Selected Courses on Digital Art-UOWM

• photography vs. cinema 

• ontological investigation 

• Classification (p.4) 

• professional vs. amateur (empirical) 

• landscape / objects / portraits / nudes (rhetorical) 

• realism vs. pictorialism (aesthetic) 

• “This” 

• “A specific photographer is never distinguished from its referent.” (p.5) 

• signifier/signified 

• Language of the Expressive vs. Critical 

• “ . . . a desperate resistance to any reductive system.” (p.8)

The Photograph: to do / to undergo / to look

• operator vs. spectator
• simulacrum
• chemical / optical / emotion?
  Ownership of the Photograph

• subject becoming an object
• death as subject
  Spectator

• I like / I don’t like (p.18)
• attached to a specific photograph, rather than a body of work
• connected to “sentimental” reasons (phenomenal approach)
• Studium 

• application to a thing / general enthusiasm without special acuity (p.26)
Punctum
• “ . . . is that accident which pricks me” (punctuates; jumps out from the
scene)
Representation of the Dead
• Tableau Vivant (a representation of a scene by a group in appropriate
costume posing silent and motionless)

• rare
• depicts something the normal eye cannot apprehend
• prowess  Q??
• “contortions of technique”
• “trouvalle” or “lucky friend”
• “ . . . the photograph becomes surprising when we do not know why it has been taken (p.34)
  Operative

• “A photograph cannot signify (aim at generality) except by assuming a
  mask.” (p.34)
• “Ultimately, photography is subversive not when it frightens, repels or
  even stigmatizes, but when it is pensive, when it thinks.” (p.38)
  Unary (used to describe a mathematical operation that is applied to only one member of a set at a time, for example, squaring a number)

• “We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.” – Kafka