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Author: Josh Ellenbogen
Publisher: Penn State Press
Published: 2012
Total Pages: 281
ISBN-13: 0271052597
DOWNLOAD EBOOK"Examines three projects in late nineteenth-century scientific photography: the endeavors of Alphonse Bertillon, Francis Galton, and Etienne-Jules Marey. Develops new theoretical perspectives on the history of photographic technology, as well as the history of scientific imaging more generally"--
Author: Jordan Bear
Publisher: Penn State Press
Published: 2017-05-30
Total Pages: 398
ISBN-13: 0271089261
DOWNLOAD EBOOKHow do photographs compel belief and endow knowledge? To understand the impact of photography in a given era, we must study the adjacent forms of visual persuasion with which photographs compete and collaborate. In photography’s early days, magic shows, scientific demonstrations, and philosophical games repeatedly put the visual credulity of the modern public to the test in ways that shaped, and were shaped by, the reality claims of photography. These venues invited viewers to judge the reliability of their own visual experiences. Photography resided at the center of a constellation of places and practices in which the task of visual discernment—of telling the real from the constructed—became an increasingly crucial element of one’s location in cultural, political, and social relations. In Disillusioned: Victorian Photography and the Discerning Subject, Jordan Bear tells the story of how photographic trickery in the 1850s and 1860s participated in the fashioning of the modern subject. By locating specific mechanisms of photographic deception employed by the leading mid-century photographers within this capacious culture of discernment, Disillusioned integrates some of the most striking—and puzzling—images of the Victorian period into a new and expansive interpretive framework.
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Published: 1988
Total Pages: 204
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DOWNLOAD EBOOKAuthor: Gabrielle Moser
Publisher: Penn State Press
Published: 2020-04-29
Total Pages: 170
ISBN-13: 0271082852
DOWNLOAD EBOOKIn Projecting Citizenship, Gabrielle Moser gives a comprehensive account of an unusual project produced by the British government’s Colonial Office Visual Instruction Committee at the beginning of the twentieth century—a series of lantern slide lectures that combined geography education and photography to teach schoolchildren around the world what it meant to look and to feel like an imperial citizen. Through detailed archival research and close readings, Moser elucidates the impact of this vast collection of photographs documenting the land and peoples of the British Empire, circulated between 1902 and 1945 in classrooms from Canada to Hong Kong, from the West Indies to Australia. Moser argues that these photographs played a central role in the invention and representation of imperial citizenship. She shows how citizenship became a photographable and teachable subject by tracing the intended readings of the images that the committee hoped to impart to viewers and analyzing how spectators may have used their encounters with these photographs for protest and resistance. Interweaving political and economic history, history of pedagogy, and theories of citizenship with a consideration of the aesthetic and affective dimensions of viewing the lectures, Projecting Citizenship offers important insights into the social inequalities and visual language of colonial rule.
Author: Horst Bredekamp
Publisher: University of Chicago Press
Published: 2019-04-10
Total Pages: 209
ISBN-13: 022625898X
DOWNLOAD EBOOKIn science and technology, the images used to depict ideas, data, and reactions can be as striking and explosive as the concepts and processes they embody—both works of art and generative forces in their own right. Drawing on a close dialogue between the histories of art, science, and technology, The Technical Image explores these images not as mere illustrations or examples, but as productive agents and distinctive, multilayered elements of the process of generating knowledge. Using beautifully reproduced visuals, this book not only reveals how scientific images play a constructive role in shaping the findings and insights they illustrate, but also—however mechanical or detached from individual researchers’ choices their appearances may be—how they come to embody the styles of a period, a mindset, a research collective, or a device. Opening with a set of key questions about artistic representation in science, technology, and medicine, The Technical Image then investigates historical case studies focusing on specific images, such as James Watson’s models of genes, drawings of Darwin’s finches, and images of early modern musical automata. These case studies in turn are used to illustrate broad themes ranging from “Digital Images” to “Objectivity and Evidence” and to define and elaborate upon fundamental terms in the field. Taken as a whole, this collection will provide analytical tools for the interpretation and application of scientific and technological imagery.
Author: Rex Ferguson
Publisher: Penn State Press
Published: 2021-07-12
Total Pages: 263
ISBN-13: 0271091371
DOWNLOAD EBOOKSince the mid-nineteenth century, there has been a notable acceleration in the development of the techniques used to confirm identity. From fingerprints to photographs to DNA, we have been rapidly amassing novel means of identification, even as personal, individual identity remains a complex chimera. The Art of Identification examines how such processes are entangled within a wider sphere of cultural identity formation. Against the backdrop of an unstable modernity and the rapid rise and expansion of identificatory techniques, this volume makes the case that identity and identification are mutually imbricated and that our best understanding of both concepts and technologies comes through the interdisciplinary analysis of science, bureaucratic infrastructures, and cultural artifacts. With contributions from literary critics, cultural historians, scholars of film and new media, a forensic anthropologist, and a human bioarcheologist, this book reflects upon the relationship between the bureaucratic, scientific, and technologically determined techniques of identification and the cultural contexts of art, literature, and screen media. In doing so, it opens the interpretive possibilities surrounding identification and pushes us to think about it as existing within a range of cultural influences that complicate the precise formulation, meaning, and reception of the concept. In addition to the editors, the contributors to this volume include Dorothy Butchard, Patricia E. Chu, Jonathan Finn, Rebecca Gowland, Liv Hausken, Matt Houlbrook, Rob Lederer, Andrew Mangham, Victoria Stewart, and Tim Thompson.
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Publisher: Penn State Press
Published:
Total Pages: 392
ISBN-13: 9780271048376
DOWNLOAD EBOOKSince the production of the first negative by William Henry Fox Talbot in Wiltshire's Lacock Abbey in 1835, English photography has played a central role in revolutionizing the production of images, yet it has largely evaded critical attention. The Making of English Photography investigates this new enterprise--and specifically how professional photographers shaped a strange aesthetic for their practice. The Making of English Photography examines the development of English photography as an industrial, commercial, and (most problematically) artistic enterprise. Concentrating on the first decades of photography's history, Edwards tracks the pivotal distinction between art and document as it emerged in the writings of the "men of science" and professional photographers, suggesting that this key opposition is rooted in social fantasies of the worker. Through a close reading of the photographic press in the 1860s, he both reconstructs the ideological world of photographers and employs the unstable category of photography to cast light on art, class, and industrial knowledge. Bringing together an array of early photographs, recent historical and theoretical scholarship, and extensive archival sources, The Making of English Photography sheds new light on the prevailing discourses of photography as well as the antinomies of art and work in a world shaped by social division.
Author: Rochelle Rives
Publisher: JHU Press
Published: 2024-04-09
Total Pages: 258
ISBN-13: 1421448378
DOWNLOAD EBOOK"This work bridges a number of fields in the humanities to examine how modernist representations demonstrate the limits of facial expressivity as a marker of the true qualities of a person"--
Author: Daniel H. Magilow
Publisher: Penn State Press
Published: 2012
Total Pages: 202
ISBN-13: 0271054220
DOWNLOAD EBOOK"Examines photo essays from Weimar Germany's many social crises. Traces photography's emergence as a new language that German photographers used to intervene in modernity's key political and philosophical debates: changing notions of nature and culture, national and personal identity, and the viability of parliamentary democracy"--
Author: Matthew C. Hunter
Publisher: University of Chicago Press
Published: 2020-03-23
Total Pages: 298
ISBN-13: 022639039X
DOWNLOAD EBOOKPainting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century—and how they can alter our conceptions of photography today. As early as the 1670s, experimental philosophers at the Royal Society of London had studied the visual effects of dynamic combustibles. By the 1770s, chemical volatility became central to the ambitious paintings of Sir Joshua Reynolds, premier portraitist and first president of Britain’s Royal Academy of Arts. Valued by some critics for changing in time (and thus, for prompting intellectual reflection on the nature of time), Reynolds’s unstable chemistry also prompted new techniques of chemical replication among Matthew Boulton, James Watt, and other leading industrialists. In turn, those replicas of chemically decaying academic paintings were rediscovered in the mid-nineteenth century and claimed as origin points in the history of photography. Tracing the long arc of chemically produced and reproduced art from the 1670s through the 1860s, the book reconsiders early photography by situating it in relationship to Reynolds’s replicated paintings and the literal engines of British industry. By following the chemicals, Painting with Fire remaps familiar stories about academic painting and pictorial experiment amid the industrialization of chemical knowledge.
