Göndergesiz Nostalji: Günümüzde FotoŞrafik şmge

Bu çalışma, fotoŞrafın doŞası gereŞi bir nostalji nosyonuyla işlediŞi ve bu nosyonun Roland Barthes'ın "göndergenin ayrılmazlıŞı (baŞlılıŞı)" olarak adlandırdıŞı şeye dayandıŞı varsayımına dayanmaktadır. Yazar dijital imgelerin "gönderge" ile ilişkisi baŞlamında ontolojisine odaklanarak bir zamanlar fotoŞrafa içkin olan nostalji nosyonunun fotoŞrafta dijital dönüşüm denilen olgu ile birlikte kökten bir biçimde dönüştüŞünü iddia etmektedir. Dijital imgelerin estetiŞi de bu yeni nostalji "kipini" teyit etmektedir: Dijital imgeler bir yandan mükemmelik ve pürüzsüzlüŞü görülebilecek herşeyi görme arzusu ile birleştirirken, aynı zamanda, paradoksal bir biçimde, analog benzeri imgeler üretmek için "doku" ve "kusur" nosyonlarıyla işlemektedirler. Bu makalede bu iki farklı ancak birbirleriyle ilişkili temsil formunun, kendi nesnesini bilinçli olarak yok eden bir postmodern (ironik) nostalji ve Lev Manovich'ten (2006) esinlenerek "fotografik" olanın pekiştirilmesi ve yüceltilmesi ile işleyen iki farklı alana tekabül ettiŞini iddia edeceğim.

Nostalgia without the Referent: The Photographic Image Now

This article rests on the assumption that photography operates inherently through a notion of nostalgia, which in turn depends on what Roland Barthes calls the “adherence of the referent.” The author focuses on the ontology of digital images with respect to their relation to the “referent” and claims that the nostalgia once immanent to the photograph has been fundamentally changed by the so-called digital turn in photography. The aesthetics of digital images confirm the existence of this new “mode” of nostalgia: while the digital images marry perfection and tactlessness with a desire to behold everything possible, they also, somewhat paradoxically, operate through “texture” and “defect” to generate analog-like images. I will argue that these two different but interrelated forms of representation correspond to two distinct realms: a postmodern (ironic) nostalgia that consciously withers its object and, via inspiration from Lev Manovich (2006), solidification and glorification of the “photographic.”

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