The Darkroom Encounter: Towards a Diffractive Theory of Contempoary Photographic Portraiture

暗室遭遇：当代肖像摄影的衍射理论

• 批准号: 2244706
• 金额: --
• 依托单位: Royal College of Art
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2244706
• 关键词: Darkroom; Encounter; Towards; Diffractive; Theory

This research proposal proposes a radical new paradigm for a sophisticated theoretical/material rethinking of contemporary photographic portraiture. Early 19th Century photography via anthropology, ethnography and eugenics created a 'perverse' way of engaging with photography, the Black Body and archive. Current debates in photography tend to reduce photography to a 'captured', ' representational' image with an emphasis on the latent ( barthes et al) image and given the impact of digital technologies and selfies ( Rubenstein et all) photography has nothing to do with the image.In the UK, academic context there remains complex and oppressive marginalisation of Black Lesbian, Gay, Bisexual, Trans and Queer + ( LGBTQ+) nuanced and embodied experiences. This seems to result from how racism, and homophobia, sexism and transphobia, intersect. Despite the advances in feminism, queer theory, de-colonisation, post-colonial theory and critical race theory, these debates are locked into staid binary frameworks ( analogue v digital, meaning v matter, subject v object, researcher v data, Black v white, Self v other etc) This proposal will sidestep this entrapment of both notions of the latent and non-representational photography by privileging 'making' in the context of the materials used in the darkroom ( metals, tones, chemicals, digital enviroments , darkroom and archive ( surface, atmostphere , smell, touch, tacility, sensastion) It will also draw on the analytic works of ( Bataille, Deleuze, Derridha, Golding, Nancy) as well as photographers historical and contempoary ( Fani-Kayode, Molinier, Lazlo-Moholy-Nagy, Man-Ray, Mann, Witkin) Diffraction emphasizes the role of light waves patterns and how these patterns become intererences when encountering an object ( Barad, Haraway); specifically concerning the way light enters the photographic lens creating image distortion. Here it is critical to be engaged in studio/darkroom and archival practices in order to rethink photographic portraiture. Throughout this research , a working portfolio of early 19th century printing processess in particular wet-plate collodion will be created. Overall , this project by bringing a diffractive methodology into a more intimate encounter between early analogue printing processes; contempoary photographic portraiture , and archive will open up a newly emergiing field both in research. It is vital that a new kind of photographic -darkroom -archival praxis begins to emerge, without staid notions of " Photography' ,' archival' or otherwise entering into the picture.

本研究计划为当代摄影肖像的复杂理论/材料反思提出了一个激进的新范式。19世纪早期的摄影通过人类学、人种学和优生学创造了一种与摄影、黑体和档案相结合的“反常”方式。目前关于摄影的争论倾向于将摄影减少为“捕捉”，“代表性”图像，强调潜在图像（barthes等人），并且考虑到数字技术和自拍（Rubenstein等人）的影响，摄影与图像无关。在英国，学术界对黑人女同性恋、男同性恋、双性恋、跨性别和酷儿（LGBTQ+）群体微妙而具体的经历仍然存在复杂和压迫性的边缘化。这似乎是种族主义、同性恋恐惧症、性别歧视和变性恐惧症相互交织的结果。尽管女权主义、酷儿理论、去殖民化、后殖民理论和批判种族理论取得了进步，但这些争论都被锁定在僵化的二元框架中（模拟与数字、意义与物质、主体与客体、研究人员与数据、黑与白、自我与他者等）。本提案将通过在暗室中使用的材料（金属、色调、化学物质）的背景下优先考虑“制作”，从而避开潜在和非代表性摄影概念的束缚。数码环境，暗室和档案（表面，大气，气味，触觉，触觉，触觉，感觉）它也将借鉴分析作品（巴塔耶，德勒兹，德里达，戈尔丁，南希）以及历史和当代摄影师（法尼-卡耶德，莫里耶，拉兹罗-莫霍利-纳吉，曼-雷，曼，威特金）衍射强调光波模式的作用以及这些模式如何成为遇到物体时的干扰（巴拉德，哈拉威）；特别是关于光线进入照相镜头产生图像失真的方式。在这里，为了重新思考摄影肖像，参与工作室/暗室和档案实践是至关重要的。在整个研究过程中，将创建一个19世纪早期印刷过程的工作组合，特别是湿版胶版。总的来说，这个项目通过将衍射方法引入早期模拟印刷过程之间更亲密的接触；当代人像摄影和档案摄影都将开辟一个新兴的研究领域。至关重要的是，一种新的摄影-暗室-档案实践开始出现，没有“摄影”，“档案”或其他进入图片的刻板概念。