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The notion of the minor, developed by Gilles Deleuze and Félix Guattari in 'Kafka, towards a minor literature' (1975), is introduced and connected applied here for the very first time to the field of photography theory. Deleuze and Guattari defined minor literature in terms of "deterritorialization", "politicization" and "collectivization". By transferring 'the minor' to the medium of photography, this book enlarges the idea of 'the minor' and opens it up to all kinds of mutations in the process. The essays gathered in this book discuss the ways in which photography can make the dominant codes of representation stammer and how it can produce new effects and address people yet to come. The authors consider 'the minor' as a valuable tool to help photography research move beyond, or in between, binary and hierarchized ways of thinking (of high and low art, for example, or centre and periphery). As such, it aims to contribute to a rethinking of photography as multiplicity and variation.

Photography --- Photographie --- Philosophy. --- Philosophie --- Deleuze, Gilles, --- Guattari, Félix, --- Influence. --- Philosophy --- Guattari, Félix, --- Influence --- Academic collection --- Guattari, F. --- Guattari, Pierre-Félix, --- Gvattari, Feliks, --- Deleuze, G. --- Delëz, Zhilʹ, --- Dūlūz, Jīl, --- دولوز، جيل --- Delezi, Jier, --- Photography - Philosophy --- Deleuze, Gilles, - 1925-1995 - Influence --- Guattari, Félix, - 1930-1992 - Influence --- Deleuze, Gilles, - 1925-1995 --- Guattari, Félix, - 1930-1992 --- Deleuze, Gilles (1925-1995) --- Guattari, Félix (1930-1992) --- Et la photographie

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Gedurende drie semesters werkten docenten en studenten fotografie (o.l.v. Geert Goiris) aan een uniek project : het maken van originele illustraties bij een bestaande theoretische tekst over fotografie, de befaamde studie : Philosophie de la photographie van Henri Van Lier. Dit cahier van het IvOK beschrijft de zoektocht van de jonge kunstenaars naar de ideale artistieke vertaling van de abstracte theoretische inzichten van Van Lier en de bijzondere dialoog tussen woord en beeld die op deze manier tot stand kwam.

onderzoek in de kunsten --- artistieke fotografie --- Organization theory --- research [function] --- Photography --- Lier, van, Henri --- 592 --- 373.67 --- 77 --- Van Lier, Henri --- IvOK (Instituut voor Onderzoek in de Kunsten) --- Academic collection --- 7.073 --- 77.01 --- 7.01 --- Onderzoek in de kunsten --- IvOK ; Instituut voor Onderzoek in de Kunsten ; jaarboeken --- Artistiek onderzoek --- Fotografie ; theorie ; H. Van Lier --- fotografie --- fotografietheorie --- Van Lier Henri --- Goiris Geert --- IvOK --- Eggermont Esther --- Goffa Tom --- Guns Britt --- Dean Jamez --- Meyvis Bart --- Michielsen Sarah --- Paredaens Roel --- eenentwintigste eeuw --- boeken --- Roën --- Tavernier Stefan --- Van Marcke Sarah --- Verhaest Alexandra --- Verkest Thomas --- 7 --- Henri Van Lier --- casestudies --- Publicaties onderzoeksinstellingen --- Onderzoek (kunst) --- Fotografie --- Kunst ; onderzoek in de kunsten, ontwerpproblemen --- Fotografie ; theorie, filosofie, esthetica --- Kunst ; theorie, filosofie, esthetica --- Criticism and interpretation --- Philosophy --- MAD-faculty 14 --- hedendaagse kunst --- CDL --- 373.67.04 --- Onderwijs ; kunst- architectuuronderwijs ; onderzoek in de kunsten ; architectuuronderzoek ; doctoraatsonderzoek

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Fashion photography often leaves the impression of being a volatile medium. It is after all a representation of 'fashion', a phenomenon that completely changes every season. However, fashion photography also acts as a powerful medium that is able to integrate universal concepts. From the end of the twentieth century onwards, the fashion object no longer occupies the central position. The cultural significance of fashion photography can not be overstated. The categorization between 'high' art photography on the one hand, and 'low' fashion photography on the other, can no longer strictly be applied. This blurring of boundaries is a central issue in the work of Viviane Sassen (Amsterdam, 1972).This master thesis begins by providing a theoretical framework and a historical context in which the most crucial developments in fashion photography are discussed. Photographers featured are Diane Arbus, Nan Goldin, Cindy Sherman and Corinne Day. This overview shows that, as early as the sixties, there is a dominating trend that tries to minimalize the distinctions between the genres. Sassen radicalizes this dichotomy by making no differentiation between her commercial and her free work, both in its presentation context as in its visual strategies. As such, Sassen presents her work in the ephemeral medium of the magazine as well as in the slow and more critical context of the book and the exhibition space. Also in terms of imagery, there is only a negligible difference between the genres. In Sassens work, three different visual strategies can be identified: the absence of the face, body as sculpture and colored skin. Although these elements return on a regular basis, the images can not be read in an unambiguous manner. Sassen deliberately leaves her viewers in limbo and questions rather than provide answers. She takes in other words, neither art nor fashion as objective and enters with her work an intermediate zone. Viviane Sassen operates 'in between' art and fashion photogr...

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