6 Edward Weston, “Seeing photographically,” in Classic Essays on
Photography, ed. by Alan Trachtenberg (Stony Creek, CT: Leete’s
Island Books, 1980), 169–178.
7 Stephen Shore, The Nature of Photographs (New York: Phaidon
Press, 2007), 15.
14 Novo’s pieces about the Cuban Independence Wars alluded here
are Los olores de la guerra/The Scents of War (2009); Acerca de
los mensajes que no han llegado a su fin/About Those Messages that
Failed to Reach their Destination (2008); and El orden de la batalla
I (De Playitas a Dos Ríos)/The Order of Battle I (From Playitas to
Dos Ríos) (2013).
8 Hubert Damisch, “Notes for a Phenomenology of the Photographic Image,” in Classic Essays on Photography, ed. by Alan
Trachtenberg (Stony Creek, CT: Leete’s Island Books, 1980),
287–290.
9 John Berger, “Understanding a Photograph,” in Classic Essays on
Photography, ed. by Alan Trachtenberg (Stony Creek, CT: Leete’s
Island Books, 1980), 291-294.
10 This is a distinction explicitly made by Anne McCauley. See
“The Trouble with Photography,” in Photography Theory, ed. by
James Elkins (New York: Routledge, 2007), 403–430.
11 Rosalind Krauss, “Photography’s Discursive Spaces,” in The Contest of Meaning: Critical Histories of Photography, ed. by Richard
Bolton (Boston: The MIT Press, 1989), 288–302.
12 “Photography,” Without Masks: Contemporary Afro-Cuban Art,
accessed April 7, 2014, http://www.withoutmasks.org/index.
php/artworks/photography/abstracciones-iv.html
13 Roland Barthes suggests that there are two approaches by which
we appreciate a photograph. The first one is the studium, our
general admiration of the technical or historical value in a given
image, while the punctum refers to “this element which rises
from the scene, shoots out of it like an arrow, and pierces me”
emotionally. The punctum “disturbs the studium” and gives the
photograph a personal, inescapable meaning. Roland Barthes,
Camera Lucida: Reflections on Photography, trans. Richard Howard
(New York: Hill and Wang, 1981), 26–27.
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