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Time, Science and the Critique of Technological ReasonRevolutions in Science and Art: Martins, Bourdieu and the Case of Photography

Time, Science and the Critique of Technological Reason: Revolutions in Science and Art: Martins,... [This chapter reflects on Martins’ powerful critique of Kuhn’s theory of scientific revolutions. It also compares Martins with the work of Bourdieu on science and art, arguing that despite the invaluable recent publication of Bourdieu’s lectures on Manet’s ‘symbolic revolution’, there are certain difficulties with Bourdieu’s theory of the cultural field. In particular, for Bourdieu, photography could never become any other than a minor art. In part because of its reliance on technology, it offers less cultural distinction than other more ‘legitimate’ forms of art. Martins, on the other hand, is less pessimistic: he sees art as continually transformed by technological change and therefore does not see the camera as presenting any inherent barrier.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Time, Science and the Critique of Technological ReasonRevolutions in Science and Art: Martins, Bourdieu and the Case of Photography

Part of the St Antony's Series Book Series
Editors: Castro, José Esteban; Fowler, Bridget; Gomes, Luís
Fowler, Bridget
Time, Science and the Critique of Technological Reason — Apr 1, 2018
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References (20)

Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s) 2018
ISBN
978-3-319-71518-6
Pages
99 –123
DOI
10.1007/978-3-319-71519-3_8
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter reflects on Martins’ powerful critique of Kuhn’s theory of scientific revolutions. It also compares Martins with the work of Bourdieu on science and art, arguing that despite the invaluable recent publication of Bourdieu’s lectures on Manet’s ‘symbolic revolution’, there are certain difficulties with Bourdieu’s theory of the cultural field. In particular, for Bourdieu, photography could never become any other than a minor art. In part because of its reliance on technology, it offers less cultural distinction than other more ‘legitimate’ forms of art. Martins, on the other hand, is less pessimistic: he sees art as continually transformed by technological change and therefore does not see the camera as presenting any inherent barrier.]

Published: Apr 1, 2018

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