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Drawing on seminal writings by Barthes, Panofsky, Foucault, Derrida, and others, Harley uses a blend of iconology, semiotics, and deconstruction to expose the power, politics, and knowledge embedded in cartographic representations of space. His unmasking of subjectivity and ideology can be extrapolated to photographs which share with maps fundamental characteristics as visual representations and social constructions.47 Blending ideas from art history, literary theory, philosophy, and cultural studies, Harley offers archivists an intellectual springboard for achieving a keener awareness of visual materials as instruments of social, commercial, and political power, devices of memory, tools of legitimation. Concerned with texts and contexts, Harley’s ideas are easily transposed to other visual materials in archives, making the leap from positivism to postmodernism far less daunting.


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