从现象学形式主义到认知行动主义:摄影如何生产新的可见性?

From Phenomenological Formalism to Epistemic Activism:How Does Photography Produce New Visibility?

阿里艾拉·阿祖莱认为,摄影的发明带来了一种新的凝视样态,也为世界带来了新的可见性,但对这种可见性之擢升的考察仍然需要落实到摄影图像的生产层面才能成立。通过讨论斯蒂芬·肖尔与艾伦·塞库拉的两种相互对立的摄影策略,可以发现,前者采用的现象学形式主义方法关注对物之关系的再现,它贡献了一种对诸物共在的无限关系的视觉化呈现,这种呈现同样是陌异现象学意义上的;后者采取的认知行动主义方法则在反思前者的现代主义策略的基础上,通过摄影图像与写作的方式,关注劳工群体等弱势者以及与之相连的各种利益矩阵的可见性,同时始终节制地维持这种可见性的程度,以防止其堕落为奇观。

Ariella Azoulay argues that the invention of photography has created a new form of gaze and a new visibility of the world.To prove the investigation to the visibility,it is bound to be infused with the production of photographs.By negotiating the two antitheses provided by Stephen Shore and Allan Sekula,it can be seen that the former’s phenomenological formalist approach is concerned with the representation of the relations amongst objects,which is much more for a visualized depiction of the infinite relation of co-existing objects;while the latter’s epistemic activism approach,on the basis of reflecting on the former’s approach,couches the visibility about labour groups and other interest matrixes in photographs and writings,and takes on board the intensity of visibility in order to prevent itself from degenerating into spectacles.