content to be different
Object-oriented photography (OOPh) is the practice of encountering objects. It is a sensibility and sensitivity to objects in their vibrant materiality, their actuality and their reality.This sensibility is built around the following precepts: Object-oriented photography OOPh is anti-correlationist. It does not start from the human-world or photographer-subject correlate. OOPh is not anti-human or even anti-humanist …
Continue reading “Object-oriented photography: a draft manifesto”
The Internationale Daily is out! http://t.co/C3qqxkR8 ▸ Top stories today via @saddleblaze @markcmarino @karppi @markcavendish # A use fir an iPad http://t.co/MDoqO5pi via chapeau @pennywilson # Color Full visits. See the wold through someone else's phone eyes. http://t.co/2FuRbrAO # Thing of the day: 22.09.11 http://t.co/nseiPgF9 # This tweet says that anthropomorphism may be needed to …
Harman’s fourfold structure allows us to understand a number of aspects of objects and their relations which are relevant not just for a comprehensive metaphysics, but also for our understanding of and work with JPEG. He argues that the two poles and their two qualities allows an understanding of time, space, essence and edios as …
Continue reading “The JPEG object in theory… part 5 – tensions”
As I have noted, Harman’s framework of autonomous, actual objects does not preclude the sort of actant networks that Latour talks about, and the sort of techno-social assemblages addressed by software studies. In fact the power of Harman’s quadruple object is that it offers a powerful way of addressing the relations between human and unhuman …
Continue reading “The JPEG object in theory… part 4 – connections”
Having mused some of object-oriented photography here and here, some even more half-baked thoughts on object-oriented creativity. Haiku: an object-oriented art? Now I’m no expert on the subject, if such a non-Zen statement was even appropriate, but there is something about the haiku form and practice that seems to me to chime with some of …
At the core of Harman’s conception of a unified, autonomous object is actually the idea of two objects: the sensual and the real objects (Harman 2009, p. 190). He looks to bring together Husserl’s framework of intentional objects, the objects present to consciousness with Heidegger’s account of real objects that withdraw from access. Husserl, whom …
Continue reading “The JPEG object in theory… part 3 – the sensual and real JPEG objects”