Current photography. Expansions, asynchronias and promisections
DOI:
https://doi.org/10.24215/24516643e002Abstract
The present work aims to replenish therelevance of photography, looking for theconfigurations that made it a promiscuous,expanded, paradoxical and omnipresentpractice in the ways of relating, investigatingand organizing the world. Thus, it providesus with ways to manage, disseminateand classify the universe through severalauthors. To map these expansions, four majorstrategies are proposed.References
Baqué, D. (1998). La Photographie Plasticienne [La fotografía plástica]. Paris, Francia: Éditions du Regard.
Barthes, R. (1993). A Câmara Clara [La câmara clara]. Rio de Janeiro, Brasil: Nova Fronteira.
Benjamin, W. [1931] (2011). Pequeña historia de la fotografía. Barcelona, España: Casimiro.
Benjamin, W. (1975). A Obra de arte na época de suas técnicas de reprodução. San Pablo, Brasil: Abril Cultural.
Benjamin, W. (2005). Escritos sobre fotografia. Madrid, España: Akal.
Bourdieu, P. (1965). Un Art Moyen. Paris, Francia: Minut.
Brea, J. L. (2003). El tercer umbral. Estatuto de las prácticas artísticas en la era del capitalismo cultural. Murcia, España: CENDEAC.
Brea, J. L. (2005). Estudios Visuales. La epistemología de la visualidad en la era de la globalización. Madrid, España: Akal.
Brea, J. L. (2010). Las tres eras de la imagen. Imagen-materia, film, e-image. Madrid, España: Akal.
Crimp, D. (1995). On the Museum’s Ruins. Cambridge, Inglaterra: MIT Press.
Dubois, P. (1998). O ato fotográfico e outros ensaios [El acto fotográfico y otros ensayos]. Campinas, San Pablo: Papirus.
Freund, G. (1974). Fotografía y sociedad. París, Francia: Gustavo Gilli.
Kossoy, B. (1999). Realidades e Ficções na Trama Fotográfica [Realidades y ficciones en la trama fotográfica]. São Paulo, Brasil: Ateliê.
Kossoy, B. (2007). Os Tempos da fotografia: o efêmero e o perpétuo. Cotia, Brasil: Ateliê.
Krauss R. [1990] (2002). O fotográfico. Barcelona, España: Gustavo Gili.
Malraux, A. (2017). El Museo Imaginário. Madrid, España: Cátedra S.A.
Rancière, J. (2002). La división de lo sensible: estética y política. Salamanca, España: Edit. Salamanca.
Sontag, S. [1997] (2004). Sobre fotografia [Sobre la fotografía]. São Paulo, Brasil: Companhia das Letras.
Sougez, M.-L. (1981). Historia de la fotografía. Madrid, España: Cátedra.
Umbrico, P. (2006). Soles de Flickr [Fotografía]. Recuperado de http://www.penelopeumbrico.net/index.php/project/suns
Downloads
Published
How to Cite
Issue
Section
License
The acceptance of the manuscript by the magazine means the non-exclusive cession of the property rights of the authors in favour of the editor, who allows the reuse, after publication (post print), under a license Attribution-NonCommercial-NoDerivatives 4.0 International.
According to these terms, the material can be copied and redistributed by any means or in any format as long as a) the author and original source of the publication are quoted (magazine and URL of the work), access to the license is provided and whether changes have been made is mentioned; and b) the material is not used for commercial purposes.
The cession of non-exclusive rights means that after the publication (post print) in Metal the authors can publish their work in any language, means and format; in such cases it must be mentioned that the material was originally published in this magazine. Such cession also means the authorization of the authors for the work to be collected by SEDICI, the institutional archive of the Universidad Nacional de La Plata, and to be spread in the databases that the editorial team considers appropriate to increase the visibility of the publication and its authors.
Moreover, the magazine encourages the authors to deposit their productions in other institutional and thematic archives under the principle that offering the society the scientific and academic production without any restrictions contributes to a greater exchange of the global knowledge.
