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May 3rd, 2016
Robert Adams, Colorado Springs, Colorado
Density of Decision:
Greenberg with Robert Adams
By (Johns Hopkins University)

This is to say that the strictly documentary character of Adams’s work, which by and large claimed viewers’ attention at the time of New Topographics, has somewhat receded in importance. And it is also to suggest that the theoretical issue of the non-representational nature of the photograph as well as of the problematic status of the photographer’s inten­tions owing to the photograph’s indexicality…turns out to be not quite relevant to the present case. Or rather, more precisely, it is as if the “weak intention­ality” of the pho­to­graph…turns out to throw into relief the extra­ord­inary strength and efficacy of Adams’s esthetic perfection­ism…with respect to the appear­ance of the final print, the esthetic artifact as such.

May 3rd, 2016
Gustave Le Gray, The Great Wave, Sète (Grande vague, Sète), 1857. Albumen print, 13 1/2 x 16 1/2 in. (34.3 x 42 cm) Los Angeles County Museum of Art, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and Carol Vernon and Robert Turbin (M.2008.40.1284)
Photography and the Philosophy of Time:
On Gustave Le Gray’s Great Wave, Sète
By (Yeshiva University)

Indeed, over the course of the nineteenth-century, two temporalities became increasingly recognizable in modernizing societies. The “lived time” of premodern and natural cycles oriented to the sun, the tides, the moon became the “measured time” of the clock and the workday, of shipping times and railroads connecting major cities. Although the conventional view would have it that speed and instantaneousness decisively came to dominate with the advent of the railroad and the telegraph, a deeper analysis indicates that only a small percentage in the nineteenth century felt the rigors of measured time decisively undoing an older, natural time.

May 3rd, 2016

In my imagined temporary community on the stage, in that ring and in those lights, we would have started with a single set of questions, a single set of definitions, and disagreed from there until we came to new sets of questions, and so that is what I will do here, sitting literally alone, around my hearth, and without tribe. The artist always fights herself, in the end. I relax, so I can strike myself harder. I establish my balance, so I can stay on my feet.

May 3rd, 2016
Winogrand, Street Beggar Reaching out to Receive a Donation, 1968
“I Do What Happens”:
Anscombe and Winogrand

So there is a sense in which Winogrand’s personal crisis expresses a theoretical position, just as there’s an equally important sense in which that theoretical position and the alternatives to it (what it might mean to intend something, and especially what it might mean not to or what it might mean for your reasons to be treated as causes) were becoming at the time of that crisis central to literary theory and aesthetic production. Indeed, in what is now an aesthetic and a political as much as a philosophical sense, the structure of intentional action has recently emerged as a crucial issue.

May 3rd, 2016
Minds in the Dark:
Cinematic Experience in the Dardenne Brothers’ Dans l’Obscurité
By (University of Chicago)

I do not mean here to refer to the issue familiar in philosophy since Plato, the way the psyche can be shaped in very different ways by the education it receives and by the context of some particular regime. Democratic souls for democracies; oligarchic souls for oligarchies. Plato and many others keep the soul’s structure constant in such accounts, concentrating on the effects of the formation process on that structure. I think something much more radical is implicitly suggested by these films—that what counts as such a structure is at issue and open to real variation. This is particularly true of the psychological structure assumed in “explaining actions” or “assigning or accepting responsibility.” How we have come to think of that issue, the range of possible answers, may, if the brothers are right, have more to do with the imperatives of a particular social organization of power than it would be comfortable to admit.

May 3rd, 2016
Action and Standing a Round
By (College of William & Mary)

If I understand Emerson correctly, his allegory of photography contends that, while photography may look like shopping at a flea market, it’s really more like standing a round at the bar.

April 5th, 2016
Jeff Wall, Eviction Struggle (1988)
What We Worry About When We Worry About Commodification:
Reflections on Dave Beech, Julian Stallabrass, and Jeff Wall

In an advertisement, the only intention that matters is to sell a product. All manner of decisions can and do saturate an advertising image, but these are subordinate to the purpose (Zweck) of selling the product. In a successful work of art, all kinds of decisions are subordinate to a larger intention as well; but that intention is analytically identical with the meaning (Zweckmäßigkeit) of the work, so it makes sense to speak of the work as a whole as saturated with intention. As we saw, art-commodities may well bear the marks of industrial processes. A work of art may, on the other hand, choose to exhibit them, which is a different matter altogether. We can tell the difference between bearing marks and exhibiting marks because works of art tell us how to tell the difference, each time.

March 29th, 2016
Vanessa Place
on Some Responses to "Would Vanessa Place Be a Better Poet if She Had Better Opinions?"
By (Pomona College)

Everyone involved in this discussion appears to live by the difference between art and life. To my knowledge, no one has suggested that Gone with the Wind is something other than a novel or that Tweeting Gone with the Wind is something other than a work of art. (No reader misrecognized it as a different kind of Twitter account – for example, a moment by moment record of the passing thoughts of Vanessa Place). Nor has anyone started a liberation movement to protect the rights or advance the interests of fictional persons.

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