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Listening to images
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  • Tillgänglig inom Konstfack
Main Entry - Personal Name
Title Statement
  • Listening to images
Publication, Distribution, etc. (Imprint)
  • Duke University Press, Durham : 2017 ©2017
  • 2017
  • Språk: Engelska.
Dewey Decimal Classification Number
SAB Classification Code
Physical Description
  • 1 online resource (viii, 140 pages)
Bibliography, etc. Note
  • Includes bibliographical references and index.
Formatted Contents Note
  • Quiet soundings : the grammar of Black futurity -- Striking poses in a tense grammar : stasis and the frequency of Black refusal -- Haptic temporalities : the quiet frequency of touch -- Black futurity in the shadow of premature death.
Summary, etc
  • Tina M. Campt explores a way of listening to photography by engaging with lost archives of state identification photographs of Afro-diasporan people taken between the late 1800s and the present, showing how to hear the quiet refusal emanating from these photos originally intended to dehumanize and police their subjects.
Subject - Topical Term
Subject - Geographic Name
Additional Physical Form Entry
  • Campt, Tina M. Listening to images ISBN 9780822362708 ISBN 9780822362555 ISBN 0822362554 ISBN 0822362708
Electronic Location and Access
  • Ko https://ebookcentral.proquest.com/lib/konstfack/detail.action?docID=4816510 Read online / download
ISBN
  • 9780822373582
  • 0822373580
Waiting
  • 0 (0)
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In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos--which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders--a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

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