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The gesture of pointing is the perfect embodiment of photography’s function as a visual document: an injunction to look at this. In this textual and visual essay, artist Joan Fontcuberta takes the index finger as his point of departure for an insightful and irreverent consideration of photography’s relation to indexicality. He refutes, as well as draws on, Roland(...)
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The gesture of pointing is the perfect embodiment of photography’s function as a visual document: an injunction to look at this. In this textual and visual essay, artist Joan Fontcuberta takes the index finger as his point of departure for an insightful and irreverent consideration of photography’s relation to indexicality. He refutes, as well as draws on, Roland(...)
Title:
Against Barthes: The eye and the index
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The gesture of pointing is the perfect embodiment of photography’s function as a visual document: an injunction to look at this. In this textual and visual essay, artist Joan Fontcuberta takes the index finger as his point of departure for an insightful and irreverent consideration of photography’s relation to indexicality. He refutes, as well as draws on, Roland Barthes’s suggestion that every photograph tells us ‘'this has been'’ (‘ça a été’), reckoning with the inconvenient multiplicity of thises in any given image. If a photograph constitutes such a statement – as made explicit in images that include a pointing finger – does the camera witness reality or performance? These existential issues are further complicated by the emergence of post-photography and generative AI. In this typically engaging and iconoclastic essay, Fontcuberta destabilises our ideas about the authority and authoriality of images, drawing on psychoanalysis, semiotics, and his own autobiography. His text is interleaved between two compelling visual essays formed of images from the archive of Mexican tabloid Alerta from the 1960s to 1980s, in which the pointing index finger forms a haunting and often humorous through-line.
Against Barthes: The eye and the index
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The gesture of pointing is the perfect embodiment of photography’s function as a visual document: an injunction to look at this. In this textual and visual essay, artist Joan Fontcuberta takes the index finger as his point of departure for an insightful and irreverent consideration of photography’s relation to indexicality. He refutes, as well as draws on, Roland Barthes’s suggestion that every photograph tells us ‘'this has been'’ (‘ça a été’), reckoning with the inconvenient multiplicity of thises in any given image. If a photograph constitutes such a statement – as made explicit in images that include a pointing finger – does the camera witness reality or performance? These existential issues are further complicated by the emergence of post-photography and generative AI. In this typically engaging and iconoclastic essay, Fontcuberta destabilises our ideas about the authority and authoriality of images, drawing on psychoanalysis, semiotics, and his own autobiography. His text is interleaved between two compelling visual essays formed of images from the archive of Mexican tabloid Alerta from the 1960s to 1980s, in which the pointing index finger forms a haunting and often humorous through-line.
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books
books
Publication:
August 2025
August 2025
Subject:
Theory of Photography
Theory of Photography
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journals and magazines
journals and magazines
Title:
Real Review 16 Autumn 2024
Real Review 16 Autumn 2024
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There is no snow on Mount Fuji. Any hack will tell you the phase change is here, the restructuring of the world is underway. That would be a relief, like a broken fever. But they are wrong. We are still waiting. This period is merely the static on the skin, the rising pressure and building tension before the impending climax of a deluge. We live under a lavender sky,(...)
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There is no snow on Mount Fuji. Any hack will tell you the phase change is here, the restructuring of the world is underway. That would be a relief, like a broken fever. But they are wrong. We are still waiting. This period is merely the static on the skin, the rising pressure and building tension before the impending climax of a deluge. We live under a lavender sky,(...)
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Real Review 16 Autumn 2024
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There is no snow on Mount Fuji. Any hack will tell you the phase change is here, the restructuring of the world is underway. That would be a relief, like a broken fever. But they are wrong. We are still waiting. This period is merely the static on the skin, the rising pressure and building tension before the impending climax of a deluge. We live under a lavender sky, silver and green; this is the time of unsettled air, heavy with that metallic smell of the earth. Soon the wind will awake, driving the rain forward like a cloud of smoke. The tremendous powers by which our lives are encompassed are stirring. How can we prepare for this transformation? We interview professor Jonathan White on the future as a political idea. Artist Dozie Kanu presents a flyer for higher education, while Opioid Crisis Lookbook speculates on semiotics. Peter Saville reviews the mood with Jack Self, who reviews voice notes, moral killing, and the Star Trek universe. Isabelle Bucklow binge-watches tech demos. Satoshi Fujiwara captures law enforcement hardware. Ruba Al-Sweel reviews the non-commercial image, while Martina Rocca and Izzy Farmiloe review the production of culture. Carmen Winant documents the last safe abortion, Felix Mcnamara writes notes on minutiae, John Sunyer attends a run club, plus much more.
Real Review 16 Autumn 2024
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There is no snow on Mount Fuji. Any hack will tell you the phase change is here, the restructuring of the world is underway. That would be a relief, like a broken fever. But they are wrong. We are still waiting. This period is merely the static on the skin, the rising pressure and building tension before the impending climax of a deluge. We live under a lavender sky, silver and green; this is the time of unsettled air, heavy with that metallic smell of the earth. Soon the wind will awake, driving the rain forward like a cloud of smoke. The tremendous powers by which our lives are encompassed are stirring. How can we prepare for this transformation? We interview professor Jonathan White on the future as a political idea. Artist Dozie Kanu presents a flyer for higher education, while Opioid Crisis Lookbook speculates on semiotics. Peter Saville reviews the mood with Jack Self, who reviews voice notes, moral killing, and the Star Trek universe. Isabelle Bucklow binge-watches tech demos. Satoshi Fujiwara captures law enforcement hardware. Ruba Al-Sweel reviews the non-commercial image, while Martina Rocca and Izzy Farmiloe review the production of culture. Carmen Winant documents the last safe abortion, Felix Mcnamara writes notes on minutiae, John Sunyer attends a run club, plus much more.
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journals and magazines
journals and magazines
Publication:
March 2025
March 2025
Subject:
Magazines
Magazines
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books
books
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1 online resource (274 pages) : illustrations
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Amsterdam : Amsterdam University Press, [2008], ©2008
Amsterdam : Amsterdam University Press, [2008], ©2008
Title:
Transfigurations : violence, death and masculinity in American cinema / Asbjørn Grønstad.
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1 online resource (274 pages) : illustrations
Transfigurations : violence, death and masculinity in American cinema / Asbjørn Grønstad.
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1 online resource (274 pages) : illustrations
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books
books
Publication:
Amsterdam : Amsterdam University Press, [2008], ©2008
Amsterdam : Amsterdam University Press, [2008], ©2008
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books
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$27.00
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Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without(...)
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Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without(...)
Title:
Things that talk : Object lessons from art and science
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Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. True to the particularity of things, each of the essays singles out one object for close attention: a Bosch drawing, the freestanding column, a Prussian island, soap bubbles, early photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock. Each is revealed to be a node around which meanings accrete thickly. But not just any meanings: what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are saturated with cultural significance. Things become talkative when they fuse matter and meaning; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible. At these junctures, certain things become objects of fascination, association, and endless consideration; they begin to talk. Things that talk fleetingly realize the dream of a perfect language, in which words and world merge.
Things that talk : Object lessons from art and science
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$27.00
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Summary:
Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. True to the particularity of things, each of the essays singles out one object for close attention: a Bosch drawing, the freestanding column, a Prussian island, soap bubbles, early photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock. Each is revealed to be a node around which meanings accrete thickly. But not just any meanings: what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are saturated with cultural significance. Things become talkative when they fuse matter and meaning; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible. At these junctures, certain things become objects of fascination, association, and endless consideration; they begin to talk. Things that talk fleetingly realize the dream of a perfect language, in which words and world merge.
Form:
books
books
Publication:
November 2007, New York
November 2007, New York
Subject:
Critical Theory
Critical Theory
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books
books
Title:
One-way street
One-way street
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Summary:
One-Way Street is a thoroughfare unlike anything else in literature?by turns exhilarating and bewildering, requiring mental agility and a special kind of urban literacy. Presented here in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture offers a fresh opportunity to encounter Walter Benjamin at his most(...)
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One-Way Street is a thoroughfare unlike anything else in literature?by turns exhilarating and bewildering, requiring mental agility and a special kind of urban literacy. Presented here in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture offers a fresh opportunity to encounter Walter Benjamin at his most(...)
Title:
One-way street
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One-Way Street is a thoroughfare unlike anything else in literature?by turns exhilarating and bewildering, requiring mental agility and a special kind of urban literacy. Presented here in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture offers a fresh opportunity to encounter Walter Benjamin at his most virtuosic and experimental, writing in a vein that anticipates later masterpieces such as “On the Concept of History” and The Arcades Project. Composed of sixty short prose pieces that vary wildly in style and theme, One-Way Street evokes a dense cityscape of shops, cafes, and apartments, alive with the hubbub of social interactions and papered over with public inscriptions of all kinds: advertisements, signs, posters, slogans. Benjamin avoids all semblance of linear narrative, enticing readers with a seemingly random sequence of aphorisms, reminiscences, jokes, off-the-cuff observations, dreamlike fantasias, serious philosophical inquiries, apparently unserious philosophical parodies, and trenchant political commentaries. Providing remarkable insight into the occluded meanings of everyday things, Benjamin time and again proves himself the unrivalled interpreter of what he called “the soul of the commodity.” Despite the diversity of its individual sections, Benjamin’s text is far from formless. Drawing on the avant-garde aesthetics of Dada, Constructivism, and Surrealism, its unusual construction implies a practice of reading that cannot be reduced to simple formulas. Still refractory, still radical, One-Way Street is a work in perpetual progress.
One-way street
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Summary:
One-Way Street is a thoroughfare unlike anything else in literature?by turns exhilarating and bewildering, requiring mental agility and a special kind of urban literacy. Presented here in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture offers a fresh opportunity to encounter Walter Benjamin at his most virtuosic and experimental, writing in a vein that anticipates later masterpieces such as “On the Concept of History” and The Arcades Project. Composed of sixty short prose pieces that vary wildly in style and theme, One-Way Street evokes a dense cityscape of shops, cafes, and apartments, alive with the hubbub of social interactions and papered over with public inscriptions of all kinds: advertisements, signs, posters, slogans. Benjamin avoids all semblance of linear narrative, enticing readers with a seemingly random sequence of aphorisms, reminiscences, jokes, off-the-cuff observations, dreamlike fantasias, serious philosophical inquiries, apparently unserious philosophical parodies, and trenchant political commentaries. Providing remarkable insight into the occluded meanings of everyday things, Benjamin time and again proves himself the unrivalled interpreter of what he called “the soul of the commodity.” Despite the diversity of its individual sections, Benjamin’s text is far from formless. Drawing on the avant-garde aesthetics of Dada, Constructivism, and Surrealism, its unusual construction implies a practice of reading that cannot be reduced to simple formulas. Still refractory, still radical, One-Way Street is a work in perpetual progress.
Form:
books
books
Publication:
May 2016
May 2016
Subject:
Critical Theory
Critical Theory
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books
books
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$33.95
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also(...)
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Summary:
Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
January 2006, Milwaukee
January 2006, Milwaukee
Title:
Elusive signs : Bruce Nauman works with light
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. "Elusive signs" focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After "Window or wall sign", Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with "My name as though it were written on the surface of the moon" (1968), he forces the viewer to contemplate the role of naming in forming identity. Language - signs and symbols - plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as "Run from fear, fun from rear" (1972). This series culminates in the monumental, billboard-size "One hundred live and die" (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In the essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career.
Elusive signs : Bruce Nauman works with light
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Summary:
Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. "Elusive signs" focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After "Window or wall sign", Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with "My name as though it were written on the surface of the moon" (1968), he forces the viewer to contemplate the role of naming in forming identity. Language - signs and symbols - plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as "Run from fear, fun from rear" (1972). This series culminates in the monumental, billboard-size "One hundred live and die" (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In the essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career.
Form:
books
books
Publication:
January 2006, Milwaukee
January 2006, Milwaukee
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
audio
audio
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1 online resource.
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Publication:
[Place of publication not identified] : Lateral Addition, 2016.
[Place of publication not identified] : Lateral Addition, 2016.
Title:
A Partial Exegesis of Cricket, its Laws and Rituals.
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1 online resource.
A Partial Exegesis of Cricket, its Laws and Rituals.
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1 online resource.
Form:
audio
audio
Publication:
[Place of publication not identified] : Lateral Addition, 2016.
[Place of publication not identified] : Lateral Addition, 2016.
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