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- Liljefors, Max
(författare)
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‘Biospace’ : The visual rhetoric of space in micrographs
- 2018
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Ingår i: Philosophy of Photography. - : Intellect. - 2040-3690 .- 2040-3682. ; 9:2, s. 165-184
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Tidskriftsartikel (refereegranskat)abstract
- Microscopy can depict small biological entities that are invisible to the naked eye – cells, neurons, chromosomes, molecules, etc. Microbiology thereby grants us visual access to dimensions of our bodily interior that are otherwise imperceptible to us. Often, in micrographs, this infinitesimal inner realm is made to resemble the way cosmic space is represented in astronomical pictures – an ‘aesthetic leap’ that ties the microcosm of the body to the macrocosm of the universe. This article explores how aesthetic conventions in microbiological images create meaning that transcends their empirical content, and examines the historical precedents of these conventions in the history of anatomy and their contemporary cultural implications.
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- Bengtsen, Peter, et al.
(författare)
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Street art and the nature of the city
- 2018
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Ingår i: Bild och natur. Tio konstvetenskapliga betraktelser. - 2001-7510 .- 2001-7529. - 9789198369045 ; 16, s. 125-138
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Bokkapitel (refereegranskat)
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- Lee-Morrison, Lila, et al.
(författare)
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Migrant Seascapes : Visualised Spaces of Political Exclusion
- 2018
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Ingår i: Bild och natur : Tio konstvetenskapliga betraktelser - Tio konstvetenskapliga betraktelser. - 2001-7510 .- 2001-7529. - 9789198369045 ; 16, s. 67-87
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Bokkapitel (refereegranskat)abstract
- News images have played a defining role in the unfolding narratives of what has become known as the European migration crisis. Throughout the coverage of the crisis, a predominant and enduring image has been of photographs documenting the migrant journey by sea. This paper takes a closer look at these images, as a vehicle which shifts the narrative of the crisis as one defined by a territorial and political exclusion of the migrant. This analysis positions these images within an art historical context, wherein the motif of seascapes has articulated particular modes of political exclusion. I will analyze two examples of images of migrants at sea and relate these with two iconic seascapes, namely Théodore Géricault's the Raft of Medusa and the abolitionist commissioned diagrammatic drawing of the Brookes Slave Ship. I then consider these works within the backdrop of political philosophy, in particular, Thomas Hobbes' concept of a state of nature in opposition to the political state. In examining these mediated images of the migrant journey within the intersected discourse of art history and political philosophy, I aim to reveal some particularities on a contemporary arena of uncertainty, which engulfs not only the figure of the migrant but by relation, the legitimization of nationality.
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- Liljefors, Max, et al.
(författare)
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Mapped Bodies : Notes on the Use of Biometrics in Geopolitical Contexts
- 2015
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Ingår i: Socioaesthetics. Ambience – Imaginary. - 1572-459X. - 9789004246270 - 9789004303751 ; 19, s. 53-72
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Bokkapitel (refereegranskat)abstract
- “Mapped Bodies: Notes on the Use of Biometrics in Geopolitical Contexts” examines the role played by automated biometric technologies in migration control and in the so-called war on terror. Biometric methods such as automated fingerprint identification, iris scanning and facial recognition record microscopic bodily characteristics, computes patterns from them, and matches those patterns against already existing records in super-national databases. These technologies, we argue, are a telling example of a recasting of the relations between the body and state power, in which two current trends, the ‘biologization’ of the human being and the focus on security in the so-called war on terror, after 9/11 and subsequent terror attacks, are epitomized and combined. Starting from a visual culture studies perspective, this article discusses the negotiations of visibility and invisibility involved in biometrics, in connection to questions of power, subjectivity and citizenship. We draw on Vilém Flusser’s and Paul Virilio’s respective understanding of visual technologies as being ultimately ”blind”. We also draw on Emmanuel Levinas’ and Giorgio Agamben’s elaborations on the human face as an inherently ethical ”depth dimension” of interpersonal encounters, a depth we find at risk of becoming eclipsed by the biometric flattening of bodily topographies into abstract, encoded patterns. Ultimately, we argue, automated biometrics threatens to dissolve the bond between subjectivity and citizenship.
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- Petersén, Moa, et al.
(författare)
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Small Woods Where I Met Myself : Jerry Uelsmann's departure from straight photography
- 2018
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Ingår i: Bild och natur : Tio konstvetenskapliga betraktelser - Tio konstvetenskapliga betraktelser. - 2001-7510 .- 2001-7529. - 9789198369045 ; 16, s. 41-65
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Bokkapitel (refereegranskat)abstract
- In the article I investigate the differences between Ansel Adams' and Jerry Uelsmann's use of nature in their respective photography. Through their attitudes, approaches to, and involvement with nature their different relations to the photographic medium and the creative process unfold. Uelsmann's departure from the straight photographic tradition - that Ansel Adams came to symbolize - is in the article explained through an analysis of Uelsmann's and Adams' use of nature in their respective art making.
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