This book explores the territories where manual, graphic, photographic, and digital techniques interfere and interlace in sciences and humanities.
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Autorenporträt
Sara Hillnhuetter is a research associate in the LOEWE cluster "Architectures of Order" at the Goethe University Frankfurt. Stefanie Klamm is a research associate at Gotha Research Centre, University of Erfurt. Friedrich Tietjen works as a researcher and curator and is one of the founders and co-organizers of the annual conference "After Post-Photography" in St. Petersburg, Russia.
Inhaltsangabe
Introduction: Where Does Photography Start? And Where Does it End? A Hybrid Introduction Sara Hillnhuetter, Stefanie Klamm, Friedrich Tietjen Part 1: Hybrid Measurement Sara Hillnhetter 1. Hybrid Photography in the History of Science: The Case of Astronomical Practice Omar W. Nasim 2. The Map as a Photograph: Theodor Scheimpflug's Balloon Aerial Photogrammetry Michael Kempf 3. Seen from Above: Wilhelm Halffter's Photographs of 1854, Depicting the Terrain Models of Hermann and Adolph Schlagintweit Sigrid Schulze 4. In Order of Disappearance: Photography, Measurement and Art Historical Practice in Nineteenth-Century German Sara Hillnhetter Part 2: Hybrid Materiality Stefanie Klamm 5. "Imageability": Aligning Bodies and Imaging Technologies Kathrin Friedrich 6. Beyond Retouching: Hans Virchow's Mixed Media and His X-ray Drawings of the Lotus Foot Vera Dünkel 7. From Photography to Printing: the Chronophotography of Étienne-Jules Marey Linda Bertelli 8. Entangled Environments: Diorama, Photography, and the Staging of Natural Surroundings Alexander Streitberger 9. Reconfiguring the Use of Photography in Archaeology Stefanie Klamm Part 3: Hybrid Reproduction Friedrich Tietjen 10. "The Camera That Takes a Face, Can Take a Page": Microfilm as a Scientific Aid Estelle Blaschke 11. Stereo Atlases as Hybrid Knowledge Kelley Wilder 12. Retouching, Staging, and Authenticity: Early Animal Photography and the Tradition of Popular Zoological Illustration around 1900 Alexander Gall 13. "Offering Pleasures to the Eye." Max Semrau's Kunst des Altertums (1899), Its Illustrations, and Art History's Ignorance Towards Reproduction Friedrich Tietjen 14. Fantasy of a World Without Humans Jimena Canales
Introduction: Where Does Photography Start? And Where Does it End? A Hybrid Introduction Sara Hillnhuetter, Stefanie Klamm, Friedrich Tietjen Part 1: Hybrid Measurement Sara Hillnhetter 1. Hybrid Photography in the History of Science: The Case of Astronomical Practice Omar W. Nasim 2. The Map as a Photograph: Theodor Scheimpflug's Balloon Aerial Photogrammetry Michael Kempf 3. Seen from Above: Wilhelm Halffter's Photographs of 1854, Depicting the Terrain Models of Hermann and Adolph Schlagintweit Sigrid Schulze 4. In Order of Disappearance: Photography, Measurement and Art Historical Practice in Nineteenth-Century German Sara Hillnhetter Part 2: Hybrid Materiality Stefanie Klamm 5. "Imageability": Aligning Bodies and Imaging Technologies Kathrin Friedrich 6. Beyond Retouching: Hans Virchow's Mixed Media and His X-ray Drawings of the Lotus Foot Vera Dünkel 7. From Photography to Printing: the Chronophotography of Étienne-Jules Marey Linda Bertelli 8. Entangled Environments: Diorama, Photography, and the Staging of Natural Surroundings Alexander Streitberger 9. Reconfiguring the Use of Photography in Archaeology Stefanie Klamm Part 3: Hybrid Reproduction Friedrich Tietjen 10. "The Camera That Takes a Face, Can Take a Page": Microfilm as a Scientific Aid Estelle Blaschke 11. Stereo Atlases as Hybrid Knowledge Kelley Wilder 12. Retouching, Staging, and Authenticity: Early Animal Photography and the Tradition of Popular Zoological Illustration around 1900 Alexander Gall 13. "Offering Pleasures to the Eye." Max Semrau's Kunst des Altertums (1899), Its Illustrations, and Art History's Ignorance Towards Reproduction Friedrich Tietjen 14. Fantasy of a World Without Humans Jimena Canales
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