The article is devoted to the analysis of photographic temporality. There are several types of temporality that arise in the process of taking and perceiving photographs. This makes it possible to move on to considering the perception of photography as a process of memory actualization. This level of perception imparts subjectivity to the practice of photography through reference to the past. Combining the heterogeneous processes of the realization of matter, the actualization of personal memory and social habitus, photography constructs a system of visual normativity.
Keywords
photography, philosophy of photography, photographic temporality, perception.
Literature
1. Bart R. Camera Lucida. Comment on the photo. — M., 2011. — 272 p.
2. Bergson A. Matter and memory // Bergson A. Creative evolution. Matter and
memory. — Mn.: Harvest, 1999. — 1408 p.
3. Bourdieu P., Boltanski L., Castel R., Chamboredon J.-K. Public art: an experience about the social use of photography. — M., 2014. — 456 p.
4. Virno P. The grammar of the set: to the analysis of the forms of modern life. — M.: LLC “Ad Marginem Press”, 2013. — 176 p.
5. Gibson J. An ecological approach to visual perception. — M.: Progress, 1988. — 464 p.
6. Lishaev S. A. To remember by photography. — St. Petersburg: Aleteya, 2012. — 140 p.
7. Rouillet A. Photography. Between the document and contemporary art. —
St. Petersburg: Cloudberry, 2014. — 712 p.
8. Khoroshilov A. A. Slowing down and repetition: photography as a way to protect
against the chaos of the social world / A. A. Khoroshilov // Studia Culturae — 2015. — Issue 1(23). — Pp. 188–200.
9. Khoroshilov A. A. The real and digital space of social experience: the photographic construction of life / A. A. Khoroshilov // Historical, philosophical, political and legal sciences, cultural studies and art criticism. Questions of theory and practice. — 2015. — No 4. Part 2. — Pp. 179–182.