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	<title>Comments on: Photography</title>
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		<title>By: How photographs make Darfur mean something &#124; David Campbell -- Photography, Multimedia, Politics</title>
		<link>http://www.david-campbell.org/photography/comment-page-1/#comment-1553</link>
		<dc:creator>How photographs make Darfur mean something &#124; David Campbell -- Photography, Multimedia, Politics</dc:creator>
		<pubDate>Tue, 15 Sep 2009 08:18:47 +0000</pubDate>
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		<description>[...] Photography [...]</description>
		<content:encoded><![CDATA[<p>[...] Photography [...]</p>
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		<title>By: ‘Still pictures are not still&#8230;’ &#171; praxis books</title>
		<link>http://www.david-campbell.org/photography/comment-page-1/#comment-21</link>
		<dc:creator>‘Still pictures are not still&#8230;’ &#171; praxis books</dc:creator>
		<pubDate>Mon, 16 Feb 2009 10:33:54 +0000</pubDate>
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		<description>[...] But the next day, my thoughts returned to what David had said, and to the general discussion that had followed. On David’s website, I came across how he understands photography, ‘a technology through which the world is visually performed,’ and a gist of his theoretical argument. I quote: ‘The pictures that the technology of photography produces are neither isolated nor discrete objects. They have to be understood as being part of networks of materials, technologies, institutions, markets, social spaces, emotions, cultural histories and political contexts. The meaning of photographs derives from the intersection of these multiple features rather than just the form and content of particular pictures.’ (http: //www.david-campbell.org/photography/).     [...]</description>
		<content:encoded><![CDATA[<p>[...] But the next day, my thoughts returned to what David had said, and to the general discussion that had followed. On David’s website, I came across how he understands photography, ‘a technology through which the world is visually performed,’ and a gist of his theoretical argument. I quote: ‘The pictures that the technology of photography produces are neither isolated nor discrete objects. They have to be understood as being part of networks of materials, technologies, institutions, markets, social spaces, emotions, cultural histories and political contexts. The meaning of photographs derives from the intersection of these multiple features rather than just the form and content of particular pictures.’ (http: //www.david-campbell.org/photography/).     [...]</p>
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