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Síða 303
Antarctica , like photography , exposes nature as culture , and requires us to think history and representation differently . Indeed , Siskind explains that the specificity of Antarctica's modernity is rooted in its resistance to a ...
Antarctica , like photography , exposes nature as culture , and requires us to think history and representation differently . Indeed , Siskind explains that the specificity of Antarctica's modernity is rooted in its resistance to a ...
Síða 304
processes of representation , narrative , and communication of the sublime impression , and with it “ the imposition of the codifications of a culture upon nature . " 34 Siskind argues that the specificity of the Antarctic sublime ...
processes of representation , narrative , and communication of the sublime impression , and with it “ the imposition of the codifications of a culture upon nature . " 34 Siskind argues that the specificity of the Antarctic sublime ...
Síða 320
Paint becomes simply paint , displayed for its own textures and colors and no longer used for the sake of representation . The artist , he laments , “ no longer produces images , but matter . ” And this matter is akin to the chaotic ...
Paint becomes simply paint , displayed for its own textures and colors and no longer used for the sake of representation . The artist , he laments , “ no longer produces images , but matter . ” And this matter is akin to the chaotic ...
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Efni
Hypnotic Images Contingent Pasts | 322 |
Mourning Kafka | 342 |
Genocide in Ruins | 367 |
Höfundarréttur | |
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