Over fourteen years, Czech photographer Josef Sudek photographed three windows in his small ramshackle Prague studio at least a hundred times. This project, The Window of My Studio, meditates on the frost, dew, and dirt that accumulate on the window’s glass, and the still lifes that emerge in the margins. Sudek’s focus on the often opaque pane becomes an analogy for the limits of human vision. I argue that the abstract glazed surface and the repetitive nature of Sudek’s windows exemplifies Maurice Merleau-Ponty’s description of a multifaceted and infinitely variable object. However, I also challenge Merleau-Ponty’s dismissive attitude towards the medium of photography by suggesting that Sudek’s process and photographs reveal a phenomenological gaze. Sudek’s window series led to a long rumination on the phenomenology of glass through photographs. His following two projects (Still Lifes and Labyrinths) revolve around still-life photographs of glass panes, cups, vases, and lenses. Glass, an object that reveals, reflects, and transforms its surroundings, becomes a promising metaphor for embodied human perception. This article takes Sudek’s persistent and even obsessive use of glass in his still lifes seriously. His engagement with his subjects, similar to a painterly relationship with the world, allows for a slower philosophical exploration of the world through photography. When considered as cohesive projects, Sudek’s photographs reveal a complex internal phenomenology – one that relates to our own being in the world.

中文翻译：

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Windows Onto Things:约瑟夫·苏德克摄影作品中的玻璃现象学

十四年来，捷克摄影师约瑟夫·苏德克（Josef Sudek）在他摇摇欲坠的布拉格小工作室里至少拍了一百次。这个项目，我工作室的窗户，沉思着积聚在窗户玻璃上的霜、露水和污垢，以及出现在边缘的静物。Sudek 对通常不透明的窗格的关注成为人类视觉极限的类比。我认为，抽象的玻璃表面和苏德克窗户的重复性体现了莫里斯·梅洛 - 庞蒂对多面和无限可变物体的描述。然而，我也通过暗示苏德克的过程和照片揭示了一种现象学的凝视来挑战梅洛 - 庞蒂对摄影媒介的不屑一顾的态度。Sudek 的窗户系列通过照片引发了对玻璃现象学的长期反思。他接下来的两个项目（静物和迷宫）围绕着玻璃板、杯子、花瓶和镜头的静物照片展开。玻璃是一种揭示、反射和改变周围环境的物体，成为体现人类感知的有希望的隐喻。这篇文章认真对待苏德克在他的静物画中坚持甚至痴迷于玻璃的使用。他与他的主题的接触，类似于与世界的绘画关系，允许通过摄影对世界进行更缓慢的哲学探索。当被视为有凝聚力的项目时，苏德克的照片揭示了一种复杂的内部现象学——一种与我们自己在世界上的存在相关的现象。并改变其周围环境，成为体现人类感知的有希望的隐喻。这篇文章认真对待苏德克在他的静物画中坚持甚至痴迷于玻璃的使用。他与他的主题的接触，类似于与世界的绘画关系，允许通过摄影对世界进行更缓慢的哲学探索。当被视为有凝聚力的项目时，苏德克的照片揭示了一种复杂的内部现象学——一种与我们自己在世界上的存在相关的现象。并改变其周围环境，成为体现人类感知的有希望的隐喻。这篇文章认真对待苏德克在他的静物画中坚持甚至痴迷于玻璃的使用。他与他的主题的接触，类似于与世界的绘画关系，允许通过摄影对世界进行更缓慢的哲学探索。当被视为有凝聚力的项目时，苏德克的照片揭示了一种复杂的内部现象学——一种与我们自己在世界上的存在相关的现象。允许通过摄影对世界进行更缓慢的哲学探索。当被视为有凝聚力的项目时，苏德克的照片揭示了一种复杂的内部现象学——一种与我们自己在世界上的存在相关的现象。允许通过摄影对世界进行更缓慢的哲学探索。当被视为有凝聚力的项目时，苏德克的照片揭示了一种复杂的内部现象学——一种与我们自己在世界上的存在相关的现象。