Back to issue

Full text - PDF

UDC 791.6

DOI: https://doi.org/10.17721/UCS.2019.2(5).08

A. I. Tapol,

Student of the Department of Cultural Studies Master's Degree, Faculty of Philosophy
Taras Shevchenko National University of Kyiv,
60, Volodymyrska Street, Kyiv, 01033, Ukraine

CRISIS OF MODERN VISUAL PRACTICES

The article focuses on the analysis of the liquefaction of basic settings of the modernity's visual practises, specifically of signification regime and mode. The general dynamics of historical types of visual practices and the role of the Modern vision regime in it are described. The visual parameters of the signifying modes of realism and modernism are defined. The crisis of modern visual practices is specified through the logic of their transformation. The status of photography as the basic visual practice of the modernism signifying mode is proved.

From the beginning of the era of "technical production" the pathos of the position of the artist as the producer of the image requires not only the act of creation, but also the aim of commercialization, which entails the act of "exhibiting", a certain way of presentation. An important aspect of the artist's mission is to move the image from the everyday and profane (if we resort to aesthetic categorical apparatus) spheres to the space of the artistic field.

A striking example of the dilution of the visual parameters of high Modernity is photography. The lens becomes the mediator of the act of see- ing the person, and subject-object relations with the world break because of the mediocrity of the photographic image, which promotes its reality.

Photo documentation creates a new form of perception of time – fragments in which some events are identified as important and some remain peripheral. If an artist thinks of painting (Cézanne's thought) and has creative thinking, then a photographer who thinks of frames only reduces being to the individual. A photo does not simply reflect reality, it reproduces reality, that is, it transfers it from thing to reproduction of things, pho- tography carries the existence of a photographed object. And as a result, we recognize that the photographic image is the object itself.

Photography as an image begins to organize not only high culture, but also everyday life, being the basis of visuality and the basis of everyday social practices. The transformations that photo-images make to the parameters of Modernity's visuals form the basis for visual postmodernism.

Keywords: visual practice , Modernity, signifying mode, realism, modernism, photography.

REFERENCES:

1. Arnheim, R. (1994). On the Nature of Photography. Moskow, Prometej (In Russian).

2. Barthes, R. (1997). Camera lucida. Retrieved from http://www.gumer.info/bibliotek_Buks/Culture/camera/index.php (In Russian).

3. Benjamin, W. (1996). A short history of photography. Retrieved from http://www.academyphotos.ru/library/benjaminkratrayaistoriya.pdf [In Russian]

4. Benjamin, W. (1996). The Work of Art in the Age of Mechanical Reproduction. Moskow, Medium [In Russian].

5. Bourdieu, P. (2015). Varvarskij vkus: P'er Burd'e o social'nom primenenii fotografii) [Varvara Taste: Pierre Bourdieu on the social application of photographic taste]. Retrieved from https //theoryandpractice.ru/posts/10084-pierre-bourdieu-photography-a-middle- brow-art [In Russian].

6. Virilio,P. (2004). The Vision Machine. Retrieved from https://monoskop.org/images/1/19/Virilio_Paul_Mashina_Zreniya.pdf [In Russian].

7. Kittler, F. (1994). Photography. In Optical Media Art, 128–160. Moskow, Logos (In Russian).

8. Lash, S. (2003). Sociology of Postmodernism. Lviv, Kalvariya (In Ukrainian).

9. Merleau-Ponty, M. (1992). Eye and Mind. Moskow, Iskusstvo (In Russian).

10. Mitchell, W. (2015). Ikonologija. Obraz. Tekst. Ideologija [Iconology. Image. Text. Ideology]. Moskow, Ekaterinburg, Kabinetnyj uchenyj.

11. Pavlova, О. (2015). Vіzual'na kul'tura jak pole lіkvіdnostі modernu [Visual culture as a field of modernity liquefaction]. Mіzhnarodnij vіsnik: Kul'turologіja. Fіlologіja. Muzikoznavstvo, V. 2, 15–18.

12. Sontag, S. (2013). On photography. Moskow, Ad Marginem [In Russian].

13. Heidegger, M. (1993). The Age of the World Picture. Retrieved from http://www.odinblago.ru/filosofiya/haydegger/khaydegger_m_vremya_kartin/ vremya_kartin0/ [In Russian].

14. Alexander, J., Bartmanski, D. (2012). Introduction Iconic Power: Materiality and Meaning in Social Life (Cultural Sociology) Iconic Power: Materiality and Meaning in Social Life. New York, PALGRAVE MACMILLAN, 1–15.

15. Banks, M., Morphy, H. (1997). Introduction: rethinking visual anthropology. Rethinking visual anthropology. New Haven, Yale University Press, 1‒36.

16. Bauman, Z. (2000). Liquid Modernity. Cambridge, Polity Press; Blackwell.

17. Bourdieu, P. (1998). Photography: A Middle-brow Art. Oxford, Poli- ty Press.

18. Bryson, N., Holly, M., Moxey, K. (1994). Introduction. In Visual Culture: Images and Interpretations. Hanover, London, Wesleyan University Press. XV–XXIX.

19. Jenks,C.(1995).VisualCulture.London,Routledge.

20. Mirzoeff,N.(1995).What is visual culture? In The Visual Culture Reader. London, New-York.,Routledge.

© A. I. Tapol 2019