By Dominic McIver Lopes
Contributor note contains commentaries through major philosophers of images, Diarmuid Costello and Cynthia A. Freeland
Four Arts of Photography explores the heritage of images throughout the lens of philosophy and proposes a brand new scholarly figuring out of the paintings shape for the twenty first century.
Re-examines the historical past of paintings images via 4 significant photographic events and with case reviews of consultant photographs Employs a top-down, conception to case process, in addition to a bottom-up, case to concept method Advances a brand new thought concerning the nature of images that's grounded in expertise yet doesn't position it against portray
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Additional resources for Four Arts of Photography: An Essay in Philosophy
In other words, the doctrines of modernist art criticism demand (S5). To take just one example, Siegfried Kracauer posited an aesthetic principle that “the achievements within a particular medium are all the more satisfying aesthetically if they build from the specific aesthetic properties of that medium. ”89 Given this doctrine, severing the art of photography from depiction by belief‐independent feature‐ tracking makes artistic photographs into second‐rate paintings. Modernism enjoins serious art photographers to take advantage of the special power of the technology, depiction by belief‐independent feature‐tracking.
The skeptic suspects that they are works of art only because they depict How to Do Things with Theory 21 on‐photographically. Thus, the skeptic’s argument starts out with the n assumption that if any pure photographs are works of art, then the reason must be that they depict photographically. Only then are some photographs art by nature. Honest Signals Belief‐independent feature‐tracking is a mouthful. Apologies for that. So, what is it? The answer, as we have learned from the history, must articulate the idea that photographs are machine‐produced images with a special epistemic power absent from drawings.
The skeptic’s argument is worth taking seriously, and it is taken seriously in what follows. However, it is not to be taken seriously in the sense that, being unsure of what to think about its conclusion, we wish to weigh up the reasons for and against that conclusion. Nor is it to be taken seriously in the sense that, identifying its conclusion as a threat, we are determined to protect photographic art by proving that conclusion wrong. Instead, it is taken for granted in the following pages that photography is an art.
Four Arts of Photography: An Essay in Philosophy by Dominic McIver Lopes