Tag Archives: Beshty

Part 3 – The Opacity of Photography

One of my students recently declared she believed there was nothing to learn from Flusser’s writings on photography. For her, digital technology expanded the possibilities of photography well beyond what Flusser described as the pre-defined program contained within the camera apparatus. The same went for the idea of the impenetrability of the “black box,” which [...]

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5. Toward a Museum of Convention

Last week’s post concerned itself with the academy as a mode of distribution for aesthetic discourse and how the inclusion of art within higher education has the potential to shift the understanding of intellectual research and debate, specifically by forcing intellectual discourse to come to terms with its own monetization. Before going further, I think [...]

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4. Aesthetics and Distribution Case (1): Preliminary Notes on Art’s Ability to Radicalize Academia

“…each encounter produces a new position of assemblages, even as it simultaneously defines a new use for these assemblages” -Gilles Deleuze In this posting, I would like to pursue an earlier tangent, and redirect it. If we start with the idea that a medium is constituted by a dialectic of applied use and technological development, [...]

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3. The Question of a Medium’s Identity

Last week, I attempted to draw forward a peculiar thematic in photography criticism and theory and the parallel instability of the term “photography.” At its base, a technology that has such a variance of instrumental applications and contextual meanings presents some intractable problems for art historical discourse, and its preference for discrete objects over more [...]

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2. Notes on Photography and Loss

On the long flight from Los Angeles to London I undertook last week (which at the time of this posting going live, I will be completing in the reverse) I reread “The Photograph as Post-Industrial Object” by Vilém Flusser. In it Flusser asserts that “We are witnessing a cultural revolution”, a revolution consummated by digital [...]

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1. Conventions, Conditions, and Practices of Photography Conceived as a System of Relations

As works of art have increasingly embraced the polysemy of images—to the point where the question of what a particular image depicts has become all but minor in the discussion of contemporary art—what we generally describe as photography continues to be understood as primarily depictive (and to that end as a transparent medium) and taken [...]

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