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3. Slow Walking

Similar to my last post, this one also finds me in a state of transition. As usual, I’m on a plane. No need to linger on points of departure or arrival. But I will say that I find transit an oddly generative space. Planes and trains, in particular, are like cocoons for me; places where my thoughts tend to gush uncontrollably in the confines of airborne capsules or their earthbound equivalents. mehr

Veröffentlicht: 05.07.2018
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2. Still-Moving-Images

Rereading my last blog post in preparation for the next, I realized that I neglected to include an important note of contextualization. I’m writing this quite literally on the move, or as my father fondly describes it, I am working while ‘galavanting.’ The introduction was composed on a plane and the first post was written in Berlin, a city that was my home for seven formative years. mehr

Veröffentlicht: 19.06.2018
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1. Frequency

A few years ago, in the middle of writing my last book, I asked a former student, a brilliant musicologist named Matthew Morrison, to help me understand the relationship between two terms that formed the bridge for my conception of the link between sound and images: frequency and register. He was finishing his dissertation and apologized profusely for the muddiness of his thinking. mehr

Veröffentlicht: 05.06.2018
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Until the end of July 2018, Tina Campt’s blog posts on “Black Visual Frequency: A Glossary” will seek to define a series of keywords that Campt finds crucial to thinking with, through, and alongside contemporary articulations of black visuality.

glossary: an alphabetical list of terms in a particular domain of knowledge with the definitions for those terms.

“After 20+ years of teaching, I’ve abandoned the obligatory final paper in favor of what I am convinced is a much more generative culminating assignment: a glossary. As a feminist theorist of black visuality, I’m deeply invested in teaching students to define their terms with rigor and precision. It is a commitment that manifests itself in the form of a pedagogical refrain I utter at least once (though often repeatedly) in each and every class. By the end of the semester, my students often zealously parrot it back to me with a welcome combination of conviction and humor: ‘define your terms!’ In keeping with this thoroughly ingrained idiom, my own writing has become characteristically peppered with definitions that epigraphically map the meandering rhythm of my thoughts.

Paying tribute to a particularly inspired group of students I had the pleasure of teaching this semester, this blog joins them in a similarly glossarial undertaking. The posts that follow over the next eight weeks seek to define a series of keywords that I find crucial to thinking with, through, and alongside contemporary articulations of black visuality. They are terms that refuse traditional distinctions among the different sensory registers often assumed to structure the modalities of expression typically assigned to sight, sound, touch, smell or taste. Rather, this glossary ruminates on the frequencies of black visuality and how black visuality registers sonically, haptically, and affectively. My goal is to articulate a vocabulary that enables a more robust dialogue around black visuality – a dialogue that does not reduce this concept to a collection of objects or artists, but engages it as a complex practice of entanglement, implication and aspiration.”

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5. A Photo of the Future

A chronological image of time is the ideal image of a contemporaneity that implies all three time aspects and relates them to each other in a seamless form. In a chronological time image, the present was futural, is present, and will be past. This image of time privileges a present that is present, that in the future will have been, and that has yet to arrive in the past.  mehr

Veröffentlicht: 22.05.2018
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4. Our Others

We are interested in how temporal and subjective asynchronies enter into relationships.

A photograph says I am in a mysterious way. There is an I that we usually regard as the first I of a photograph. A photographer presses the shutter release and leaves a photographic trace. He is invisible in the image. Someone or something other is in the image. The picture may have been developed much later, may have been seen much later. mehr

Veröffentlicht: 11.05.2018
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3. Touching Screens

One question that returns in the digital age is that of the correlation of subjects and their bodies to their sense objects: how do we, as subjects, relate to images we see and things we touch? It is very tempting to posit a mythic immediacy that has at some point been lost or been undermined by media and technology. And in that case, the only choice is to make the journey back, the same journey back to the time that is past. mehr

Veröffentlicht: 02.05.2018
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2. Contemporaneity

In analyzing contemporaneity with the present, the past, or the future, we refer to pictorial practices, spatial design, and architecture from a poetic perspective. Our goal is always the creation (poiesis) of a space where real shifts can operate. Our supposition concerning pictorial media, for example, is that they serve a function for visuality that resembles the function the twentieth-century present tense novel served for language: novels in the present tense endow this tense with a new quality, namely the capacity for shifting positions of the self in space and time, which the present tense does not possess in everyday usage. mehr

Veröffentlicht: 24.04.2018
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1. Introduction

We would like to continue a conversation we began last year with Mario Garcia Torres, a conversation about the temporality of photographic images.
Our idea, our attempt then was to get beyond the statement that, because they are recordings, photographic images institute a past. Of course, when a photographic image reaches us, we never fully forget that it was previously recorded by someone. Someone decided on this moment and transformed it, with the help of the camera, into a past moment. mehr

Veröffentlicht: 18.04.2018
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Aus der Series
Photographic Futures

From mid-April till the end of May, Armen Avanessian's & Anke Hennig's blog series on "Photographic Futures" will explore the temporality of the photographic image. Do photographic images participate in the practice of preemption we encounter everywhere in an age of digital data control? Or can we imagine in its stead a photographic contemporaneity that would take the form of a contemporaneity with the future?

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