كليدواژه :
نظرية كنشگر - شبكه , برونو لاتور , شبكة عكاسي , كُنش عكاسانه
چكيده فارسي :
بررسي و تحليل كنش عكاسي براساس نظرية كنشگر- شبكه برونو لاتور هدف اين پژوهش است. لاتور با رويكردي شبكه اي به موجودات جهان و روابط ميان آن ها مي نگرد؛ بدين معنا كه جهان فارغ از مقوله بندي ها و تفكيك هاي رايج، مملو از كنشگران انساني و غيرانساني است كه براي رسيدن به اهداف خود در حال ساخت پيوندها و شبكه هاي جديدند. دغدغة اين نظريه، مطالعة نحوة پيونديافتن كنشگران مختلف در درون هر شبكه اي است. براين اساس، توليد عكس را مي توان مبتني بر كنشي شبكه اي و محصول پيوند سه عامل اصليِ دوربين، عكاس و جهان دانست. ازاين رو، پژوهش حاضر با روش توصيفي - تحليلي و تطبيقي به دنبال پاسخگويي به اين پرسش است كه جايگاه و نقش هركدام از اين كنشگران در فرايند توليد عكس چيست و نحوة ارتباط و پيونديافتن آن ها با يكديگر چگونه است؟ نتايج نشان مي دهد در كنش عكاسي، سه كنشگر اصلي يعني دوربين (به مثابه واسطه اي تكنولوژيك با امكانات متعدد)، عكاس (در مقام كنشگري انساني با اهدافي خاص) و جهان (به عنوان كنشگرِ فعالِ غيرانساني) با يكديگر درمي آميزند و از برهم كنش آن ها به شكل هاي مختلف، يك عكس با ويژگي هاي خاص توليد مي شود. همچنين، شبكة عكاسي همواره با ورود كنشگران و بازيگران جديد در حال بازتعريفِ خود و تغيير و تبديل است.
چكيده لاتين :
PBased on the actant-network theory with network-based
approach, Bruno Latour, the contemporary Philosopher and
Anthropologist in the area of science and technology, looks
at the creatures of the world and the existent relationships
among them. In a way that world regardless of any prevalent
categorizations and distinctions, such as real-unreal and
natural-artificial, is full of human and non-human activists
and actants that they are making new nexuses and networks
in order to reach to their goals. All of the creatures either
human or small and large creatures, technological artifacts
and tools function as an actor in this world and in the
networks they entered. In this way, the nature of each
actant in the network and in relation and proportion with
the other actors is changed and made. The concern of this
theory is the study of the way of uniting different actors in
the network. The theory of actant -network is one of the
most important contemporary thought circles in studies
of science (technologies, religion, anthropology, law) and
technologies that is generalizable to art field especially,
photography. Accordingly, the photographic production
can be considered as an actant-network and the unification
of camera, photographer and the world will produce
multifarious photographs. Therefore, the aim of this study
is to examine and analyze photographic action based on
Bruno Latour’s actant-network theory. Consequently,
this essay is focused on the descriptive-analytic method
to answer this question: what is the place and role of each
of the main actants in photographic practice – ie. camera,
photographer and the world? The results demonstrated that
in photographic action, the three above-mentioned factors
are synthesized and regardless of dominant look, each of
them variously links with the other factors in the network
and influences on the other actors and finally by interaction
of them, one photograph with especial and distinct features
can be made. When each photograph is exposed to attention
after production, and is supplied to photographic society,
then it can play a role within photographic network as a new
actor and might lead to new nexuses and actions. From the
beginning, the camera and its components have developed
over time until now which digital technology have had a
significant effect on photography; definition, nature, role
and place of photographer, and the world have changed in
photographic network. The shift from analog photography
to digital has not been merely a change in photographic
technologies and tools. It made a revolution in the whole
of network and the involved actors in photographic field
and paved the way for appearance of different orientations
within photographic network. Photographic network is still
changing as it is affected by new actors’ arrival. Actantnetwork
theory can be used in the field of photographic
criticism.
