Art made for pictures

Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with the...

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Main Authors: John Kulvicki, Bence Nanay
Format: Article
Language:English
Published: Rosenberg & Sellier 2018-09-01
Series:Phenomenology and Mind
Subjects:
Online Access:https://oaj.fupress.net/index.php/pam/article/view/7311
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author John Kulvicki
Bence Nanay
author_facet John Kulvicki
Bence Nanay
author_sort John Kulvicki
collection DOAJ
description Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the world about which we communicate. Increasingly, we are making a world that’s worth depicting, using the tools we now possess. This paper will unpack one example of this phenomenon, trompe l’oeil street art. More and more of this seems to be produced with the intention that it is seen primarily in pictures. It makes sense that anything someone makes, and wants to be seen, would be made with decent photography potential in mind. You want photos to be able to, as they say, do justice to your work no matter what kind of visual work you make. In these cases, however, the pictures of the work are reliably more interesting than the pieces seen in the flesh.
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spelling doaj.art-4c92d7df10e04de5bf67058c9a794c0c2022-12-21T22:59:21ZengRosenberg & SellierPhenomenology and Mind2280-78532239-40282018-09-011410.13128/Phe_Mi-23630Art made for picturesJohn Kulvicki0Bence Nanay1Dartmouth College, HanoverUniversity of Antwerp, University of CambridgeOver the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the world about which we communicate. Increasingly, we are making a world that’s worth depicting, using the tools we now possess. This paper will unpack one example of this phenomenon, trompe l’oeil street art. More and more of this seems to be produced with the intention that it is seen primarily in pictures. It makes sense that anything someone makes, and wants to be seen, would be made with decent photography potential in mind. You want photos to be able to, as they say, do justice to your work no matter what kind of visual work you make. In these cases, however, the pictures of the work are reliably more interesting than the pieces seen in the flesh.https://oaj.fupress.net/index.php/pam/article/view/7311trompe l’oeilpicture perceptioninstagram
spellingShingle John Kulvicki
Bence Nanay
Art made for pictures
Phenomenology and Mind
trompe l’oeil
picture perception
instagram
title Art made for pictures
title_full Art made for pictures
title_fullStr Art made for pictures
title_full_unstemmed Art made for pictures
title_short Art made for pictures
title_sort art made for pictures
topic trompe l’oeil
picture perception
instagram
url https://oaj.fupress.net/index.php/pam/article/view/7311
work_keys_str_mv AT johnkulvicki artmadeforpictures
AT bencenanay artmadeforpictures