Full Product Details
Author: Ariella Azoulay
Publisher: Leuven University Press
Imprint: Leuven University Press
Volume: 16
Dimensions:
Width: 16.00cm
, Height: 1.50cm
, Length: 23.90cm
Weight: 0.907kg
ISBN: 9789058679499
ISBN 10: 9058679497
Pages: 262
Publication Date: 06 January 2014
Audience:
General/trade
,
General
Format: Paperback
Publisher's Status: Active
Availability: In Print
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Reviews
Deüelle Lüski's camera project is instructive in its non-technological determinism: it exemplifies the fact that technologies are not teleological, but are malleable. In the case of photography, through its flexibility, it can disrupt attempts -; no matter how forceful -; to fix their ontology, their products and the messages they produce. Subversive projects such as Deüelle Lüski's may be increasing through community connections made easier with new media technologies; we will have to see where the threshold era that Azoulay and Deüelle Lüski claim we are in will take us in terms of civil engagement. Nonetheless, to see the threshold as a horizon instead of an obstructive, vertical plane is already a positive step. Sonya de Laat, Western University, Visual Studies 2015 - http://dx.doi.org/10.1080/1472586X.2015.1020084 Visant à repenser la photographie à neuf, le travail conjoint d'Ariella Azoulay et Aïm Deuelle Lüski amène a reconsidérer l'histoire de la photographie ainsi que ce par quoi on la définit. Il s'agit là d'une expérience déconcertante, mais cette réflexion apparaît nécessaire pour se dégager des conceptions qui entravent un rapport citoyen à la photographie. Erika Wicky, Ciel Variable n° 98, 2014
Visant à repenser la photographie à neuf, le travail conjoint d'Ariella Azoulay et Aïm Deuelle Lüski amène a reconsidérer l'histoire de la photographie ainsi que ce par quoi on la définit. Il s'agit là d'une expérience déconcertante, mais cette réflexion apparaît nécessaire pour se dégager des conceptions qui entravent un rapport citoyen à la photographie. Erika Wicky, Ciel Variable n° 98, 2014 Deüelle Lüski's camera project is instructive in its non-technological determinism: it exemplifies the fact that technologies are not teleological, but are malleable. In the case of photography, through its flexibility, it can disrupt attempts -; no matter how forceful -; to fix their ontology, their products and the messages they produce. Subversive projects such as Deüelle Lüski's may be increasing through community connections made easier with new media technologies; we will have to see where the threshold era that Azoulay and Deüelle Lüski claim we are in will take us in terms of civil engagement. Nonetheless, to see the threshold as a horizon instead of an obstructive, vertical plane is already a positive step. Sonya de Laat, Western University, Visual Studies 2015 - http://dx.doi.org/10.1080/1472586X.2015.1020084
Author Information
Ariella Azoulay is an Israeli art curator, film-maker and theorist of photography and visual culture. She is Assistant Professor of Comparative Literature and Modern Culture and Media at Brown University and former Director of the Photo-Lexic Research Group at the Minerva Humanities Center, Tel Aviv University.
