Monday, 1 January 2018
Light's Windows And Rooms : Cyanotype/Leaded Window
Tracing Light : Petworth House, West Sussex 2000
David Alan Mellor, Garry Fabian Miller.
Light And The Genius Loci
For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in 'a certain history of the relationships; earth/sun in the system of perception'.
Mutations Of Light
Petworth Window, 6 July 1999
Light's Windows And Rooms
Passing towards the Invisible.
The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent theme in William Henry Fox Talbot's early speculations.
BROUGHT TO LIGHT
PHOTOGRAPHY AND THE INVISIBLE 1840-1900
Picturing The Universe
Invisible objects, penciled by nature's own hand.
In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the 'world itself'.
Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.
An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand.
William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6x22.5 cm.
Techniques Of The Observer
On Vision And Modernity In The Nineteenth Century
The Camera Obscura and its Subject
Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject-effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one's relation to the manifold contents of the now 'exterior' world.
UNDER THE SUN
By The Light Of The Fertile Observer
Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.
An Epiphany Of Light
David Alan Mellor