ungraspable abundances of indiscriminate data leaves us just as ignorant but much more confused. By reviving the Duchampian gesture, Schmid cancels the value of production (taking pictures) and shifts to selection, to the act of pointing and choosing.

“Schmid writes: “I’ve been working with found/appropriated imagery because I think that basically everything in the world has now been photographed in every possible way. We have an incredible amount of pictures after a hundred years of industrialised image-making, so making more pictures is no longer a creative challenge. Nevertheless, the production of photographs, of images goes on: photographs will be always be produced. It’s not so much the production of photographs which needs to concern is the use of them” (p.192)

Fontcuberta, J. (2016). Pandora’s camera, Photogr@phy after Photography. 1st ed. Mack, p.172.

  • Quotes from The Condition of Postmodernity David Harvey 1997 Blackwell

“… a loss of faith in the ineluctability of progress, and the growing unease with the categorical fixity of Enlightenment thought”. (p.29)

Harvey, D. (1997). The condition of postmodernity. Oxford: Blackwell, p.29.

  • what photography is, James Elkins, 2011

Elkins, J. (2011). What photography is. New York: Routledge.

Loc 1311 – quotes Benjiman, “…film he said, creates a percussive shock to the consciousness by continuously changing scenes, “I can no longer think what I want to think.” he writes. “My thoughts have been replaced by moving images.” (The Work of Art, in Illuminations, 238) – See Baudrillard

“I am unaware of the masses of things, the on and one of things, that I am permitting myself not to see”. (loc 1326)

Quotes Baudelaire – (loc 1561) When he said: “photography made the ‘whole squalid society …rush to gaze at its trivial image’ he was being sour and splenetic …but he wasn’t wrong”.

“There is no way to staunch the floods of false nostalgia for people and faces” (loc 1425)

“It is easy to agree that photography’s apparent realism has been formed by the middle-class hope that the photographs give us reality itself (as Bourdieu says).” (loc 762)

“‘photography is most frequently nothing but the reproduction of the image that a group produces of its own integration’. (Bordieu, Un Art moyen, 48)” (loc 707)

“For Bourdieu, photography is bourgeois to its bones, and it even includes its own futile anti-bourgeois gestures, like my own attraction to things that aren’t family photographs.” (loc 716). Perhaps such gestures are at risk of being the most middle-class, and elitist. (Think of explanation.)

  • Baudrillard – Disneyfication
  • A re-evaluation of psychiatric terms in relation to women and trauma:

https://wordpress.com/read/feeds/46147675/posts/2413604734

  • Data/self/other

https://simplysociology.wordpress.com/2019/09/01/excerpt-from-introduction-of-data-selves/

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