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03217aam a2200421 i 4500 001 F3A5C56CECCE11E5A64DF5B3DAD10320 003 SILO 005 20160318010059 008 150511s2015 mnua bm s001 0 eng 010 $a 2015017705 020 $a 0816694729 020 $a 9780816694723 020 $a 0816694710 020 $a 9780816694716 035 $a (OCoLC)907651074 040 $a DLC $e rda $b eng $c DLC $d YDX $d YDXCP $d BTCTA $d BDX $d OCLCF $d OCLCO $d CDX $d IUL $d SILO 042 $a pcc 050 00 $a TR183 $b .M336 2015 082 00 $a 770.1 $2 23 084 $a PHO005000 $a PHO011000 $a PHO005000 $2 bisacsh 100 1 $a Maimon, Vered, $e author. 245 10 $a Singular images, failed copies : $b William Henry Fox Talbot and the early photograph / $c Vered Maimon. 264 1 $a Minneapolis, MN : $b University of Minnesota Press, $c [2015] 300 $a xxvi, 269 pages : $b illustrations ; $c 22 cm 500 $a Outgrowth of the author's thesis (Ph. D.--Columbia University, 2006). 504 $a Includes bibliographical references and index. 505 0 $a 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 Botanical Images and Historical Documents: The First Applications of Photography: 3.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. 520 $a "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. "-- $c Provided by publisher. 600 10 $a Talbot, William Henry Fox, $d 1800-1877. 600 17 $a Talbot, William Henry Fox, $d 1800-1877. $2 fast $0 (OCoLC)fst00046449 650 0 $a Photography $x Philosophy. 650 7 $a PHOTOGRAPHY / History. $2 bisacsh 650 7 $a PHOTOGRAPHY / Individual Photographers / General. $2 bisacsh 650 7 $a PHOTOGRAPHY / Criticism. $2 bisacsh 650 7 $a Photography $x Philosophy. $2 fast $0 (OCoLC)fst01061781 941 $a 1 952 $l OVUX522 $d 20191214020701.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=F3A5C56CECCE11E5A64DF5B3DAD10320Initiate Another SILO Locator Search