Memikirkan Ulang Fondasi Definitif Filosofis dari Fotografi
DOI:
https://doi.org/10.26593/jsh.v4i01.7542Keywords:
Non-temporal photography, photographism, material monism, temporalityAbstract
This text discusses the problematic nature of photography since its inception. This disposition arises because photography is a manifestation of the dualistic thinking pattern matured by René Descartes and radicalized by Immanuel Kant. Photography, which began in the 19th century, was analog and relied on the permanent traces of time caused by chemical reactions. The strong claim of photography against the singularity of artistic work positions it as a threat to the value of art on one hand, while on the other, photography opens up various new approaches to artistic expression. Around 150 years after its birth, photography faced a serious challenge: even with digital technology, which eliminates the permanence of time traces, photography was considered "dead." This perceived death of photography led to ideological approaches viewing the existence of photography as post-medium discourse. By examining the development of major literature during the transition from analog to digital photography, this ideological approach further guides the discourse on photography as a metatheoretical and paradigmatic area. By shedding temporal elements, the discourse on photography moves more agilely within the framework of complex material monism—becoming a way of existing in a non-dualistic knowledge structure.
References
Barthes, Roland. (1980). Camera Lucida. London: Vintage.
Bate, David. (2009). Photography: The Key Concepts. Oxford: Oxford International Publisher Ltd.
Baudrillard, Jean. (1994). Simulacra and Simulation. Penerjemah, Sheila Faria Glaser. Ann Arbor: The University of Michigan Press.
Benjamin, Walter. (2008). The Work of Art in the Age of Mechanical Reproduction. Penerjemah, J. A. Underwood. Penguin Books.
Benjamin, Walter. (1982). “The Author as Producer” dalam Thinking Photography. Editor, Victor Burgin. Hongkong: Macmillan.
Bull, Stephen. (2010). Photography. Oxon:Routledge.
Burgin, Victor. (1982). “Looking at Photographs” dalam Thinking Photography. Editor, Victor Burgin. Hongkong: Macmillan.
Carroll, Noël. (1999). The Philosophy of Art, A Contemporary Introduction. London: Routledge.
Crivelli, Paolo. (2004). Aristotle on Truth. Cambridge: Cambridge University Press.
Eagleton, Terry. (1991). Ideology, An Introduction. London: Verso.
Eagleton, Terry. (1990). The Ideology of the Aesthetics. Oxford: Blackwell Publishing.
Gaut, Berys. (2010). A philosophy of Cinematic Art. Cambridge: Cambridge University Press.
Goff, Philip. (2019). Galileo’s Error, Foundations for a New Science of Consciousness. London: Rider.
Fontcuberta, Joan. (2014). Pandora’s Camera, Photogr@phy after Photography. MACK.
Henning, Michelle. (2015). “The Subject as Object: Photography and the Human Body” dalam Photography: A critical introduction. Editor, Liz Wells. London: Routledge. (pp. 189-230).
Kant, Imanuel. (2000). Critique of the Power of Judgment. Penerjemah Paul Guyer. Cambridge University Press.
Lister, Martin. (2013). The Photographic Image in Digital Culture. London: Routledge.
Marien, Mary Warner. (2014) Photography, A Cultural History. London: Laurence King Publishing, Ltd.
Maynard, Patrick. (1997). The Engine of Visualization, Thinking Through Photography. New York: Cornell University Press.
Nancy, Jean-Luc. (2005). The Ground of the Image. New York: Fordham University Press.
Politis, Vasilis. (2004). Aristotle and the Metaphysics. London: Routledge.
Rubinstein, Daniel. (2021). How Photography Changes Philosophy. New York: Routledge.
Ridley, Aaron. (2007). Nietzsche on Art and Literature. London Routledge.
Sautoy, Marcus Du. (2019). The Creativity Code, How AI is Learning to Write, Paint, and Think. London: 4th Estate.
Singer, Peter. (1980). Marx, A Very Short Introduction. Oxford: Oxford University Press.
Simanjuntak, Mardohar B.B. (2016). “Fondasi Kritik Karya Seni dari Perspektif Estetika Analitis Emansipatoris Noel Carroll” in Melintas Vol. 32 (2).
Scott, Clive. (1999). The Spoken Image, Photography & Language. London: reaction Books.
Scruton, Roger. (1983). The Aesthetic Understanding, Essays in the Philosophy of Art and Culture. South Bend: St. Augustine’s Press.
Sontag, Susan. (1961). Against Interpretation. London: Vintage.
Sontag, Susan. (1977). On Photography. New York: Picador USA.
Sumpter, David. (2018). Outnumbered. London: Bloomsbury Sigma.
Stecker, Robert. (2013). “Aesthetic Autonomy and Artistic Heteronomy” dalam Aesthetic and Artistic Autonomy. Editor, Owen Hulatt. London: Bloomsbury. Hal. 31-47.
Stern, Robert. (2002). Hegel and the Phenomenology of Spirit. London: Routledge.
Taminiaux, Pierre. (2008). The Paradox of Photography. Amsterdam: Rodopi.
Walden, Scott. (2008). Photography and Philosophy, Essays on the Pencil of Nature. Blackwell Publishing.
Walton, Kendall L. (1990). Mimesis as Make Believe, on the Foundations of the Representational Arts. Harvard: Harvard University Press.
Wolsdorf, David. (2008). Trials of Reason: Plato and the Crafting of Philosophy. Oxford: Oxford University Press.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Andreas Doweng Bolo, Mardohar Batu Bornok Simanjuntak
This work is licensed under a Creative Commons Attribution 4.0 International License.
