1. Bence Nanay, Threefoldness, (open access at Springerlink.com, Published online: 23 January 2017) 170–172, 

2. Ibid., 1.

3. Photographic perspective as (a) narration / Fotografische Perspektive als Narration:



In the project N.N-Zwischenliegend, I would like to use the image as an error to deal with the philosophical reflection on the subject of “estrangement” in the photographic perspective as a narration as well as with the alienation and self-alienation of the situation and the object. To do so, I explore the images on the practical and theoretical level for the purpose of a threefold distinction, namely between image carrier, image object, and image subject.


On twofoldness and threefoldness:


Today's digital camera concept is based on aesthetics, especially the depiction of the value of aesthetics. In this section I would like to research the topic of “threefoldness” by Lambert Wiesing and Bence Nanay. According to Nanay, “Lambert Wiesing, relying on Husserl, also makes a similar distinction in Wiesing (2009), where he distinguishes between image object and image subject.”1 Nanay writes that Wiesing is similar to him, which makes a threefold distinction between the image carrier, the image object, and the image subject. These three entities would roughly correspond to what he calls: (A) the two-dimensional picture surface, (B) the three-dimensional object the picture surface visually encodes, and (C) the three-dimensional depicted object. “The emphasis of Wiesing’s discussion is the image-object, which has a mere ‘artificial presence’ (Wiesing 2009, p. 35). And this emphasis also helps us to see the differences between my approach and Wiesing’s. Wiesing, again, following Husserl, takes the image object to be the representation which represents the image subject, and he understands this representation relation as a version of resemblance (Wiesing 2009, pp. 36–38).”2

Nanay's account is on picture perception and the aesthetic appreciation of pictures, and Nanay asks how we represent these three folds. In my artistic research, I have dealt with the question of how I can visually encode the three-dimensional reality on a two-dimensional image surface with the help of the digital camera. To do so, I examine the images on a practical level for the purpose of a threefold distinction, namely between image carrier, image object and image subject. (...)



- Estrangement (Entfremdung) as Verfremdungseffekt (V-Effekt)



Subjectivity and Objectivity 

Abstracted momentary