Carregant...
Singular images, failed copies : William Henry Fox Talbot and the early photograph
Introduction: The Photographic Imagination -- Part I. British Science and the Conception of Photography: 1. Scientific Method: The Engine of Knowledge; 2. Imagination: The Art of Discovery -- Part II. Botanical Images and Historical Documents: The First Applications of Photography: 3. Time: Singular...
Guardat en:
| Autor principal: | |
|---|---|
| Format: | Online Resource Llibre |
| Idioma: | English |
| Publicat: |
Minneapolis, MN
: University of Minnesota Press
, [2015]
|
| Matèries: | |
| Accés en línia: | http://kunst.proxy.fid-lizenzen.de/fid/jstor-ebooks-art/www.jstor.org/stable/10.5749/j.ctt194xh16 |
| Publicació relacionada: | Erscheint auch als:
Singular images, failed copies |
| Notes de l'autor: | Vered Maimon |
| E-Book Packages: | JSTOR E-Books in Art, Design and Photography |
| Sumari: | Introduction: The Photographic Imagination -- Part I. British Science and the Conception of Photography: 1. Scientific Method: The Engine of Knowledge; 2. Imagination: The Art of Discovery -- Part II. Botanical Images and Historical Documents: The First Applications of Photography: 3. Time: Singular Images, Failed Copies; 4. History: Displaced Origins and The Pencil of Nature. "Focusing on early nineteenth-century England-and on the works and texts of the inventor of paper photography, William Henry Fox Talbot-Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today's prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot's accounts on the removal of the "artist's hand" in favor of "the pencil of nature" did not mark a shift from manual to "mechanical" and more accurate or "objective" systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries."-- |
|---|---|
| Descripció de l’ítem: | Outgrowth of the author's thesis (Ph. D.--Columbia University, 2006) Includes bibliographical references and index |
| Descripció física: | 1 Online-Ressource (xxvi, 269 pages) illustrations |
| ISBN: | 1452944202 145295352X 9781452944203 9781452953526 |
