Nostalgia without the referent: The photographic image now

Bu çalışma, fotoŞrafın doŞası gereŞi bir nostalji nosyonuyla işlediği ve bunosyonun Roland Barthesın göndergenin ayrılmazlığı (bağlılığı) olarakadlandırdığı şeye dayandığı varsayımına dayanmaktadır. Yazar dijital imgeleringönderge ile ilişkisi baŞlamında ontolojisine odaklanarak bir zamanlar fotoğrafaiçkin olan nostalji nosyonunun fotoğrafta dijital dönüşüm denilen olgu ilebirlikte kökten bir biçimde dönüştüŞünü iddia etmektedir. Dijital imgelerinestetiŞi de bu yeni nostalji kipini teyit etmektedir: Dijital imgeler bir yandanmükemmelik ve pürüzsüzlüğü görülebilecek herşeyi görme arzusu ilebirleştirirken, aynı zamanda, paradoksal bir biçimde, analog benzeri imgelerüretmek için doku ve kusur nosyonlarıyla işlemektedirler. Bu makalede buiki farklı ancak birbirleriyle ilişkili temsil formunun, kendi nesnesini bilinçliolarak yok eden bir postmodern (ironik) nostalji ve Lev Manovichten (2006)esinlenerek fotografik olanın pekiştirilmesi ve yüceltilmesi ile işleyen iki farklı alana tekabül ettiŞini iddia edeceğim.

Göndergesiz nostalji: Günümüzde fotoğrafik İmge

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

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