Notice bibliographique
Résumé
Photography has matured as a visual art medium to such an extent that exhibitions of contemporary photography have become a staple of the exhibition programs of museums and galleries. Over the last decade, institutions as diverse in their remits and collections as the Metropolitan Museum and the Tate Gallery mounted their first shows of work by living photographers, and for the first time in their histories, many museums and galleries have appointed dedicated curators of photography. These episodes reflect larger cultural trends: no longer confined to specialist galleries, distribution networks, theoretical discourses, or educational programs, photography has won mainstream institutional recognition. But why should such cultural shifts interest philosophers, even philosophers of art? Two events in particular occasion this volume on the philosophy of photography. Gradually, though marked by some standout moments, recent decades have seen a blurring of the boundaries that some philosophers took to demarcate photographic technology and photographic practices on the one hand from other representational and artistic technologies and practices on the other hand. The task of demarcation has been part of the history of photography since its early days: for example, Barbara Savedoff's discussion of photography's “struggle to define itself against painting” takes up issues that can be found in the writings of pioneering photographers like Joseph Nicéphore Niépce, Louis‐Jacques‐Mandé Daguerre, and Henry Fox Talbot.1 The struggle to define photography against painting culminated in a photographic version of the medium‐specificity doctrine, which directed that each art be defined in terms of those features that are both “unique and irreducible” to it.2 The bellwether question was: what is special about photography? Perhaps the most developed response from within the photographic artworld was John Szarkowski's list of five “characteristics and problems … inherent in the medium” in his introduction to the catalogue for the 1966 exhibition The Photographer's Eye at MoMA, where he was Director of Photography.3 Theorists and historians of photography have tended instead to take as their starting point a small cluster of theoretical concepts and categories, including C. S. Peirce's notion of indexical signs, Walter Benjamin's “aura,” and Roland Barthes's “punctum” and “studium.”4
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».