Wyniki wyszukiwania - Biblioteka Nauki

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A difficult history of light. About metaphysical ideas of “light writing” formulated before the birth of photography

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Zawojski P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2021

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tom 30

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nr 39

281-295

EN

The reflections presented in this article are devoted to Junko Theresa Mikuriya’s book, A History of Light. The Idea of Photography. It is a unique view on the search for pre-photographic origins of photography in the field of philosophical writings ranging from Plato, through the neoplatonic philosopher Jamblich’s enquiry, to the texts by Philotheus of Batos and by an early Renaissance philosopher, Marsilio Ficino. When thinking about metaphysics present in (moving and still) images, one should not forget about the metaphysics of the image itself. The idea of photography – regardless of whether we are witnessing a fundamental change in an ontological transition from an analogue to a digital form of image recording – obliges us to discuss the “history of light”, as this is what Mikuriya does. While locating the discussed concepts in the context of the history and theory of photography, as well as the archaeology of media, the author of this essay engages in a dialogue with Mikuriya and polemically discusses many of her hypotheses. Key concepts such as chalepon, photagogia, triton genos, phôteinographeisthai are analysed in order to indicate inspiring moments in the Mikuriya’s reflections, but also a kind of interpretive abuse in the process of reading and analysing philosophical texts addressing the issues of light.

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The Invisible World of Images. From “Nonhuman” to “Undigital” Photography in Joanna Zylinska’s Reflections

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Zawojski P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2022

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tom 31

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nr 40

13-36

EN

The article presents the theoretical views and, to a lesser extent, artistic practices of Joanna Zylinska, who in her artistic activity combines epistemological strategies of a researcher and theorist with her activities in the field of art. She develops in different manners an original project of philosophy as photography, or photography as a form of philosophizing. Posthumanist and post-anthropocentric inspirations and the inclusion of her reflections in a wider circle of a nonhuman turn constitute an epistemological framework of numerous statements devoted to the “photographic condition” in the age of dominance of digital technologies. The author argues that, in fact, photography has been a nonhuman practice since its beginnings, which is developed in her book Nonhuman Photography, preceded by the concepts of mediation and photomediation. In her latest proposals addressing the issues of the functioning of art in the era of algorithmic systems, the author develops the concept of undigital photography, which constitutes an extension of thinking about those manifestations of photography that are not of/by/for the human. The idea of “vision machines” (once proposed by Paul Virilio) takes the form of a holistic view of photography as a “medium of life,” which, unlike modernist descriptions of it as a “medium of death” (Roland Barthes), makes a significant contribution to both the theory and the history of photography. The synthetic presentation of Zylinska’s concepts is an attempt to describe and interpret the contemporary state of theoretical and methodological awareness in the field of contemporary image studies. It stems from the need to constantly reinterpret the canon of thinking about the medium of photography in the epoch of cooperation between human and non-human agencies in the area of pictorial production of images addressed to both people and machines.

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Maszynom (inteligentnym) wbrew? O sztuce w czasach sztucznej inteligencji

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Zawojski P.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2019

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tom 104

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nr 1

53-66

EN

The article presents reflections regarding creative machines which use algorithmic principles to create, such as biological algorithms, generative designs, neural networks, learning systems and deep learning as well as robotic tools. One of the most distinctive examples of an artist that constructs autonomous machines capable of creating artistic artifacts is Patrick Tresset and his Paul. The discussion focuses on the recurring question: Is the position of the artist in the times of AI still reserved strictly for humans, or can artistic and aesthetic values be also attributed to works of creative machines?

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Against (Intelligent) Machines? On Art in the Times of Artificial Intelligence

100%

Zawojski P.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2020

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tom 112

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nr 5

109-121

5

Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya

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Zawojski P.

Artium Quaestiones

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2020

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nr 1

101-122

EN

In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history of image and imaging (including Secret Knowledge, History of Images, On Photography). Photography led to Hockney's audiovisual realizations. This is a kind of repetition of the natural evolution and developmental progression of the media, also, and perhaps above all, in the technological dimension. The article is divided into three parts. In the first part, the author presents Hockney as a practitioner and theoretician, in whose activities both these activities are closely intertwined. This is a sign of the times: practice and theory are equally important, awareness of the medium, or artistic and aesthetic self-awareness of artists, is an expression of the spirit of the era in which an intuitive approach to art today seems inefficient, not to say impossible. Hockney appears to be an exemplary artist, who is extremely conceptual in his artistic practice as a consequence of his research on the history of art and a constantly developed set of his own theoretical findings. He is an artist discursively commenting not only on his work as an artist in many media (painting, drawing, graphics, set design, photography, film, computer graphics), but also an art and media theoretician reflecting on the fate of images in a changing media landscape. The second part of the article is devoted to the reconstruction of Hockney's theoretical reflections on photography and the analysis of his photographic projects. First of all, experimental Polaroid compositions created in the early eighties, named by the artist joiners, as well as photographic collages and photographic images realized in the later periods of the British artist's work. The third part considers digital movies, as Hockney calls them, audiovisual realizations referring to both his previous photographic works and experimental video films in which multi-camera systems are used.