This link has been bookmarked by 16 people . It was first bookmarked on 26 Oct 2006, by Phil.
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28 Jan 08
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12 Jun 07
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Daguerre called the image he created in 1837 the “daguerreotype” (acquiring a patent from the French government for the process in 1839). He made extravagant claims for his device. It is “not merely an instrument which serves to draw nature,” he wrote in 1838, it “gives her the power to reproduce herself.”
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In the story, Holgrave, the strange lodger living in the gabled house, is a daguerreotypist (as well as a political radical) who says of his art: “While we give it credit only for depicting the merest surface, it actually brings out the secret character with a truth no painter would ever venture upon, even could he detect it.” It is Holgrave’s silvery daguerreotypes that eventually reveal the nefarious motives of Judge Pyncheon—and in so doing suggest that the camera could expose human character more acutely than the eye.
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07 Apr 07
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26 Oct 06
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28 Jun 06
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17 Apr 06
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03 Dec 05
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The Image Culture Christine Rosen "Playgrounds of the Self" (Summer 2005) "The Age of Egocasting" (Fall 2004/Winter 2005) "Our Cell Phones, Ourselves" (Summer 2004) "The Democratization of Beauty" (Spring 2004) "Romance in the Information Age" (Winter 2004) "Why Not Artificial Wombs?" (Fall 2003) "Eugenics%u2014Sacred and Profane" (Summer 2003) "Liberty, Privacy, and DNA Databases" (Spring 2003) hen Hurricane Katrina struck the Gulf Coast of Mississippi, Alabama, and Louisiana in late August, images of the immense devastation were immediately available to anyone with a television set or an Internet connection. Although images of both natural and man-made disasters have long been displayed in newspapers and on television, the number and variety of images in the aftermath of Katrina reveals the sophistication, speed, and power of images in contemporary American culture. Satellite photographs from space offered us miniature before and after images of downtown New Orleans and the damaged coast of Biloxi; video footage from an array of news outlets tracked rescue operations and recorded the thoughts of survivors; wire photos captured the grief of victims; amateur pictures, taken with camera-enabled cell phones or digital cameras and posted to personal blogs, tracked the disaster%u2019s toll on countless individuals. The world was offered, in a negligible space of time, both God%u2019s-eye and man%u2019s-eye views of a devastated region. Within days, as pictures of the squalor at the Louisiana Superdome and photographs of dead bodies abandoned in downtown streets emerged, we confronted our inability to cope with the immediate chaos, destruction, and desperati
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The Image Culture Christine Rosen "Playgrounds of the Self" (Summer 2005) "The Age of Egocasting" (Fall 2004/Winter 2005) "Our Cell Phones, Ourselves" (Summer 2004) "The Democratization of Beauty" (Spring 2004) "Romance in the Information Age" (Winter 2004) "Why Not Artificial Wombs?" (Fall 2003) "Eugenics%u2014Sacred and Profane" (Summer 2003) "Liberty, Privacy, and DNA Databases" (Spring 2003) hen Hurricane Katrina struck the Gulf Coast of Mississippi, Alabama, and Louisiana in late August, images of the immense devastation were immediately available to anyone with a television set or an Internet connection. Although images of both natural and man-made disasters have long been displayed in newspapers and on television, the number and variety of images in the aftermath of Katrina reveals the sophistication, speed, and power of images in contemporary American culture. Satellite photographs from space offered us miniature before and after images of downtown New Orleans and the damaged coast of Biloxi; video footage from an array of news outlets tracked rescue operations and recorded the thoughts of survivors; wire photos captured the grief of victims; amateur pictures, taken with camera-enabled cell phones or digital cameras and posted to personal blogs, tracked the disaster%u2019s toll on countless individuals. The world was offered, in a negligible space of time, both God%u2019s-eye and man%u2019s-eye views of a devastated region. Within days, as pictures of the squalor at the Louisiana Superdome and photographs of dead bodies abandoned in downtown streets emerged, we confronted our inability to cope with the immediate chaos, destru
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21 Nov 05
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19 Nov 05
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