Why should we prefer the weak version of the new theory of photography?
DOI:
https://doi.org/10.24310/Contrastescontrastes.v23i2.5572Keywords:
NEW THEORY OF PHOTOGRAPHY, STRICTLY PHOTOGRAPHIC MEDIA, PHOTOGRAPHY, DIARMUID COSTELLO, DOMINIC LOPESAbstract
Diarmuid Costello has recently supported a radical version of what he calls, following Dominic Lopes, The new theory of photography and he has criticized a position within this theory that he considers weaker and restrictive. Both views – radical and restrictive – are opposed to the received view in the analytic philosophy of photography. However, Costello argues that the weaker version is too close to orthodoxy. This paper constitutes a defense of the purported restrictive view and argues that, as a matter of fact, the radical version is more prescriptive, restrictive and inadequate.
Downloads
References
ATENCIA-LINARES, P. 2012: «Fiction, Nonfiction, and Deceptive Photographic Representation.» The Journal of Aesthetics and Art Criticism 70 (1) (January 1): 19–30.
———, 2013. Arts and Facts. Fiction, Nonfiction and the Photographic Medium. Thesis, UCL, University of London.
BARTHES, R. 1980. La cámara lúcida. Buenos Aires: Paidós
BAZIN, A. 2008: ¿Qué es el cine? Madrid: Editorial Rialp.
CAVEDON-TAYLOR, D. 2010: «In Defence of Fictional Incompetence.» Ratio 23 (2): 141–150.
CAVELL, S. 1979: The World Viewed: Reflections on the ontology of film.» Boston: Harvard University Press.
COSTELLO, D. 2017: On Photography. A Philosophical Inquiry. Routledge.
CURRIE, G. 1999: «Visible Traces: Documentary and the Contents of Photographs.» Journal of Aesthetics and Art Criticism 57 (3): 285–297.
FRIDAY, J. 1997: «Digital Imaging, Photographic Representation and Aesthetics.» Ends and Means 2 (2): 7–11.
HOPKINS, R. 2010: «Factive Pictorial Experience: What’s Special About Photographs?» Noûs (December 15).
LOPES, D. 2016: Four Arts of Photography. Willey Blackwell.
MAYNARD, P. 2005: The Engine of Visualization: Thinking Through Photography. Cornell University Press.
PHILLIPS, D. 2009: «Photography and Causation: Responding to Scruton’s Scepticism.» British Journal of Aesthetics 49 (4): 327–340.
RICHTER, G. 1995: «Interview with Rolf Schön» in Richter, The Daily PRactice of Painting: Writings 1962-1993, ed. Hans-Ulrich Obrist (London: Thames & Hudson)
SCRUTON, R. 1981: «Photography and Representation.» Critical Inquiry 7: 577–603.
SONTAG, S. 1973: Sobre la Fotografía. Madrid: Debolsillo.
WALTON, K. 1970: «Categories of Art.» The Philosophical Review 79 (3) (July 1): 334–367.
———, 1984: «Transparent Pictures: On the Nature of Photographic Realism.» Critical Inquiry 11 (2) (December 1): 246–277.
Downloads
Published
Dimensions
Issue
Section
License
This journal provides immediate free access to its content under the principle of making research freely available to the public. All content published in Contrastes. Revista Internacional de Filosofía, are subject to the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 license whose full text can be found at <http://creativecommons.org/licenses/by-nc-sa/4.0>
It is the responsibility of the authors to obtain the necessary permissions of the images that are subject to copyright.
Authors whose contributions are accepted for publication in this journal will retain the non-exclusive right to use their contributions for academic, research and educational purposes, including self-archiving or repository in open access repositories of any kind.
The electronic edition of this magazine is edited by the Editorial Service of the University of Malaga (Uma Editorial), being necessary to cite the origin in any partial or total reproduction.
How to Cite
5.png)
