Geoffrey Batchen Knihy

Fotografie jako bytostně hraniční fenomén osciluje na hranici pomíjivého a trvalého, dynamického a statického, zjevného a skrytého, vědy a magie, pravdy a fikce, dokumentu a monumentu, informace a věci. Geofreyho Batchena coby historika a teoretika fotografie zajímají právě tyto hraniční momenty. V linii myšlení navazujícím na Jacquese Derridu, Rolanda Barthese či Michela Foucaulta si klade za cíl rozšířit dosavadní chápání historiografie fotografie a soustředí se na proměnu užívání tohoto média v různých historických kontextech s důrazem na tzv. vernakulární fotografie, tedy fotografie, se kterými se setkáváme v každodenní praxi (momentky, fotografie z dovolené atd.) Takováto nová „historie pro fotografii“ pak může lépe mluvit k naší žité zkušenosti, která je determinována záplavou nehmotných obrazů v internetovém prostoru.

The book delves into the life and innovations of William Henry Fox Talbot, the English pioneer of photography, highlighting his early experiments in the 1830s and significant contributions throughout the 1840s and 1850s. Utilizing archival materials from the Bodleian Library, it features eighty full-page plates that showcase Talbot's diverse interests and travels. An illustrated introduction contextualizes his work within a modernizing Britain and his intellectual environment, emphasizing how competition with the daguerreotype spurred his continuous quest for photographic advancement.

Focusing on the often-overlooked negative aspect of analog photography, this book presents a representative history of the medium. By exploring the foundational role of negatives, it offers insights into the evolution of photography, highlighting key moments and influences without claiming to cover every detail. Through this unique lens, readers gain a deeper appreciation for the art form and its development over time.

In this book, Geoffrey Batchen analyzes the desire to photograph as it emerged within the philosophical and scientific milieus that preceded the actual invention of photography.

William Henry Fox Talbot, the father of modern photography, created over 5,000 images, including portraits and still-lifes. A key intellectual of the 19th century, he published the first illustrated book on photography, revealing its potential. This monograph showcases his renowned landscapes and lesser-known works, reflecting social and cultural issues of his time.

Many artists have discovered collecting and saving as an artistic expression and have made the storage of objects and information the subject of their work. This book gives insight into the process of creating art, by using the work of 40 internationally celebrated artists as examples.

Roland Barthes's 1980 book Camera Lucida is perhaps the most influential book ever published on photography. The terms studium and punctum, coined by Barthes for two different ways of responding to photographs, are part of the standard lexicon for discussions of photography; Barthes's understanding of photographic time and the relationship he forges between photography and death have been invoked countless times in photographic discourse; and the current interest in vernacular photographs and the ubiquity of subjective, even novelistic, ways of writing about photography both owe something to Barthes. Photography Degree Zero, the first anthology of writings on Camera Lucida, goes beyond the usual critical orthodoxies to offer a range of perspectives on Barthes's important book. Photography Degree Zero (the title links Barthes's first book, Writing Degree Zero, to his last, Camera Lucida) includes essays written soon after Barthes's book appeared as well as more recent rereadings of it, some previously unpublished. The contributors' approaches range from psychoanalytical (in an essay drawing on the work of Lacan) to Buddhist (in an essay that compares the photographic flash to the mystic's light of revelation); they include a history of Barthes's writings on photography and an account of Camera Lucida and its reception; two views of the book through the lens of race; and a provocative essay by Michael Fried and two responses to it

Essays on photography and the medium's history and evolving identity. In Each Wild Idea , Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs—from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at—rather than beyond—the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.

Zerbeult und ausgelatscht, so sehen die wohl meist diskutierten Schuhe der Kunstgeschichte aus: ein paar schwarze Arbeitsstiefel, 1886 von Vincent van Gogh in Paris gemalt. Philosophen und Kunsthistoriker streiten sich bis heute angesichts dieses Bildes über die Funktion von Kunst, den Nutzen der Interpretation von Meisterwerken und über die Natur des Seins. Es entwickelte sich daraus auch ein lebendiger Diskurs über den Sinngehalt gemalter alter Schuhe.

This book features 24 of William Henry Fox Talbot's experimental prints. Offered to the reader as enigmatic physical artefacts, an accompanying essay illustrated with comparative images places these photographs in a broad historical context, revealing what relevance Talbot's experiments have to contemporary concepts of the art of photography.