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Paul Valéry on Photography: A Poetic Writing of Light and Time
- https://www.researchgate.net/publication/233237038_Paul_Valery_on_Photography_A_Poetic_Writing_of_Light_and_Time#:~:text=Abstract%20This%20article%20studies%20Paul%20Val%C3%A9ry%27s%20personal%20reflection,in%201939%20to%20members%20of%20the%20French%20Academy.
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Paul Valéry on Photography: A Poetic Writing of Light and …
- https://www.researchgate.net/publication/233237038_Paul_Valery_on_Photography_A_Poetic_Writing_of_Light_and_Time
- Abstract. This article studies Paul Valéry's personal reflection on photography, as it appears in his essay “Le Discours du Centenaire de la Photographie,” based on a speech given at the ...
Paul Valéry on Photography: A Poetic Writing of Light and Time
- https://www.tandfonline.com/doi/abs/10.1080/10848770903259185
- Paul Valéry on Photography: A Poetic Writing of Light and Time Pierre Taminiaux Georgetown University, Department of French , Washington DC , 20057 , USA Correspondence [email protected]
Paul Valéry, ‘The Centenary of Photography' [‘Discours Du …
- https://www.taylorfrancis.com/chapters/edit/10.4324/9780203138786-25/paul-valéry-centenary-photography-discours-du-centenaire-de-la-photographie-7-january-1939-junko-theresa-mikuriya
- Paul Valéry, ‘The Centenary of Photography' [‘Discours Du Centenaire De La Photographie'] (7 January 1939) book. By Junko Theresa Mikuriya. Book Fifty Key Texts in Art History. Click here to navigate to parent product. Edition 1st Edition. First Published 2012. Imprint Routledge.
ONE THE ORIGINS OF PHOTOGRAPHIC DISCOURSE
- https://assets.cambridge.org/97805215/50437/excerpt/9780521550437_excerpt.pdf
- when Valery addresse d the French Academy on Januar y 7,1939, in ob servance of photography's centenary, he merely reworked mytho poetic conventions: "And then came Daguerre," Valery intoned . "With him, the photographic vision was born and it sprea d by singula r leaps and bounds throughout the world. A marke d revision occurred in all
Pierre Taminiaux, Paul Valéry on Photography: A Poetic …
- https://philpapers.org/rec/TAMPVO
- Paul Valéry on Photography: A Poetic Writing of Light and Time. Pierre Taminiaux. The European Legacy 14 (6):685-695 (2009) 14 (6):685-695 (2009)
photoquotations.com ⁄ paul valéry
- http://www.photoquotations.com/a/700/Paul+Val%C3%A9ry
- Paul Valéry [Writer and poet, b. 1871, Sète, France, d. 1945, Paris.] Thanks to photography, the eye grew accustomed to anticipate what it should see and to see it; and it learned not to see nonexistent things which, hitherto, it had seen so clearly.
Paul Valéry: The Idea of Art - My French Quest
- https://frenchquest.com/2022/02/04/paul-valery-the-idea-of-art/
- In the chapter “The Idea of Art”, Paul Valéry looks at the definition and the act of Art. The word art originally meant simply “a way of doing”. Little by little, it evolved into “the ways of doing” that involve voluntary action or action initiated by the will. It implied that there was more than one way of obtaining a desired ...
(PDF) Exploring Discourse in Photography - Academia.edu
- https://www.academia.edu/10739866/Exploring_Discourse_in_Photography
- 1 f Exploring Discourse in Photography Barthes writes, “there are those who think that the image is an extremely rudimentary system in comparison with language and those who think that signification cannot exhaust the image’s ineffable richness” (Barthes, 114). Barthes explores an image of an advertisement that is comprised of spaghetti ...
Discourse on Photography in the Post-Photographic Era
- https://petercoolsen.blog/2015/04/21/discourse-on-photography-in-the-post-photographic-era-7/
- “The reports of my death have been greatly exaggerated.” Mark Twain. In his essay, Molecular Documents: Photography in the Post-Photographic Era, or How Not to get Trapped into False Dilemmas, Jorge Ribalta discusses William Mitchell’s pronouncement that photography is dead and speculates what the implications might be for photography in the “post …
The Discourse of Pictures - JSTOR
- https://www.jstor.org/stable/1213106
- discourse, as the creation of apparent meaning where only true relations of difference prevail (due to the arbitrary nature of the sign and the consequent need for it to receive definition only in relation to what it is not, i.e., to all other signs). As Althusser and Lacan (and the film theory they inspired) emphasized, these decep-
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