Reasoned and Unreasoned Images: The Photography of Bertillon, Galton, and Marey

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Penn State Press, 2012 - Photography - 265 pages
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In the last decades of the nineteenth century, photography underwent one of the most momentous transformations in its history, a renegotiation of the camera&’s relationship to the visible world. Reasoned and Unreasoned Images considers in detail the work of three photographic investigators who developed new uses for the medium that centered on &“the photography of the invisible&”: Alphonse Bertillon, Francis Galton, and Etienne-Jules Marey. Bertillon attempted to establish a &“science of identity&” by making photographic records of criminal bodies. Galton may be said to have taken photographs of ideas: he sought to create accurate yet abstract images of such entities as &“the criminal&” and &“the lunatic.&” And Marey, a physiologist, created photographic visualizations of nonvisible events&—the positions through which bodies pass so quickly that they cannot be seen. Ellenbogen approaches the work of these photographers as a means to develop new theoretical perspectives on questions of broad interest in the humanities: the relation of photographs to the world and their use as agents of knowledge, the intersections between artistic and scientific images, the place of painting and drawing in photography&’s historical employment, and the use of imaging technologies in systems of social control and surveillance.

 

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Contents

Introduction
1
Criminality Identity and the Unreasoned Image
25
To Fix the Human Personality
29
Mnemonic Economies or Galleries of Paintings
55
Educated Eyes and Moments of Repose
75
Portraits of the Invisible
105
The Monstrous the Meaningless and Margins of Error
111
The Basis of a Very High Order of Artistic Work
129
Notes to Chapter 1
227
Notes to Chapter 2
230
Notes to Chapter 3
231
Notes to PART II
237
Notes to Chapter 5
239
Notes to Chapter 6
242
Notes to PART III
244
Notes to Chapter 8
247

Images and Antecedents
155
Camera and Mind
171
Making Sense
177
Creatures of Reason
195
Blind Gods and Legless Men
219
Notes to Introduction
223
Notes to Conclusion
249
Bibliography
251
Index
259
COVER Back
266
Copyright

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About the author (2012)

Josh Ellenbogen is Director of Graduate Studies and Assistant Professor of the History of Art at the University of Pittsburgh.

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