Browsing by Subject "Photography--Philosophy."
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Item Open Access Half asleep, winded losses : a visual survey on photography, memory and meaning(2012) Bilgenoğlu, BegümAs!Henry! Bergson! points! out,!memory!images! that!we! have! stored!in! our! minds! throughout!our!lives! trigger!our!past!experiences!and!help! form! the! moment! we! live! in. This! thesis! is! an! attempt! to challenge! my! perception! about! the! issues! that! are! bodily disturbing! for! me! in! my! memories.! It! is! related!with! the!level!of!intimacy!and! the!blurred!line!between!private!and! public!that!makes!me!uncomfortable.!This!thesis!explores!this!point!through! a! photo]text! project! consisting of different! sets! of! photographs! that! trigger! my!own!memories!through!wandering!on!the!body!and!outside. The!project!aims!to!activate!in!the!viewer!an!inner!journey!with the!help!of! close]up!body!images!and!photographs!taken!outside.!These!images,!which! come from!different!time,!space!and!bodies, are!grouped!into!sets!that!form! new! wholes.! These! visual! sets! are! accompanied! by! lines! from! various! unpublished!poems!in!order!to!simulate!the!audience!to!activate!them!with! their!own!memories and!create!new!readings.Item Open Access Photography as the writing of light(2000) Aytaç, OlguThe purpose of this study is to investigate certain critical approaches to photography and to try to make a re-reading of photographic images, with pursuing some of the reading strategies that French philosopher Jacques Derrida employs in deconstruction. The major aim is to point out the intrinsic features of photographic images which have been foreclosed most of the time, by the discourses established upon it and to trace a possible framework for the experience of images.Item Open Access A review of the "ontology" of photography(2004) Sevimli, ÖnderThis study is the culmination of a speculative attempt to understand and restate the enigma of photography. It aims to supplement the thought of photography with a host of concepts that seem to have escaped the scope of the theoretical critique of photography and photographs. In doing so, it follows the lead of the ‘logic’ of the grapheme and of the event of history to review the position of photography in relation to the language of the logic of being, and investigates whether the time of photography can be held in opposition to ‘real time.’ Consequently, the contexts in which contemporary thought on photography restrict the identity of photography are problematized, and the peculiarities involved in the interaction between photographs and viewers are emphasized in this study.