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Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs

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Zeitschriftentitel: Science in Context
Personen und Körperschaften: Geimer, Peter
In: Science in Context, 17, 2004, 4, S. 467-501
Medientyp: E-Article
Sprache: Englisch
veröffentlicht:
Cambridge University Press (CUP)
Schlagwörter:
author_facet Geimer, Peter
Geimer, Peter
author Geimer, Peter
spellingShingle Geimer, Peter
Science in Context
Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
History and Philosophy of Science
General Social Sciences
author_sort geimer, peter
spelling Geimer, Peter 0269-8897 1474-0664 Cambridge University Press (CUP) History and Philosophy of Science General Social Sciences http://dx.doi.org/10.1017/s0269889704000237 <jats:p>Argument</jats:p><jats:p>In 1867 Edouard Manet painted the execution of the Mexican emperor Maximilian of Habsburg. Manet broke with the classical tradition of history painting, for he depicted the actual shooting itself instead of choosing moments before or after the execution. Thus, the painting refers to a moment that in real time would have been far too brief to be perceptible. Manet presented a portrait of living actors whose execution has already taken place. This depiction of the imperceptible invites comparison to contemporaneous photographs of extremely short periods of time: attempts to capture flying cannon balls (Thomas Kaife), to take flashlight portraits of patients that would undermine their bodies' reaction time (Albert Londe), to visualize the successive stages of a drop falling into water (Arthur Worthington). Like Manet these scientists referred to an “optical unconscious” (Walter Benjamin). A closer look at their work reveals that they dealt with a space of knowledge that went beyond the classical dichotomy between objectivity and imagination, scientific and artistic pictures.</jats:p> Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs Science in Context
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title Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_unstemmed Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_full Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_fullStr Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_full_unstemmed Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_short Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_sort picturing the black box: on blanks in nineteenth century paintings and photographs
topic History and Philosophy of Science
General Social Sciences
url http://dx.doi.org/10.1017/s0269889704000237
publishDate 2004
physical 467-501
description <jats:p>Argument</jats:p><jats:p>In 1867 Edouard Manet painted the execution of the Mexican emperor Maximilian of Habsburg. Manet broke with the classical tradition of history painting, for he depicted the actual shooting itself instead of choosing moments before or after the execution. Thus, the painting refers to a moment that in real time would have been far too brief to be perceptible. Manet presented a portrait of living actors whose execution has already taken place. This depiction of the imperceptible invites comparison to contemporaneous photographs of extremely short periods of time: attempts to capture flying cannon balls (Thomas Kaife), to take flashlight portraits of patients that would undermine their bodies' reaction time (Albert Londe), to visualize the successive stages of a drop falling into water (Arthur Worthington). Like Manet these scientists referred to an “optical unconscious” (Walter Benjamin). A closer look at their work reveals that they dealt with a space of knowledge that went beyond the classical dichotomy between objectivity and imagination, scientific and artistic pictures.</jats:p>
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description <jats:p>Argument</jats:p><jats:p>In 1867 Edouard Manet painted the execution of the Mexican emperor Maximilian of Habsburg. Manet broke with the classical tradition of history painting, for he depicted the actual shooting itself instead of choosing moments before or after the execution. Thus, the painting refers to a moment that in real time would have been far too brief to be perceptible. Manet presented a portrait of living actors whose execution has already taken place. This depiction of the imperceptible invites comparison to contemporaneous photographs of extremely short periods of time: attempts to capture flying cannon balls (Thomas Kaife), to take flashlight portraits of patients that would undermine their bodies' reaction time (Albert Londe), to visualize the successive stages of a drop falling into water (Arthur Worthington). Like Manet these scientists referred to an “optical unconscious” (Walter Benjamin). A closer look at their work reveals that they dealt with a space of knowledge that went beyond the classical dichotomy between objectivity and imagination, scientific and artistic pictures.</jats:p>
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spelling Geimer, Peter 0269-8897 1474-0664 Cambridge University Press (CUP) History and Philosophy of Science General Social Sciences http://dx.doi.org/10.1017/s0269889704000237 <jats:p>Argument</jats:p><jats:p>In 1867 Edouard Manet painted the execution of the Mexican emperor Maximilian of Habsburg. Manet broke with the classical tradition of history painting, for he depicted the actual shooting itself instead of choosing moments before or after the execution. Thus, the painting refers to a moment that in real time would have been far too brief to be perceptible. Manet presented a portrait of living actors whose execution has already taken place. This depiction of the imperceptible invites comparison to contemporaneous photographs of extremely short periods of time: attempts to capture flying cannon balls (Thomas Kaife), to take flashlight portraits of patients that would undermine their bodies' reaction time (Albert Londe), to visualize the successive stages of a drop falling into water (Arthur Worthington). Like Manet these scientists referred to an “optical unconscious” (Walter Benjamin). A closer look at their work reveals that they dealt with a space of knowledge that went beyond the classical dichotomy between objectivity and imagination, scientific and artistic pictures.</jats:p> Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs Science in Context
spellingShingle Geimer, Peter, Science in Context, Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs, History and Philosophy of Science, General Social Sciences
title Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_full Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_fullStr Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_full_unstemmed Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_short Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
title_sort picturing the black box: on blanks in nineteenth century paintings and photographs
title_unstemmed Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs
topic History and Philosophy of Science, General Social Sciences
url http://dx.doi.org/10.1017/s0269889704000237