Embodied Vision: Who knew?
Amelia Jones is definitely one of my heroes. I think this article is quite provocative. Just a few queries:
1. How do the self-portraits of Sherman, Wilke, et.al. differ in their invocation of death from Renaissance memento mori?
2. In Jones’ new mode of interpretation, what does she mean by “relinquishing our power as viewing subjects and reveling in our own otherness?”
3. In what way is a photograph a death?
4. Is spectatorial engagement what we do when we go to museums and look at art? Seriously, what does she mean by this type of charged gaze?
5. What is Lacan’s understanding of the photograph and what role does the viewer play in this interpretation?
6. When Craig Owens speaks about the subject of a photograph posing “as an object in order to be a subject” (cited on 959), weren’t you reminded of Berger’s “Fiction of the Pose?”
7. How does Barthes’ punctum function in viewing self-portraits?
8. What does Merleau-Ponty mean by the embodied viewer?
9. What is the paradox of the self-portrait (972) and do you agree?