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The Victorian era heralded an age of transformation in which momentous changes in the field of natural history coincided with the rise of new visual technologies. Concurrently, different parts of the British Empire began to more actively claim their right to being acknowledged as indispensable contributors to knowledge and the progress of empire. This book addresses the complex relationship between natural history and photography from the 1850s to the 1880s in Britain and its colonies: Australia, New Zealand and, to a lesser extent, India. Coinciding with the rise of the modern museum, photography’s arrival was timely, and it rapidly became an essential technology for recording and publicising rare objects and valuable collections. Also during this period, the medium assumed a more significant role in the professional practices and reputations of naturalists than has been previously recognized, and it figured increasingly within the expanding specialized networks that were central to the production and dissemination of new knowledge. In an interrogation that ranges from the first forays into museum photography and early attempts to document collecting expeditions to the importance of traditional and photographic portraiture for the recognition of scientific discoveries, this book not only recasts the parameters of what we actually identify as natural history photography in the Victorian era but also how we understand the very structure of empire in relation to this genre at that time.
From vividly colored underwater photographs of Australia's Great Barrier Reef to life-size dioramas re-creating coral reefs and the bounty of life they sustained, the work of early twentieth-century explorers and photographers fed the public's fascination with reefs. In the 1920s John Ernest Williamson in the Bahamas and Frank Hurley in Australia produced mass-circulated and often highly staged photographs and films that cast corals as industrious, colonizing creatures, and the undersea as a virgin, unexplored, and fantastical territory. In Coral Empire Ann Elias traces the visual and social history of Williamson and Hurley and how their modern media spectacles yoked the tropics and coral reefs to colonialism, racism, and the human domination of nature. Using the labor and knowledge of indigenous peoples while exoticizing and racializing them as inferior Others, Williamson and Hurley sustained colonial fantasies about people of color and the environment as endless resources to be plundered. As Elias demonstrates, their reckless treatment of the sea prefigured attitudes that caused the environmental crises that the oceans and reefs now face.
How did scientists, artists, designers, manufacturers and amateur enthusiasts experience and value the sea and its products? Examining the commoditization of the ocean world during the nineteenth century, this book demonstrates how the transaction of oceanic objects inspired a multifaceted material discourse stemming from scientific exploration, colonial expansion, industrialization, and the rise of middle-class leisure. From the seashore to the seabed, marine organisms and environments, made tangible through processing and representational technologies, captivated practitioners and audiences. Combining essays and case studies by scholars, curators, and scientists, Sea Currents investigates the collecting and display, illustration and ornamentation, and trade and consumption of marine flora and fauna, analysing their material, aesthetic and commercial dimensions. Traversing global art history, the history of science, empire studies, anthropology, ecocriticism and material culture, this book surveys the currency of marine matter embedded in the economies and ecologies of a modernizing ocean world.
Published in association with the Australian Museum in conjunction with the exhibition Capturing Nature: Early scientific photography 1857-1893.
This edited collection explores the intersection of historical studies and the artistic representation of the past in the long nineteenth century. The case studies provide not just an account of the pursuit of history in art within Western Europe but also examples from beyond that sphere. These cover canonical and conventional examples of history painting as well as more inclusive, ‘popular’ and vernacular visual cultural phenomena. General themes explored include the problematics internal to the theory and practice of academic history painting and historical genre painting, including compositional devices and the authenticity of artefacts depicted; relationships of power and purpose in historical art; the use of historical art for alternative Liberal and authoritarian ideals; the international cross-fertilisation of ideas about historical art; and exploration of the diverse influences of socioeconomic and geopolitical factors. This book will be of particular interest to scholars of the histories of nineteenth-century art and culture.
"Examines the relationship between photography and medicine in American culture. Focuses on the American Civil War and postbellum Philadelphia to explore how medical models and metaphors helped establish the professional legitimacy of commercial photography while promoting belief in the rehabilitative powers of studio portraiture"--Provided by publisher.
Slides for the magic or optical lantern were a major tool for knowledge transfer in the second half of the 19th and early 20th centuries. Schools, universities, the church and many public and private institutions all over the world relied on the lantern for illustrated lectures and demonstrations. This volume brings together scholarly research on the educational uses of the optical lantern in different disciplines by international specialists, representing the state of the art of magic lantern research today. In addition, it contains a lab section with contributions by archivists and curators and performers reflecting on ways to preserve, present and re-use this immensely rich cultural heritage today. Authors of this collection of essays will include Richard Crangle, Sarah Dellmann, Ine van Dooren, Claire Dupré La Tour, Jenny Durrant, Francisco Javier Frutos Esteban, Anna Katharina Graskamp, Emily Hayes, Erkki Huhtamo, Martyn Jolly, Joe Kember, Frank Kessler, Machiko Kusahara, Sabine Lenk, Vanessa Otero, Carmen López San Segundo, Ariadna Lorenzo Sunyer, Daniel Pitarch, Jordi Pons, Montse Puigdeval, Angélique Quillay, Angel Quintana Morraja, Nadezhda Stanulevich, Jennifer Tucker, Kurt Vanhoutte, Márcia Vilarigues, Joseph Wachelder, Artemis Willis, Lee Wing Ki, Irene Suk Mei Wong, and Nele Wynants.
Mobility was central to imperialism, from the human movements entailed in exploration, travel and migration to the information, communications and commodity flows vital to trade, science, governance and military power. While historians have written on exploration, commerce, imperial transport and communications networks, and the movements of slaves, soldiers and scientists, few have reflected upon the social, cultural, economic and political significance of mobile practices, subjects and infrastructures that underpin imperial networks, or examined the qualities of movement valued by imperial powers and agents at different times. This collection explores the intersection of debates on imperial relations, colonialism and empire with emerging work on mobility. In doing this, it traces how the movements of people, representations and commodities helped to constitute the British empire from the late-eighteenth century through to the Second World War.
Ben's story takes place in 1977 and is told in words. Rose's story in 1927 is told entirely in pictures. Ever since his mother died, Ben feels lost. At home with her father, Rose feels alone. When Ben finds a mysterious clue hidden in his mother's room, both children risk everything to find what's missing.
With concepts of participation discussed in multiple disciplines from media studies to anthropology, from political sciences to sociology, the first issue of the new yearbook History of Intellectual Culture (HIC) dedicates a thematic section to the way knowledge can and arguably must be conceptualized as "participatory". Introducing and exploring "participatory knowledge", the volume aims to draw attention to the potential of looking at knowledge formation and circulation through a new lens and to open a dialogue about how and what concepts and theories of participation can contribute to the history of knowledge. By asking who gets to participate in defining what counts as knowledge and in deciding whose knowledge is circulated, modes of participation enter into the examination of knowledge on various levels and within multiple cultural contexts. The articles in this volume attest to the great variety of approaches, contexts, and interpretations of "participatory knowledge", from the sociological projects of the Frankfurt School to the Uppsala-based Institute for Race Biology, from the Argentinian National Folklore Survey to current hashtag activism and Covid-19-archive projects. HIC sees knowledge as rooted in social and political structures, determined by modes of transfer and produced in collaborative processes. The notion of "participatory knowledge" highlights in a compelling way how knowledge is rooted in cultural practices and social configurations.