Photography discourse is littered with opposing statements such as ‘photography is more important than ever’, or else it is ‘dead and irrelevant’. These proclamations have lately become as problematic as the long-held mechanistic Western view of reality, which arguably fosters these kinds of binarised positions.
However, we are no longer living in a world consisting of isolated objects, people, and places spread across the planet and universe, while time is only singular and forward-moving. Instead, reality seems increasingly emergent, dynamic, multi-dimensional, and rhizome-like.
Drawing on Karen Barad’s agential realism, a synthesis of quantum science and poststructuralism, the ensuing discussion results in more questions than answers. It may also be hindered by inescapable limitations of, to quote Barad, the “Cartesian habit of mind” (2007: 49) most of us inhabit. Such habits inform our language, academic conventions, and, of course, photographic critical theory. Barad’s phenomenologically informed philosophy is a threat to the boundaries photography has used to promote itself even while claiming to challenge the status quo. While describing some tenets of agential realism, focusing in particular on the phenomenological nature of existence and Barad’s use of the word entanglement, a range of lens-based art is examined in an effort to make sense of apparently contradictory statements by well-regarded and oft-quoted theorists about the photographic image today. How can Michael Fried’s (2008) assertion, photography matters as art as never before remain valid alongside Daniel Palmer’s (2014:144) statement, photography as we once knew is finished? Could both be true at the same time in an entangled world? The possibilities undoubtedly demand a deeper discussion than a 5000+/- word limit allows for, however, the paradigm described above presents image-makers of all persuasions with conundrums that increasingly cannot and should not be ignored.
(Edited 7/8/20)
History
The long-held Western view which suggests isolated and unrelated objects, people, and places are spread across the planet and universe, while time is only singular and forward moving, is less and less convincing. Rather than seeing a hierarchical collection of separate entities existing within linear space and time, reality increasingly feels emergent, dynamic, multi-dimensional, and rhizome-like.
Drawing on Karen Barad’s synthesis of quantum science and poststructuralism, coined ‘agential realism’, this 5350-word essay results in more questions than answers. It may also be hindered by inescapable limitations of, to quote Barad, a “Cartesian habit of mind” (2007: 49). Such habits inhabit our language and are embedded in our perception of reality, asacademic wellconvention, asand academicphotography conventioncritical theory. However, structural transformation means inevitable changesshifts, whether we agree or not, are aware, in denial, or remain oblivious. While describing some key tenets of agential realism, focusing in particular on the phenomenological nature of existence and Barad’s use of the word entanglement, a range of lens-based art is examined in an effort to make sense of apparently contradictory statements by well-regarded and oft-quoted theorists about the photographic image today. How can<span style="color:var(–color-text);font-size:1rem;"> </span><span style="color:var(–color-text);font-size:1rem;">Michael Fried’s (2008) assertion that, photography matters as art as never before (2008), isremain queriedvalid alongside Daniel Palmer’s suggestion that photography is all but over (2014:144).is finished? Could both be true at the same time in an entangled world? The possibilities probably demand a longer and deeper discussion than a 5000+/- word limit allows for, however, the paradigm described above presents image-makers of all persuasions with conundrums that increasingly cannot and should not be ignored.</span>
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