Civil Imagination
A Political Ontology of Photography
Seiten
2024
|
New edition
Verso Books (Verlag)
978-1-80429-259-4 (ISBN)
Verso Books (Verlag)
978-1-80429-259-4 (ISBN)
A GROUNDBREAKING WORK ON THE POWER OF PHOTOGRAPHY AS A VEHICLE FOR CIVIL PROTEST
The photograph is not just an image but an event, one in the longer sequence of a photographic moment. Challenging given definitions of photography and of the political, Ariella Aïsha Azoulay calls for us to use photographs of political violence, such as the colonial regime in Palestine, to envision the political relationships that made each photograph possible, and to be able to intervene in them. In this way, we can build our capacity for "civil imagination": a way of seeing and imagining ourselves as part of the image rather than only as spectators.
The new edition includes a discussion of the legal battles to reclaim the images of the enslaved Papa Renty, held by Harvard University, rejecting the regime of photographs as private property, established by institutions that claim ownership of images seized with violence.
"This trenchant, perennially contemporary book valorizes powerful intersubjective relations enabled by photography, relations that exceed the strictures of imperial power. For Azoulay, photography's entangled temporalities enable a transformation of our sense of what persists, just as a collective practice of civil imagination reconstructs our apprehension of those with whom we unevenly share a lifeworld. Azoulay contradistinguishes spectatorship from the radical work of being a companion- a distinction that itself rewrites normative conceptions of the social work of seeing." - Stanley Wolukau-Wanambwa, author of Dark Mirrors
The photograph is not just an image but an event, one in the longer sequence of a photographic moment. Challenging given definitions of photography and of the political, Ariella Aïsha Azoulay calls for us to use photographs of political violence, such as the colonial regime in Palestine, to envision the political relationships that made each photograph possible, and to be able to intervene in them. In this way, we can build our capacity for "civil imagination": a way of seeing and imagining ourselves as part of the image rather than only as spectators.
The new edition includes a discussion of the legal battles to reclaim the images of the enslaved Papa Renty, held by Harvard University, rejecting the regime of photographs as private property, established by institutions that claim ownership of images seized with violence.
"This trenchant, perennially contemporary book valorizes powerful intersubjective relations enabled by photography, relations that exceed the strictures of imperial power. For Azoulay, photography's entangled temporalities enable a transformation of our sense of what persists, just as a collective practice of civil imagination reconstructs our apprehension of those with whom we unevenly share a lifeworld. Azoulay contradistinguishes spectatorship from the radical work of being a companion- a distinction that itself rewrites normative conceptions of the social work of seeing." - Stanley Wolukau-Wanambwa, author of Dark Mirrors
Ariela Azoulay teaches political thought and visual culture at Brown University. She is a curator and documentary film maker.
List of Figures
Introduction to the Second Edition
one What Is Photography?
two Rethinking the Political
three The Photograph as a Source of Civil Knowledge
four Civil Uses of Photography
five "He Is My Ancestor"-Not a Museum's Asset
Epilogue: The Right Not to Be a Perpetrator
Notes
Bibliography
Index
| Erscheinungsdatum | 29.02.2024 |
|---|---|
| Übersetzer | Louise Bethlehem |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 140 x 210 mm |
| Gewicht | 282 g |
| Themenwelt | Kunst / Musik / Theater ► Fotokunst |
| ISBN-10 | 1-80429-259-1 / 1804292591 |
| ISBN-13 | 978-1-80429-259-4 / 9781804292594 |
| Zustand | Neuware |
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