Feintes_doutes
+ fictions : Réflexions sur
la photographie numérique
by Rodrigue Bélanger, Editor
éditions Jai VU, Québec
(Québec), 2005
96 pp. illus., 40 b/w. Paper, 18 euros
ISBN: 2-922763-12-9.
Reviewed by Jan Baetens
KU Leuven
Faculty of Arts, Blijde Inkomststraat
21, B-3000 Leuven, Belgium
jan.baetens@arts.kuleuven.be
This collection of essays and pictures
has a twofold structure, and a double
aim. On the one hand, it contains a series
of images by Canadian based artists (Holly
Marie Armishaw, Nicolas Baier, Ivan Binet,
Marcel Blouin, Robin Collyer, Isabelle
Hayer, Bettina Hoffmann and Yoko Takashima).
All these artists, who have displayed
in the past a certain concern for technology,
take on the new conceptual possibilities
that digital photography offers. On the
other hand, it proposes, besides an article
by Sylvie Parent who delivers a comment
on each artist, five rather short essays
on the various challengesaesthetic,
philosophical, ethical, etc.raised
by the digital revolution. All these texts
too are due to Canadian scholars. The
publication is partly bilingual. The essays
are either in French (Olivier Clain, Thomas
De Koninck, Alain Paiement) or in English
(Robert Bean, George Legrady), with an
abstract in the other language. This double
structure is also reflected in the books
program, which aims to display contemporary
creative work as well as to offer new
insights on digital photography.
As the title of the book suggests, the
basic claim is here that digital photography
introduces a fundamental suspicion toward
the photographic medium, which has been
deprived of its fundamental indexical
properties. Yet if photographys
fictionalization is strongly underlined
in most of the accompanying texts, this
revolution is not really what appears
in the images of the book. Not only because
the selection is limited to contemporary
photography, with no excursions to historic
material that would have demonstrated
the shifts between indexical and post-indexical
or fictional images, but also because
of the fact that many pictures only become
strange when one has a background
knowledge of the conditions of their productions.
More than once, the photographs seem very
nondigital, and the reader needs to rely
on the context (for instance the inclusion
of the images in this book, or the introductory
comments made by Parent) to realize that
what he sees is more than what he gets.
This is a crucial remark, for it gives
a particular twist to the reading of these
images: The question is no longer whether
we can or may believe what we see (as
we used to do, at least in an innocent
view of these issues, in the predigital
era), but whether we are confronted or
not with images that have been manipulated.
The theoretical essays of the volume do
not always tackle this type of problem.
Instead, they often focus on general,
almost philosophical, discussions on truth
and fiction in photography, which do not
always give the best understanding of
what really is going on in digital photography.
To do so, a more technical, down-to-earth
approach is necessary, and not all the
texts accept the idea of coming down from
their Olympus to offer a better grip of
what is laid out on the printed page.
Therefore, the things one learns from
this volume have less to do with digital
photography (or even with photography
tout court), than with cultural
history, in general. But as a book on
digital photography (and despite the interest
of several artists), this is one that
hardly challenges any of our ideas on
the topic.