"V" . . . "%22[W]e cannot even recognize the representational power of a medium except with reference to other media.%22 (Jay David Bolter and Richard Grusin, Remediation. Understanding New Media) Following-up on the quoted text, I showed what we come to know about the possibilities of photographic representation during the moment when photography enters into a relationship with performance art. I thus concerned myself with the relationship between a photograph and an action taking place which is recorded onto the photograph, and I attempted to show that for the making of a photograph an actual realization of the %22action taking place%22 is not necessarily needed. For example, within its broader whole a photographic series or sequence has this photographic ability to create the illusion of temporal succession and of the fluency of the recorded action. The photographic series then serves as a tool for inducing the impression that the depicted action really took place. In such a case, a paradoxical situation arises, in which evidently, if it were not for the photographic equipment, the action would not have occurred. I traced the described principle in concrete examples of Czech art from the 1970s. In then politically isolated Czechoslovakia, action art, not tied to institutions and artistic operation, presented a space for free creation. Easily transportable photographic records moreover guaranteed the possibility of publication in foreign magazines and even exhibiting on an international level. If I were to mention just one example for them all, I introduced Karel Miler, whose work was abundantly published and exhibited in the form of photographic documentations. At the same time, his earliest works correspond exactly to what is described above; i.e., his actions were performed primarily for the photographic camera, not at all for the attending public, and were presented in the form of a photographic series." . . . "Photography and Fiction in Czech 'Action Art' - participation in the conference Photography and the Unrepresentable. A History of Photographic (Mis)representation" . "%22[W]e cannot even recognize the representational power of a medium except with reference to other media.%22 (Jay David Bolter and Richard Grusin, Remediation. Understanding New Media) Following-up on the quoted text, I showed what we come to know about the possibilities of photographic representation during the moment when photography enters into a relationship with performance art. I thus concerned myself with the relationship between a photograph and an action taking place which is recorded onto the photograph, and I attempted to show that for the making of a photograph an actual realization of the %22action taking place%22 is not necessarily needed. For example, within its broader whole a photographic series or sequence has this photographic ability to create the illusion of temporal succession and of the fluency of the recorded action. The photographic series then serves as a tool for inducing the impression that the depicted action really took place. In such a case, a paradoxical situation arises, in which evidently, if it were not for the photographic equipment, the action would not have occurred. I traced the described principle in concrete examples of Czech art from the 1970s. In then politically isolated Czechoslovakia, action art, not tied to institutions and artistic operation, presented a space for free creation. Easily transportable photographic records moreover guaranteed the possibility of publication in foreign magazines and even exhibiting on an international level. If I were to mention just one example for them all, I introduced Karel Miler, whose work was abundantly published and exhibited in the form of photographic documentations. At the same time, his earliest works correspond exactly to what is described above; i.e., his actions were performed primarily for the photographic camera, not at all for the attending public, and were presented in the form of a photographic series."@en . . "Photography and Fiction in Czech 'Action Art' - participation in the conference Photography and the Unrepresentable. A History of Photographic (Mis)representation"@en . . "Buddeus, Hana" . . "1"^^ . . . "[F0095B859748]" . "Photography and Fiction in Czech 'Action Art' - participation in the conference Photography and the Unrepresentable. A History of Photographic (Mis)representation" . "RIV/60461071:_____/12:#0000266!RIV13-MSM-60461071" . . . . "Photography and Fiction in Czech 'Action Art' - participation in the conference Photography and the Unrepresentable. A History of Photographic (Mis)representation"@en . "158559" . . "art history; art theory; eastern bloc; Czechoslovakia; performance; photography"@en . "1"^^ . . . . "http://www.essex.ac.uk/arthistory/photography_and_the_unrepresentable/patu_programme.html" . . . "RIV/60461071:_____/12:#0000266" .