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Return to Book Page. Preview — Burning with Desire by Geoffrey Batchen. 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.
Recent accounts of photography's identity tend to divide between the postmodern view that all identity is determined by context and a formalist effort to define the fundamental characteristics of photography as a medium.
Batchen critiques both approaches by way of a detailed discussion of photography's conception in the late eighteenth and early nineteenth centuries. He examines the output of the various nominees for first photographer, then incorporates this information into a mode of historical criticism informed by the work of Michel Foucault and Jacques Derrida. The result is a way of thinking about photography that persuasively accords with the medium's undeniable conceptual, political, and historical complexity.
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This book is not yet featured on Listopia. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. View 2 comments. Apr 11, Chad rated it it was amazing Recommends it for: you, nerd! Not just a book on photography's invention. It does not discuss the importance of who invented what first but rather who was moving in what direction in order to invent photography and why it was happening. Why did society demand for the photographic image? Jan 08, Analu rated it really liked it.
Enjoyed this book quite a lot.. Its status as a technology varies with the power relations which invest it. Its nature as a practice depends on the institutions and agents which define it and set it to work. Its function as a mode of cultural production is tied to definite conditions of existence, and its products are meaningful and legible only within the particular currencies they have.
Its History has no unity. It is this field we must study, not photography as such. To begin with, Tagg suggests that photography cannot be understood as having a static identity or singular cultural status. Photography is, he says, better regarded as a dispersed and dynamic field of technologies, practices and images.
The compliant ubiquity of this photographic field is such that it is indistinguishable from those institutions or discourses that choose to make use of it. Photography's history is, therefore, the collective and multifarious history or those same institutions and discourses. A history of police photography could not, for example, be separated from a history of the practices and institutions of criminology and the justice system.
Hence it follows that photography has no coherent or unified history of its own other than as a selective documentation of its various uses and effects. For this reason, the new ideas which are circulating in contemporary thinking must serve us only as short-term loans or reference points for the affirmation of our own values.
Jun 26, Line rated it liked it Shelves: academic , non-fiction , art. It is an interesting book if you are very interested in the history of photography.
However, I'm not sure I would be able to finish this It is an interesting book if you are very interested in the history of photography. However, I'm not sure I would be able to finish this book if it hadn't been compulsory for my university course.
In fact, I highly doubt it. This book took patience, to say the least. Jul 08, s2artM rated it it was amazing Shelves: theory , history , criticism , photography. This is where the current state of play is in regard to contemporary thought on photography. Batcehn ask some great questions and muses at length about possible answers, a must read for serious contemporary artists.
Apr 05, Peter Bonifacio rated it did not like it Shelves: non-fiction. Interesting ideas but presented in a very laboured academic manner. Should have realised when reading that it originated as a PHD thesis. Aug 01, Holly rated it it was amazing. Again, this is the history-of-photography I wish I had gotten in undergrad Kory rated it it was amazing Jan 22, Adam Thorman rated it it was amazing Jan 17, Casey rated it it was amazing Oct 13, Michael rated it did not like it Feb 24, Ruthmoreirasousa rated it it was amazing Feb 03, Perrin rated it it was amazing Jun 07, Josh Jalbert rated it liked it Sep 07, Cliff rated it it was amazing May 26, Dan Cotting rated it liked it Dec 24, Evan Fulks rated it really liked it Jun 24, Erin rated it it was amazing Mar 08, Issa rated it really liked it Jun 20, Motivated Light rated it really liked it Jul 04, Emily rated it it was amazing Jan 16, Matt rated it it was amazing Aug 21, Roy rated it liked it Feb 10, Thomas Boyer rated it it was amazing Nov 30, Lissa Mitchell rated it really liked it Aug 01, Logan Hill rated it it was amazing Dec 22, Connor Macleod rated it it was amazing Mar 30, Dave rated it liked it May 27, B rated it liked it Jul 20, Readers also enjoyed.
About Geoffrey Batchen. Geoffrey Batchen. Books by Geoffrey Batchen. Fall in Love with These June Romances. Some people love books. Some people fall in love. And some people fall in love with books about falling in love.
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Burning with Desire: The Conception of Photography
National Library of Australia. Search the catalogue for collection items held by the National Library of Australia. Read more Batchen, Geoffrey. Burning with desire : the conception of photography. In an letter to his partner Nicephore Niepce, Louis Daguerre wrote, "I am burning with desire to see your experiments from nature.
Burning with Desire
Recent accounts of photography's identity tend to divide between the postmodern view that all identity is determined by context and a formalist effort to define the fundamental characteristics of photography as a medium. Batchen critiques both approaches by way of a detailed discussion of photography's conception in the late eighteenth and early nineteenth centuries. He examines the output of the various nominees for "first photographer," then incorporates this information into a mode of historical criticism informed by the work of Michel Foucault and Jacques Derrida. The result is a way of thinking about photography that persuasively accords with the medium's undeniable conceptual, political, and historical complexity. This is an original and provocative rethinking of photography's origins and the scholars who inhabit the 'battlefield' of opinion that seeks to define its essence.