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Unfolding the Act of Photography. Phd Thesis, University of the Arts London, University of S U R R Ey

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Unfolding the Act of Photography. Phd Thesis, University of the Arts London, University of S U R R Ey Title Unfolding the act of photography Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/6432/ Dat e 2 0 1 4 Citation Kantas, Vasileios (2014) Unfolding the act of photography. PhD thesis, University of the Arts London, University of S u r r ey. Cr e a to rs Kantas, Vasileios Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Unfolding the act of photography by Vasileios Kantas Submitted for the degree of Doctor of Philosophy in Photography Wimbledon College of Art University of Surrey October 2013 © Vasileios Kantas 2013 Abstract This thesis discusses the multifaceted status of the photograph, as a contribution to understanding the mechanics of the production of meaning within the photograph. In order to get a better view of how photographs function, I both revisit discourses that have dealt with medium specificity issues and use my own practice, designing an apprehension model which can assist in the achievement of a more rigorous conception of the photograph. An integrative literature review, based on Photography discourses and debates shaped by both theorists and practitioners, provides the tools needed for defining the medium’s unique and shared properties. Ontological synecdoches of the photograph, issues of representation, time, automatism, agency, the twofold nature –trace and picture- as well as depiction theories of the medium are put into scrutiny towards formulating an apprehension scheme. This body or knowledge, along with my visual practice’s research outcomes, informs the construction of an appropriate model for understanding the medium’s effect. In specific, this study designs and applies a synthesized model of thought which considers photographs as a fixed unity of interdependent links in the chain called ‘act of photography’. This model is based on the parameters that contribute towards a photograph’s apprehension –Operator, Apparatus, Scenery, Photograph, Viewer (OASPV). A thorough illustration of the application of this model onto a specific photograph is provided, showing how a verbal articulation of apprehending a photograph can take place in order for bad or poor readings to be avoided. An explanation of the working strategy I applied throughout my creative practice along with a discussion upon the images chosen for the portfolio accompanying this thesis, is offered. In specific, it is shown how the apprehension scheme is reflected in my practice, along with a contextualisation of my photographs -placing emphasis in notions such as the ordinary, ineffable, serendipity, trace and picture as well as similarities to the work of other practitioners. This thesis discusses the elements that formulate the encrypted information inscribed on the surface of photographs, namely it unfolds their layers throughout creating, perceiving and conceiving them. 2 © Vasileios Kantas 2013 3 Contents 1. Introduction .................................................................................................................................... 8 1.1 The logic behind the research design, purpose and writing style .............................................. 10 1.2 Clarification of terms .................................................................................................................. 11 1.3 Thesis outline .............................................................................................................................. 14 2. Models for apprehending photographs ............................................................................................ 16 2.0 Chapter’s summary .................................................................................................................... 16 2.1 Methodology outline................................................................................................................. 16 2.1.1 Methods ............................................................................................................................... 17 2.1.1.1 My practice as method ................................................................................................. 17 2.1.1.2 Research integrative literature review as method ....................................................... 19 2.2 Core thinking ............................................................................................................................... 20 2.3 Apprehension scheme ............................................................................................................... 21 2.3.1.0 Introduction to the OASPV model ................................................................................... 21 2.3.1.1 O (operator) ..................................................................................................................... 24 2.3.1.2 A (apparatus) .................................................................................................................... 24 2.3.1.3 S (scenery) ........................................................................................................................ 26 2.3.1.4 P (photograph) ................................................................................................................. 27 2.3.1.5 V (viewer) ......................................................................................................................... 29 2.3.1.6 The act of photography and its relation to medium specificity issues ............................. 33 2.4 Van Lier’s model of thought (reality, indice) .............................................................................. 39 2.5 Other models of apprehending photographs ............................................................................. 42 4 2.6 Working methods, data and methodological issues ................................................................... 44 2.7. Limitations of this research study .............................................................................................. 47 3. Philosophical debates relevant to studying contemporary photographic practice ......................... 48 3.0 Chapter’s summary ..................................................................................................................... 48 3.1 Medium specificity issues ........................................................................................................... 48 3.1.0 Automatism and Agency .................................................................................................. 49 3.1.1 Ontological synecdoches ..................................................................................................... 51 3.1.1.1 Physical reality, spark of contingence ........................................................................... 51 3.1.1.2 The thing itself .............................................................................................................. 54 3.1.1.3 Natural image ................................................................................................................ 56 3.1.1.4 Index, imprint, trace, analogon ..................................................................................... 59 3.1.1.5 Fingerprint ..................................................................................................................... 63 3.1.1.6 Picture ........................................................................................................................... 64 3.1.1.7 Indexical icon ................................................................................................................ 66 3.1.1.8 Depictive trace .............................................................................................................. 66 3.1.1.9 Fossil .............................................................................................................................. 67 3.1.1.10 Icon/index under criticism .......................................................................................... 68 3.1.2 Window, transparency, seeing-in, seeing-as ....................................................................... 71 3.1.3. (Re) Presentation ................................................................................................................ 79 3.1.3.1 Depiction (pictorial representation) theories ............................................................... 85 3.1.3.2 Depiction and apprehending ........................................................................................ 88 3.1.4 Time ..................................................................................................................................... 89 3.2 Modes of picture and trace......................................................................................................... 93 4. Application of the OASPV model .................................................................................................. 99 4.0 Chapter’s summary .............................................................................................................. 99 4.1 Selection info and guidelines ...................................................................................................... 99 4.2 Gas Station .........................................................................................................................
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