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Independent researcher, Belgrade, Serbia
mihailorvasiljevic@gmail.com
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DIFFERENTIAL SPECIFICITY OF PRE-DIGITAL PHOTOGRAPHY
Journal 17/2021 (Museum of Applied Art), pages 50-58
Article category: review article
UDC:
77.04
7.038.53:77
COBISS.SR-ID 53984521
Abstract (original language):
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Key words: (original language)
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Summary:
The problem of the media specificity of pre-digital photography as an artistic medium remained obscure in the theoretical considerations of the revolution caused by the emergence of digital technology. The concepts of manipulability and indexicality dominate in the analysis of this difference, but they are mostly explained within the same technological and aesthetic category. Although there are dilemmas about whether pre-digital and digital photography can be understood as being one medium, these two techniques are most often a priori understood that way. The ideas of Rosalind Kraus, Geoffrey Batchen, Marcel Broodthaers, Margaret Iversen, Tacita Dean and Kaja Silverman form a vital discursive field which makes possible to seek answers to many questions regarding the divergence of the photographic and the digital. The question remains whether the differences in ontological bases and technical creative processes also determine the essential differences in the possibilities and characteristics of the artistic results. The mathematical safety of digital photography largely breaks the link with the heritage of photography as a dynamic field of binaries objecthood/representation, control/chance, and light/darkness. Does pre-digital photography, which functions according to the elementary principle of physical-chemical change of materials and whose technological continuity implies a direct connection to the past, still remain on a parallel level in relation to the possibilities of digital photography as one of many forms of computer processing?
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