The Photographic image: the face of Sydney and August Sander's typologies

    Research output: Contribution to journalArticlepeer-review

    Abstract

    Taking the Face of Sydney – which is a digital composite image – as its point of departure this article begins an investigation into the relation between August Sander’s Weimar facial typologies and the digital Face of Sydney. This leads on to a reflection on the nature of the photographic image in relation to knowledge, technology and time. The conclusion proposed is that the photographic image has to be understood as an entity that is quite distinct from the forms of technicity that allow it to appear. Indeed, in following Roland Barthes, I argue that the photographic image, like the image in general, is uncoded and thus unnamed. The question raised in light of this is: what is the nature of the human in the context of such an approach to the image?
    Original languageEnglish
    Pages (from-to)191-204
    Number of pages14
    JournalPhilosophy of photography
    Volume4
    Issue number2
    Publication statusPublished - 2013

    Keywords

    • autographic traces
    • digital
    • face
    • photographic image
    • punctum
    • typology

    Fingerprint

    Dive into the research topics of 'The Photographic image: the face of Sydney and August Sander's typologies'. Together they form a unique fingerprint.

    Cite this