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| didi huberman images in spite of all: Images in Spite of All Georges Didi-Huberman, 2012-05-09 Of one and a half million surviving photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance. Available today because they were smuggled out of the camp and into the hands of Polish resistance fighters, the photographs show a group of naked women being herded into the gas chambers and the cremation of corpses that have just been pulled out. Georges Didi-Huberman’s relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Including a powerful response to those who have criticized his interest in these images as voyeuristic, Didi-Huberman’s eloquent reflections constitute an invaluable contribution to debates over the representability of the Holocaust and the status of archival photographs in an image-saturated world. |
| didi huberman images in spite of all: Invention of Hysteria Georges Didi-Huberman, 2004-09-17 The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical type—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's Tuesday Lectures. Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite cases, that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries. |
| didi huberman images in spite of all: Confronting Images: Questioning the Ends of a Certain History of Art , |
| didi huberman images in spite of all: Bark Georges Didi-Huberman, 2017-10-20 A noted French thinker's poignant reflections, in words and photographs, on his visit to Auschwitz-Birkenau. On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman's meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a personal account, drawing not on the theoretical apparatus of scholarship but on Didi-Huberman's own history, memory, and knowledge. The text proceeds as a series of reflections, accompanied by Didi-Huberman's photographs of the visit. The photographs are not meant to be art—Didi-Huberman confesses that he “photographed practically everything without looking”—but approach it nevertheless. Didi-Huberman tells us that his grandparents died at Auschwitz, but his account is more universal than biographical. As he walks from place to place, he observes that in German birches are birken; Birkenau designates the meadow where the birches grow. Didi-Huberman sees and photographs the “reconstructed” execution wall; the floors of the crematorium, forgotten witnesses to killing; and the birch trees, lovely but also resembling prison bars. Taking his own photographs, he thinks of the famous photographs taken in 1944 by a member of the Sonderkommando, the only photographic documentation of the camp before the Germans destroyed it, hoping to hide the evidence of their crimes. Didi-Huberman notices a “bizarre proliferation of white flowers on the exact spot of the cremation pits.” The dead are not departed. |
| didi huberman images in spite of all: Uprisings Georges Didi-Huberman, 2016 Thousands of representations of the gesture to say NO, to shout STOP, or to raise the banner THEY SHALL NOT PASS exist. They are known by women, men, and children, by workers, artists, and poets, by those who cry out and those who are silent, by those who weep, who mourn and those who make them. 'Uprisings' is a montage of these words, gestures, and actions, which defy submission to absolute power--Page 8. |
| didi huberman images in spite of all: The Eye of History Georges Didi-Huberman, 2018-03-02 An exploration of the interaction of aesthetics and politics in Bertolt Brecht's “photoepigrams.” From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to “take a position” about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht. Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams—a “documentary lyricism” that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing—a process Didi-Huberman calls a “dialectic of the monteur.” These works are examples of “the eyes of history”—when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works. |
| didi huberman images in spite of all: A Companion to the Holocaust Simone Gigliotti, Hilary Earl, 2020-06-02 Provides a cutting-edge, nuanced, and multi-disciplinary picture of the Holocaust from local, transnational, continental, and global perspectives Holocaust Studies is a dynamic field that encompasses discussions on human behavior, extremity, and moral action. A diverse range of disciplines – history, philosophy, literature, social psychology, anthropology, geography, amongst others – continue to make important contributions to its scholarship. A Companion to the Holocaust provides exciting commentaries on current and emerging debates and identifies new connections for research. The text incorporates new language, geographies, and approaches to address the precursors of the Holocaust and examine its global consequences. A team of international contributors provides insightful and sophisticated analyses of current trends in Holocaust research that go far beyond common conceptions of the Holocaust’s causes, unfolding and impact. Scholars draw on their original research to interpret current, agenda-setting historical and historiographical debates on the Holocaust. Six broad sections cover wide-ranging topics such as new debates about Nazi perpetrators, arguments about the causes and places of persecution of Jews in Germany and Europe, and Jewish and non-Jewish responses to it, the use of forced labor in the German war economy, representations of the Holocaust witness, and many others. A masterful framing chapter sets the direction and tone of each section’s themes. Comprising over thirty essays, this important addition to Holocaust studies: Offers a remarkable compendium of systematic, comparative, and precise analyses Covers areas and topics not included in any other companion of its type Examines the ongoing cultural, social, and political legacies of the Holocaust Includes discussions on non-European and non-Western geographies, inter-ethnic tensions, and violence A Companion to the Holocaust is an essential resource for students and scholars of European, German, genocide, colonial and Jewish history, as well as those in the general humanities. |
| didi huberman images in spite of all: Measure of a Man Martin Greenfield, Wynton Hall, 2014-11-10 He's been called America's greatest living tailor and the most interesting man in the world. Now, for the first time, Holocaust-survivor Martin Greenfield tells his whole, incredible life story. Taken from his Czechoslovakian home at age fifteen and transported to the Nazi concentration camp at Auschwitz with his family, Greenfield came face-to-face with Angel of Death Dr. Joseph Mengele and was divided forever from his parents, sisters, and baby brother. In haunting, powerful prose, Greenfield remembers his desperation and fear as a teenager alone in the death camp--and how an impulsive decision to steal an SS soldier's shirt dramatically altered the course of his life. He learned how to sew; and when he began wearing the shirt under his prisoner uniform, he learned that clothes possess great power and could even help save his life. Measure of a Man is the story of a man who suffered unimaginable horror and emerged with a dream of success. From sweeping floors at a New York clothing factory to founding America’s premier handmade suit company, Greenfield built a fashion empire. Now 86-years-old and working with his sons, Greenfield has dressed the famous and powerful of D.C. and Hollywood, including Presidents Dwight Eisenhower, Bill Clinton, and Barack Obama and celebrities Paul Newman, Martin Scorsese, Leonardo DiCaprio, and Jimmy Fallon. Written with soul-baring honesty and, at times, a wry sense of humor, Measure of a Man is a memoir unlike any other--one that will inspire hope and renew faith in the resilience of man. |
| didi huberman images in spite of all: We Wept Without Tears Gideon Greif, 2005-01-01 The Sonderkommando of Auschwitz-Birkenau consisted primarily of Jewish prisoners forced by the Germans to facilitate the mass extermination. Though never involved in the killing itself, they were compelled to be members of staff of the Nazi death-factory. This book, translated for the first time into English from its original Hebrew, consists of interviews with the very few surviving men who witnessed at first hand the unparalleled horror of the Auschwitz-Birkenau death camp. Some of these men had never spoken of their experiences before. |
| didi huberman images in spite of all: The Man Who Broke Into Auschwitz Denis Avey, Rob Broomby, 2012-09-11 The Man Who Broke into Auschwitz is the extraordinary true story of a British soldier who marched willingly into the concentration camp, Buna-Monowitz, known as Auschwitz III. In the summer of 1944, Denis Avey was being held in a British POW labour camp, E715, near Auschwitz III. He had heard of the brutality meted out to the prisoners there and he was determined to witness what he could. He hatched a plan to swap places with a Jewish inmate and smuggled himself into his sector of the camp. He spent the night there on two occasions and experienced at first-hand the cruelty of a place where slave workers, had been sentenced to death through labor. Astonishingly, he survived to witness the aftermath of the Death March where thousands of prisoners were murdered by the Nazis as the Soviet Army advanced. After his own long trek right across central Europe he was repatriated to Britain. For decades he couldn't bring himself to revisit the past that haunted his dreams, but now Denis Avey feels able to tell the full story -- a tale as gripping as it is moving -- which offers us a unique insight into the mind of an ordinary man whose moral and physical courage are almost beyond belief. |
| didi huberman images in spite of all: Believing Is Seeing Errol Morris, 2014-05-27 Academy Award–winning director Errol Morris turns his eye to the nature of truth in photography In his inimitable style, Errol Morris untangles the mysteries behind an eclectic range of documentary photographs. With his keen sense of irony, skepticism, and humor, Morris shows how photographs can obscure as much as they reveal, and how what we see is often determined by our beliefs. Each essay in this book is part detective story, part philosophical meditation, presenting readers with a conundrum, and investigates the relationship between photographs and the real world they supposedly record. Believing Is Seeing is a highly original exploration of photography and perception, from one of America’s most provocative observers. |
| didi huberman images in spite of all: The Scalpel and the Silver Bear Lori Alvord, Elizbeth Cohen Van Pelt, 2000-06-06 The first Navajo woman surgeon combines western medicine and traditional healing. A spellbinding journey between two worlds, this remarkable book describes surgeon Lori Arviso Alvord's struggles to bring modern medicine to the Navajo reservation in Gallup, New Mexico—and to bring the values of her people to a medical care system in danger of losing its heart. Dr. Alvord left a dusty reservation in New Mexico for Stanford University Medical School, becoming the first Navajo woman surgeon. Rising above the odds presented by her own culture and the male-dominated world of surgeons, she returned to the reservation to find a new challenge. In dramatic encounters, Dr. Alvord witnessed the power of belief to influence health, for good or for ill. She came to merge the latest breakthroughs of medical science with the ancient tribal paths to recovery and wellness, following the Navajo philosophy of a balanced and harmonious life, called Walking in Beauty. And now, in bringing these principles to the world of medicine, The Scalpel and the Silver Bear joins those few rare works, such as Healing and the Mind, whose ideas have changed medical practices-and our understanding of the world. |
| didi huberman images in spite of all: How to Do Things with Affects , 2019-04-09 How to Do Things with Affects develops affect as a highly productive concept for both cultural analysis and the reading of aesthetic forms. Shifting the focus from individual experiences and the human interiority of personal emotions and feelings toward the agency of cultural objects, social arrangements, and aesthetic matter, the book examines how affects operate and are triggered by aesthetic forms, media events, and cultural practices. Transgressing disciplinary boundaries and emphasizing close reading, the collected essays explore manifold affective transmissions and resonances enacted by modernist literary works, contemporary visual arts, horror and documentary films, museum displays, and animated pornography, with a special focus on how they impact on political events, media strategies, and social situations. Contributors: Ernst van Alphen, Mieke Bal, Maria Boletsi, Eugenie Brinkema, Pietro Conte, Anne Fleig, Bernd Herzogenrath, Tomáš Jirsa, Matthias Lüthjohann, Susanna Paasonen, Christina Riley, Jan Slaby, Eliza Steinbock, Christiane Voss. |
| didi huberman images in spite of all: Images in Spite of All Georges Didi-Huberman, 2008-10-15 Of one and a half million surviving photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance. Available today because they were smuggled out of the camp and into the hands of Polish resistance fighters, the photographs show a group of naked women being herded into the gas chambers and the cremation of corpses that have just been pulled out. Georges Didi-Huberman’s relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Including a powerful response to those who have criticized his interest in these images as voyeuristic, Didi-Huberman’s eloquent reflections constitute an invaluable contribution to debates over the representability of the Holocaust and the status of archival photographs in an image-saturated world. |
| didi huberman images in spite of all: Foucault Against Himself François Caillat, 2015-09-21 In his private life, as well as in his work and political attitudes, Michel Foucault often stood in contradiction to himself, especially when his expansive ideas collided with the institutions in which he worked. In Francois Caillat's provocative collection of essays and interviews based on his French documentary of the same name, leading contemporary critics and philosophers reframe Foucault's legacy in an effort to build new ways of thinking about his struggle against society's mechanisms of domination, demonstrating how conflict within the self lies at the heart of Foucault's life and work. Includes a foreword written especially for this edition by Paul Rabinow, Professor of Anthropology at the University of California (Berkeley) and an influential writer on the works of Foucault; he is the co-editor of The Essential Foucault. Foucault against Himself features essays and interviews by: Leo Bersani, American Professor Emeritus of French at the University of California (Berkeley) and the author of Homos; Georges Didi-Huberman, French philosopher and art historian; his most recent book is Gerhard Richter: Pictures/Series Arlette Farge, French historian and the author of The Allure of the Archives; Geoffroy de Lagasnerie, French philosopher and the author of La derniere lecon de Michel Foucault. |
| didi huberman images in spite of all: How to Critique Authoritarian Populism , 2021-02-15 How to Critique Authoritarian Populism: Methodologies of the Frankfurt School offers a comprehensive introduction to the techniques used by the early Frankfurt School to study and combat authoritarianism and authoritarian populism. In recent years there has been a resurgence of interest in the writings of the early Frankfurt School, at the same time as authoritarian populist movements are resurging in Europe and the Americas. This volume shows why and how Frankfurt School methodologies can and should be used to address the rise of authoritarianism today. Critical theory scholars are assembled from a variety of disciplines to discuss Frankfurt School approaches to dialectical philosophy, psychoanalytic theory, human subjects research, discourse analysis and media studies. Contributors include: Robert J. Antonio, Stefanie Baumann, Christopher Craig Brittain, Dustin J. Byrd, Mariana Caldas Pinto Ferreira, Panayota Gounari, Peter-Erwin Jansen, Imaculada Kangussu, Douglas Kellner, Dan Krier, Lauren Langman, Claudia Leeb, Gregory Joseph Menillo, Jeremiah Morelock, Felipe Ziotti Narita, Michael R. Ott, Charles Reitz, Avery Schatz, Rudolf J. Siebert, William M. Sipling, David Norman Smith, Daniel Sullivan, and AK Thompson. |
| didi huberman images in spite of all: Compelling Visuality Claire J. Farago, 2003 Takes up the commonly unexplored question of what is actually present in art--what aspects have survived the vicissitudes of time. International and interdisciplinary, this volume conducts readers into a discussion of the significance of personal response to works of art. |
| didi huberman images in spite of all: Indefinite Visions Martine Beugnet, 2017-07-07 Moving image culture seems to privilege the instantly identifiable: the recognizable face, the well-timed stunt, the perfectly synchronized line of dialogue. Yet perfect, in-focus visibility does not come 'naturally' to the moving image, and if there is one visual effect the eye of the camera can record better than the human eye it is blur. Looking beyond popular media to works of experimental cinema and video art, this groundbreaking collection addresses the aesthetics and politics of moving images in states of decay, distortion, indistinctness and fragmentation. A range of international scholars examines what is at stake in these images' sometimes radical foregrounding of materiality and mediation, or of evanescence and spectrality, as well as their challenging of the dominant position accorded to 'legible' images. How have artists and filmmakers rendered the 'indefinite' image, and what questions does it pose? With a range of approaches, from aesthetics to phenomenology to production studies, the authors in this volume investigate techniques, themes and concepts that emerge from this wilful excavation of the moving image's material base. |
| didi huberman images in spite of all: The Phantom Image Patrick R. Crowley, 2019-12-10 Drawing from a rich corpus of art works, including sarcophagi, tomb paintings, and floor mosaics, Patrick R. Crowley investigates how something as insubstantial as a ghost could be made visible through the material grit of stone and paint. In this fresh and wide-ranging study, he uses the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. Tracing the shifting practices and debates in antiquity about the nature of vision and representation, Crowley shows how images of ghosts make visible structures of beholding and strategies of depiction. Yet the figure of the ghost simultaneously contributes to a broader conceptual history that accounts for how modalities of belief emerged and developed in antiquity. Neither illustrations of ancient beliefs in ghosts nor depictions of afterlife, these images show us something about the visual event of seeing itself. The Phantom Image offers essential insight into ancient art, visual culture, and the history of the image. |
| didi huberman images in spite of all: Critical Image Configurations: The Work of Georges Didi-Huberman Stijn De Cauwer, Laura Katherine Smith, 2020-06-09 This book illuminates a variety of the key themes and positions that are developed in the work of art historian and philosopher Georges Didi-Huberman, one of the most influential image-theorists of our time. Beginning with a translated exchange on the politics of images between Jacques Rancière and Georges Didi-Huberman, the volume further contains a translation of Didi-Huberman’s essay on Georges Bataille’s writings on art. The articles in this book explore the influence of Theodor Adorno and Aby Warburg on Didi-Huberman’s work, the relationship between ‘image’ and ‘people', his insights on witnessing and memory, the theme of phasmids and his reflections on aura, pathos and the imagination. Taken as a whole, the book will give readers an insight into the rich and expansive work of Didi-Huberman, beyond the books that are currently available in English. This book was originally published as a special issue of Angelaki: Journal of the Theoretical Humanities. |
| didi huberman images in spite of all: Fra Angelico Fra Angelico, 2022-10-27 This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| didi huberman images in spite of all: Visuality/Materiality Divya P. Tolia-Kelly, 2016-02-11 Two of the key theoretical shifts over the past two decades of critical work have been the 'visual turn' and the 'material turn'. This book argues that these hitherto distinct fields should be understood as in continual dialogue and co-constitution and focuses on reconceptualising the visual as an embodied, material, and often politically-charged realm. This edited volume elaborates this conceptual argument through a series of contemporary case studies, drawn from the disciplines of Architecture, Sociology, Media Studies, Geography and Cultural Studies. The case studies included are paired around four themes: consumption, translation, practice and ethics. As well as exploring the bringing together of visuality and materiality studies, the contributors raise questions of social identity and social critique, and also focus on the ethics of material visualities. |
| didi huberman images in spite of all: The Holocaust by Bullets Patrick Desbois, 2008-08-19 Winner of the National Jewish Book Award: The story of how a Catholic priest uncovered the truth behind the murder of more than a million Ukrainian Jews. Father Patrick Desbois documents the daunting task of identifying and examining all the sites where Jews were exterminated by Nazi mobile units in Ukraine in WWII. Using innovative methodology, interviews, and ballistic evidence, he has determined the location of many mass gravesites with the goal of providing proper burials for the victims of the forgotten Ukrainian Holocaust. Compiling new archival material and many eye-witness accounts, Desbois has put together the first definitive account of one of World War II’s bloodiest chapters. Published with the support of the United States Holocaust Memorial Museum. “This modest Roman Catholic priest from Paris, without using much more than his calm voice and Roman collar, has shattered the silence surrounding a largely untold chapter of the Holocaust.” —Chicago Tribune “Part memoir, part prosecutorial brief, The Holocaust by Bullets tells a compelling story in which a priest unconnected by heritage or history is so moved by an injustice he sets out to right a daunting wrong.” —The Miami Herald “Father Desbois is a generation too late to save lives. Instead, he has saved memory and history.” —The Wall Street Journal “An outstanding contribution to Holocaust literature, uncovering new dimensions of the tragedy . . . Highly recommended.” —Library Journal (starred review) |
| didi huberman images in spite of all: Walter Benjamin and History Andrew Benjamin, 2005 The first book to examine in detail Benjamin's Theses on the Philosophy of History Benjamin's collection of fragments, Theses on the Philosophy of History, play a determining role in how Benjamin's thought is understood, as well as in the debate about the interplay between politics, history and time. Walter Benjamin and History is the first volume to give access to the themes and problems raised by the Theses, providing valuable exegetical and historical work on the text. The essays collected here are all the work of noted Benjamin scholars, and pursue the themes central to the Theses. |
| didi huberman images in spite of all: The Surviving Image Georges Didi-Huberman, 2018-01-09 Originally published in French in 2002, examines the life and work of art historian Aby Warburg. Demonstrates the complexity and importance of Warburg's ideas, addressing broader questions regarding art historians' conceptions of time, memory, symbols, and the relationship between art and the rational and irrational forces of the psyche. |
| didi huberman images in spite of all: Harun Farocki, Against What? Against Whom? Nora M. Alter, 2009 Against What? Against Whom? is a monograph about the author, film maker and video artist Harun Farocki. Its the first book about Farocki that is neither a purely academic publication nor an exhibition catalogue. it brings together the most diverse of themes, tonalities and approaches: alongside a complete filmography and list of installations, there are 21 contributions that take a discursive (or use drawings to) look at Farocki's complex oeuvre. Additionally there are two key Farocki texts, previous reflections on his film and video work, and a new text he has written especially for this book, which begins quite biographically and underhandedly becomes a short history of the making of films and art in (West) Germany over the past 40 years. The themes discussed are as varied as the authors involved, with much focus on individual Farocki films, beginning with the early political, Marxist, educational films, via his cinema direct films and his essay films, that have become classics in the meantime, up To The films and installations, which For The most make use of found footage of the most varied types of image, such as amateur recordings, archive pictures, surveillance images, technical images and computer animations. English text. |
| didi huberman images in spite of all: Blood in My Eye George Jackson, 1990 Originally published: New York: Random House, 1972. |
| didi huberman images in spite of all: Picturing Atrocity Geoffrey Batchen, Mick Gidley, Nancy K. Miller, Jay Prosser, 2012 This title taps into the widespread interest in, and concern about, photographs of atrocity. The book contains a broad range of atrocity photographs from throughout history and around the world, as well as essays by well-known artists and photographers. |
| didi huberman images in spite of all: The Cube and the Face Georges Didi-Huberman, 2015 Alberto Giacometti's 1934 Cube stands apart for many as atypical of the Swiss artist, the only abstract sculptural work in a wide oeuvre that otherwise had as its objective the exploration of reality. With The Cube and the Face, renowned French art historian and philosopher Georges Didi-Huberman has conducted a careful analysis of Cube, consulting the artist's sketches, etchings, texts, and other sculptural works in the years just before and after Cube was created. Cube, he finds, is indeed exceptional-a work without clear stylistic kinship to the works that came before or after it. |
| didi huberman images in spite of all: Grammatology of Images Sigrid Weigel, 2022-08-16 Grammatology of Images radically alters how we approach images. Instead of asking for the history, power, or essence of images, Sigrid Weigel addresses imaging as such. The book considers how something a-visible gets transformed into an image. Weigel scrutinizes the moment of mis-en-apparition, of making an appearance, and the process of concealment that accompanies any imaging. Weigel reinterprets Derrida’s and Freud’s concept of the trace as that which must be thought before something exists. In doing so, she illuminates the threshold between traces and iconic images, between something immaterial and its pictorial representation. Chapters alternate between general accounts of the line, the index, the effigy, and the cult-image, and case studies from the history of science, art, politics, and religion, involving faces as indicators of emotion, caricatures as effigies of defamation, and angels as embodiments of transcendental ideas. Weigel’s approach to images illuminates fascinating, unexpected correspondences between premodern and contemporary image-practices, between the history of religion and the modern sciences, and between things that are and are not understood as art. |
| didi huberman images in spite of all: The Cruel Radiance Susie Linfield, 2011-05-27 In The Cruel Radiance, Susie Linfield challenges the idea that photographs of political violence exploit their subjects and pander to the voyeuristic tendencies of their viewers. Instead she argues passionately that looking at such images—and learning to see the people in them—is an ethically and politically necessary act that connects us to our modern history of violence and probes the human capacity for cruelty. Grappling with critics from Walter Benjamin and Bertolt Brecht to Susan Sontag and the postmoderns—and analyzing photographs from such events as the Holocaust, China’s Cultural Revolution, and recent terrorist acts—Linfield explores the complex connection between photojournalism and the rise of human rights ideals. In the book’s concluding section, she examines the indispensable work of Robert Capa, James Nachtwey, and Gilles Peress and asks how photography should respond to the increasingly nihilistic trajectory of modern warfare.A bracing and unsettling book, The Cruel Radiance convincingly demonstrates that if we hope to alleviate political violence, we must first truly understand it—and to do that, we must begin to look. |
| didi huberman images in spite of all: Concentrationary Cinema Griselda Pollock, Max Silverman, 2012-01-01 Since its completion in 1955, Alain Resnais’s Night and Fog (Nuit et Brouillard) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, identified on his return in 1945 as the ‘concentrationary universe’ which, now actualized, might release its totalitarian plague any time and anywhere? What kind of memory does the film create to warn us of the continued presence of this concentrationary universe? This international collection re-examines Resnais’s benchmark film in terms of both its political and historical context of representation of the camps and of other instances of the concentrationary in contemporary cinema. Through a range of critical readings, Concentrationary Cinema explores the cinematic aesthetics of political resistance not to the Holocaust as such but to the political novelty of absolute power represented by the concentrationary system and its assault on the human condition. |
| didi huberman images in spite of all: The Social Photo Nathan Jurgenson, 2019-04-30 Mr. Jurgenson makes a first sortie toward a new understanding of the photograph, wherein artistry or documentary intent have given way to communication and circulation. Like Susan Sontag’s On Photography, to which it self-consciously responds, The Social Photo is slim, hard-bitten and picture-free. – New York Times A set of bold theoretical reflections on how the social photo has remade our world. With the rise of the smart phone and social media, cameras have become ubiquitous, infiltrating nearly every aspect of social life. The glowing camera screen is the lens through which many of us seek to communicate our experience. But our thinking about photography has been slow to catch-up; this major fixture of everyday life is still often treated in the terms of art or journalism. In The Social Photo, social theorist Nathan Jurgenson develops bold new ways of understanding photography in the age of social media and the new kinds of images that have emerged: the selfie, the faux-vintage photo, the self-destructing image, the food photo. Jurgenson shows how these devices and platforms have remade the world and our understanding of ourselves within it. |
| didi huberman images in spite of all: Images of Childhood C. Philip Hwang, Michael E. Lamb, Irving E. Sigel, 2014-02-04 The twentieth century will surely be remembered as a period of remarkable calamity, vigorous intellectual activity, and striking technological progress. For the first time in history, the development of rapid forms of communication and transportation shrunk the effective size of the world so that many of its citizens were made aware of events occurring in far-distant locations and came to appreciate cultural differences more directly than was previously possible. Among the many trends and events for which the century may be remembered, however, one will surely be the ascendancy of science and scientific thinking. Given adequate resources and ample time, scientists have argued they will be able to reduce the mysteries of the universe, as well as the mysteries of life and death, to objectifiable processes and events. The editors of this book draw attention to the implicit and explicit images of childhood that various disciplines -- especially development psychology -- have constructed. These sometimes unspoken metaphors have enduring value in that they provide a means of drawing together, integrating, and interpreting otherwise disparate findings or conclusions. They also provide a ready means of conveying the fruits of scientific research to the people who constitute its primary consumers. The contributors strive to show that the images of childhood that each professional implicitly carries in her or his head vary across historical epochs, just as they vary across cultures and subcultures. Perhaps even more alarmingly, some of these images seem to reflect the politically correct ideology of particular times and places, at least as much as they represent the objective findings they purport to summarize. This volume's main objective is to unpackage cultural and historical variations in the conception of childhood in order to make clearer those which might be considered universal aspects of behavioral and psychological development and those which must be seen as temporary cultural constructions or images. The specific aims of this volume are to: * delineate images of childhood in diverse cultural, subcultural, and historical contexts; * illustrate how these images of childhood are manifested in popular proverbs as well as in distinct patterns of childrearing, broadly conceived to include aspects of parental behavior, childcare arrangements, education, indoctrination, and the assignment of responsibilities; * indicate how these images of childhood are manifest in the development and implementation of educational and social policies as well as in the legal status of children; * consider whether children are believed to have a privileged place in society and whether age-graded constraints limit their roles and participation in society; and * evaluate the extent to which cultural images affect the ways in which developmental processes are viewed or understood. |
| didi huberman images in spite of all: Arts and Terror Vladimir L. Marchenkov, 2014-06-26 This book examines the manifestations of terror in the arts. From classical tragedy to post-9/11 responses, terror – as an emotion, violent act, and state of the world – has been a preoccupation of artists in all genres. Using philosophy, art history, film studies, interdisciplinary arts, theatre studies, and musicology, the authors included here delve into this perennially contemporary theme to produce insights articulated in a variety of idioms: from traditional philosophical humanism to phenomenology to feminism. Their approaches may vary, but together they reinforce the notion that terror is a thread in the fabric of artistic expression as much as it has always been and, alas, remains a thread in the fabric of life. |
| didi huberman images in spite of all: Crime Scenery in Postwar Film and Photography Henrik Gustafsson, 2019-05-24 This book offers a rare and innovative consideration of an enduring tendency in postwar art to explore places devoid of human agents in the wake of violent encounters. To see the scenery together with the crime elicits a double interrogation, not merely of a physical site but also of its formation as an aesthetic artefact, and ultimately of our own acts of looking and imagining. Closely engaging with a vast array of works made by artists, filmmakers and photographers, each who has forged a distinct vantage point on the aftermath of crime and conflict, the study selectively maps the afterlife of landscape in search of the political and ethical agency of the image. By way of a thoroughly interdisciplinary approach, Crime Scenery in Postwar Film and Photography brings landscape studies into close dialogue with contemporary theory by paying sustained attention to how the gesture of retracing past events facilitates new configurations of the present and future. |
| didi huberman images in spite of all: Staging the People Jacques Rancière, 2011-06-01 These essays from the 1970s mark the inception of the distinctive project that Jacques Rancire has pursued across forty years, with four interwoven themes: the study of working-class identity, of its philosophical interpretation, of heretical knowledge and of the relationship between work and leisure. |
| didi huberman images in spite of all: Art's Realism in the Post-Truth Era Amanda Boetzkes, Maryse Ouellet, 2024-05-31 Arguing for the necessity of taking art's contribution to contemporary realism seriously, this edited collection intervenes on contemporary debates about realism by demonstrating that the arts do not simply illustrate philosophical theories. The significance of art's realism in times characterised by the normalisation of fake, manipulated and distorted representations of reality can only be fully understood by attending to the ways that the arts mediate, visualise and even shape reality. Each chapter features a different approach to realism and its aesthetic dimensions not only in the visual arts, but also in sound art, film, scientific imaging and literature. |
| didi huberman images in spite of all: Screening Auschwitz Marek Haltof, 2018-01-15 Screening Auschwitz examines the classic Polish Holocaust film The Last Stage (Ostatni etap), directed by the Auschwitz survivor Wanda Jakubowska (1907–1998). Released in 1948, The Last Stage was a pioneering work and the first narrative film to portray the Nazi concentration and extermination camp complex of Auschwitz-Birkenau. Marek Haltof’s fascinating book offers English-speaking readers a wealth of new materials, mostly from original Polish sources obtained through extensive archival research. With its powerful dramatization of the camp experience, The Last Stage established several quasi-documentary themes easily discernible in later film narratives of the Shoah: dark, realistic images of the camp, a passionate moral appeal, and clear divisions between victims and perpetrators. Jakubowska’s film introduced images that are now archetypal—for example, morning and evening roll calls on the Appelplatz, the arrival of transport trains at Birkenau, the separation of families upon arrival, and tracking shots over the belongings left behind by those who were gassed. These and other images are taken up by a number of subsequent American films, including George Stevens’s The Diary of Anne Frank (1959), Alan Pakula’s Sophie’s Choice (1982), and Steven Spielberg’s Schindler’s List (1993). Haltof discusses the unusual circumstances that surrounded the film's production on location at Auschwitz-Birkenau and summarizes critical debates surrounding the film’s release. The book offers much of interest to film historians and readers interested in the Holocaust. |
| didi huberman images in spite of all: Palimpsestic Memory Max Silverman, 2013-02-01 The interconnections between histories and memories of the Holocaust, colonialism and extreme violence in post-war French and Francophone fiction and film provide the central focus of this book. It proposes a new model of ‘palimpsestic memory’, which the author defines as the condensation of different spatio-temporal traces, to describe these interconnections and defines the poetics and the politics of this composite form. In doing so it is argued that a poetics dependent on tropes and techniques, such as metaphor, allegory and montage, establishes connections across space and time which oblige us to perceive cultural memory not in terms of its singular attachment to a particular event or bound to specific ethno-cultural or national communities but as a dynamic process of transfer between different moments of racialized violence and between different cultural communities. The structure of the book allows for both the theoretical elaboration of this paradigm for cultural memory and individual case-studies of novels and films. |
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