Metaphysics of AbstractionSpeculative Photographs in the Anthropocene Bruno Lessard (bio) In the 1970s, New Topographics photographers such as Robert Adams, Frank Gohlke, and Lewis Baltz rejected the idea of pristine nature as found in the work of landscape pioneers such as Carleton Watkins or Ansel Adams. The photographers in the New Topographics exhibition focused on the man-altered landscape in their black-and-white images, avoiding the sublime and the monumental. In contrast, one can clearly discern in the series of late twentieth-century and early twenty-first-century landscape photographers a visual quest different from that of the New Topographics. Indeed, facing the impossibility of documenting mundane landscapes and "nonplaces" as it had been done in the work of the New Topographics photographers, contemporary landscape photographers as diverse as David Maisel, Edward Burtynsky, James Balog, Daniel Beltrá, Peter Goin, Terry Evans, David T. Hanson, Richard Misrach, Mark Ruwedel, Tyrone Martinsson, Ian Teh, J. Henry Fair, and Mishka Henner have poignantly addressed our collective environmental predicament in the Anthropocene.1 The aforementioned landscape photographers, especially those interested in rediscovering the potential of aerial photography, have been engaged in a radical rethinking of the representation of the land in the Anthropocene, and they have contributed to a profound reconsideration of the aesthetics and politics of landscape photography itself, focusing on environmental issues such as global warming, pollution, and land devastation. Most importantly, they have refashioned the humanland relationship in images that have questioned the anthropocentric biases of the genre via their recourse to the aerial perspective afforded [End Page 20] by drones and other custom-made apparatuses. These recent technological innovations and strategies of representation demand a philosophy of photography for the Anthropocene. In this article, I propose to lay the foundation for this critical discourse around the Anthropocene and landscape photography by turning to speculative realism and its related developments in object-oriented ontology. As discussed below, object-oriented ontology, and the notion of the hyperobject in particular, can help to rethink contemporary landscape photography and the ontology of the photographic image itself. In the following pages, I stage a dialogue between three contemporary landscape photographers—David Maisel, Daniel Beltrá, and Edward Burtynsky—and continental philosophy by way of object-oriented ontology and hyperobjects. This discussion generates results to better understand both the fate of realism in landscape photography and the resurgence of realism in philosophical discourse. While realism as an aesthetic notion in the history of visual representation differs from the one found in debates over realism versus antirealism in contemporary philosophy, the aesthetic experiences proposed in the aerial, abstract photograph refract some of the concerns in the human and nonhuman experiences that the new philosophical realisms have produced. The Anthropocene thus offers an ideal case study to examine the type of artistic representation and philosophical conceptualization that realism has produced as both a type of photographic representation and a conceptual operator in continental philosophy. Realism, as an aesthetic and philosophical concept, is transformed in the new aesthetic experiences introduced in the Anthropocene era. In the twentyfirst century, numerous landscape photographers have used both the aerial shot to create a nonanthropocentric viewpoint and the abstract image to represent the land and hyperobjects in the Anthropocene. This predilection for abstraction prompts a reconsideration of the ontology of the photographic image in terms of speculation rather than figurative representation. Apprehending Hyperobjects Contemporary landscape photography, speculative realism, and object-oriented ontology inform each other, because they share similar obsessions.2 In the writings of thinkers as diverse as Karen [End Page 21] Barad, Jane Bennett, Ian Bogost, Donna Haraway, Graham Harman, and Timothy Morton,3 provoking reflections abound on the access to the natural world, the relationship between human beings and an environment populated by nonhuman entities, and the apprehension of reality generally speaking. In the work of photographers interested in documenting the Anthropocene, similar issues crop up in the discussion of representational content, which gives access to a world whose reality can be characterized as endangered in the context of climate change. The challenge for landscape photographers is to find the most appropriate visual strategies to make sense of our new reality, which takes the form of an unprecedented environmental...
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