Moskatova O (2022)
Publication Language: English
Publication Type: Journal article, Original article
Publication year: 2022
Book Volume: 13
Pages Range: 119-133
Journal Issue: 1
DOI: 10.1386/pop_00042_1
In the aftermath of the Fukushima power plant disaster, autoradiography became an increasingly widespread artistic technique for producing cameraless photography. By exposing photographic film directly using contaminated objects and materials, contemporary artists autoradiograph the geopolitics and local histories of atomic contamination due to bombing, testing, nuclear reactor explosions, mining or uranium disposal cells. In my article, I discuss the implications these autoradiographic works have for the concept of photography by drawing on Timothy Morton’s notion of hyperobjects. Being hyperobjective, radioactivity confronts human beings with a vast non-human temporality, which, in turn, necessitates a shift in our understanding of photography. While photo theory has often been modelled on snapshot photography, privileging instantaneity and pastness, autoradiography is a durational and pluri-temporal procedure that points emphatically towards the future and invites us to reconceptualize the basis of photographic ontology.
APA:
Moskatova, O. (2022). Photographing Hyperobjects: The Nonhuman Temporality of Autoradiography. Philosophy of Photography, 13(1), 119-133. https://dx.doi.org/10.1386/pop_00042_1
MLA:
Moskatova, Olga. "Photographing Hyperobjects: The Nonhuman Temporality of Autoradiography." Philosophy of Photography 13.1 (2022): 119-133.
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