International Photography(ism) / 国际摄影（主义）
Jean Baudrillard (in Simulacra and Simulation) stated:"...This as the suggestion of the anthropologists themselves, who were seeing the indigenous people disintegrate immediately upon contact, like mummies in the open air."
In every language, "photography" means different things. In most Latin-based languages, "photography" means "drawing with light"; in Chinese, "摄影" means "capturing the shadow/light“; in Korean and Japanese, "사진술" and "写真" mean "writing of the real." Such distinguishments not only reveal the history of photography in each culture, but also a larger sense of how the philosophy of photography is proposed in various ways.
In this ongoing project, we extended the work Photography, and try to propose questions about the intricacies of photography and the world. The questions might change, decrease or increase as the project proceeds, but the essential element is to think about photography, culture and society globally and philosophically.
How does the meaning of photography unfold in various cultures?
How does photography marginalize "other" cultures as being a proxy of Eurocentric ideologies?
How does photography generate and lose meanings in the process of producing the landscape of knowledge and ideologies?
Is there even photography in our world now (ontologically)?
鲍德里亚在《模拟与模拟物》中说道：“……土著（在地）文化在被人类学家考察的一瞬间就已经破碎和变质了，就如同木乃伊暴露在空气中一样。”
在这个长期的研究性项目中，我们对之前的《摄影》一作品进行延伸，试图通过对论摄影一书在全球范围内的所有版本进行研究与挪用，从而对全球境况下的摄影与文化、社会之间的关系进行哲学性的探索。该项目涉及的问题在研究的过程中可能有所增减和改变，但其核心部分包括但不限于：
“photography”这个词如何在不同的语言（文化）中展开的？
以摄影为例的西方文明产物，是如何“殖民”到其他语言（文化）中并获得其合法性的？
摄影在知识图景与意识形态的塑造中的是如何生效和失效的？又是如何参与到西方文明的中心化（其他文明的边缘化）过程中的？
本体论意义上的摄影是否还存在？
English version (US)
Chinese Version (Mainland China)
