El giro crítico del arte conceptual en los años sesenta, la subsiguiente aparición de estrategias de hibridación y escenificación a finales de los setenta y, en paralelo, la institucionalización de la fotografía con su entrada al museo y el surgimiento de un pujante mercado fotográfico, constituyen el caldo de cultivo en el que se gesta la demanda de la teoría de la fotografía como disciplina con identidad epistemológica propia. Esta demanda se hizo explícita a través de las iniciativas llevadas a (...) cabo por Rosalind Krauss y Annette Michelson en el número 5 de la revista October en 1978, por Alan Trachtenberg en Classic Essays on Photography en 1980 y de modo más categórico por Victor Burgin en Thinking Photography en 1982. El presente artículo analiza los argumentos y posiciones intelectuales sobre la necesidad de articular un discurso teórico sobre fotografía, así como los aspectos epistemológicos y sociales asociados a la idea de teoría subyacente en cada una de las propuestas. Por último, se realiza una breve aproximación al ámbito teórico español a través de la publicación en 1984 del libro Estética fotográfica y en 1997 de El beso de Judas, ambos de Joan Fontcuberta. (shrink)

In this article we introduce the concept of implied optical perspective in deep learning computer vision systems. Taking the BBC's experimental television programme “Made by Machine: When AI met the Archive” as a case study, we trace a conceptual and material link between the system used to automatically “watch” the television archive and a specific type of photographic practice. From a computational aesthetics perspective, we show how deep learning machine vision relies on photography, its technical regimes and epistemic advantages, and (...) we propose a novel way to identify the latent camera through which the BBC archive was seen by machine. (shrink)

Diarmuid Costello ha defendido recientemente una versión fuerte de lo que él llama, siguiendo a Dominic Lopes, La nueva teoría de la fotografía y ha criticado una versión anterior de esta nueva teoría, que él considera más débil y restringida. Ambas posiciones —radical y restringida— se oponen a la visión tradicional en filosofía analítica de la fotografía. Sin embargo, Costello sostiene que la posición débil está aún demasiado cerca de esta tradición. Este artículo defiende la posición débil y argumenta que (...) la supuesta versión fuerte es más prescriptiva, restrictiva e inadecuada. (shrink)

Dominic McIver Lopes’ Four Arts of Photography and Diarmuid Costello’s On Photography: A Philosophical Inquiry examine the state of the art in analytic philosophy of photography and present a new approach to the study of the medium. As opposed to the orthodox and prevalent view, which emphasizes its epistemic capacities, the new theory reconsiders the nature of photography, and redirects focus towards the aesthetic potential of the medium. This symposium comprises two papers that critically examine central questions addressed in the (...) two books, with responses by the two authors in defence of their respective positions. (shrink)

The automobile has reshaped our conceptions of space and our modes of accessing and penetrating the urban and non-urban territory in multiple ways, revolutionizing how architects perceive the city and contributing significantly to the transformation of the relationship between architecture and the city. Despite the fact that many architects and architectural critics and theorists have been attracted to automobile vision, in the field of history and theory of architecture and urban design, many questions concerning the impact of the automobile on (...) our perception of the city and its territory have not yet been explored in depth. This is surprising when one considers that no other single factor changed the city so drastically during the twentieth century as the pervasive presence of the automobile. The article examines three different cases of architects—John Lautner, Alison and Peter Smithson, and Aldo Rossi—who tried to construct new visual regimes in photography from the car. The main objective is to present how new visual regimes in photography from the car informed in various ways the visual attitudes in their designs of buildings. The interexchange between the ways of capturing the views from the car and the formation of new design methods can explain the necessity to establish a new theoretical framework offering the possibility to historians of architecture and urban design to address in a sharp and concrete way the reciprocal relation between automobile vision and design approaches. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)