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Illustrations en couleurs par E. Paris, Piazza, Envoi de Piazza. DIXON Georges. Paris, Maradan, Quelques rousseurs. Paris, DORIGNY par A. Barbier I f.
On joint :E. Complet des 22 planches de portraits. DOUGHTY Charles M. Cambridge, University Press, DU BELLAY Martin. Martin Du Bellay Seigneur de Langey.
HISTOIRE NATURELLE. DU MOULIN Gabriel. Rouen, Jean Osmont, Fort vol. DU TERTRE R. Paris, Thomas Jolly, Paris, Flammarion, DUBUISSON Paul-Ulrich.
Par M. Paris, Lenoir, An X. DUFRENOY Mme et TASTU Amable. Paris, Persan, Demi-chagrin noir, tr. Polak, Tull, anglais.
DUJARDIN Paul — La Normandie Monumentale et Pittoresque. Le Havre, Lemale , 3 volumes in-folio en rel. Complet peu de rouss. Paris, Gide, Les 10 premiers volumes avec une carte par vol.
La carte du T. DURAND-VAUGARON L. Humphrey Illo. Boethius De institutione arithmetica libri duo. Institute of Medieval Music, Vol.
LXXXVI, Ottawa, ISBN: , , p. Admonitio generalis die lunae, decimo kalendas aprilis, anno Domini, septingentesimo octogesimo nono.
The Admonitio generalis. The Admonitio generalis is in fact a very far-reaching programme of ecclesiastical, educational and general culture reforms which is divided into two distinct parts spread out over 82 articles: articles 1 to 59 concern the ecclesiastical reforms, and the articles 60 to 82 concern the educational and general culture reforms.
This legislation was an integral part of the Carolingian renovatio or correctio. The far-reaching impact of the Admonitio generalis not only affected the Carolingian Renaissance.
Alfred Boretius ed. I, MGH. Legum sectio II Vol. I , Hannoverae, , p. Admonitio generalis. Kathedralschule, des Ordo Palatii. Chapter 1: Boethius and Alcuin of York.
Charlemagne Fayard , , pages, cf. Biographie und Epochenstil im Lateinischen Mittelalter. Band 10 , Stuttgart Hiersemann , ISBN Charlemagne: the Formation of a European Identity.
Cambridge, UK Cambridge University Press , ISBN Fontes iuris Germanici antiqui in usum scholarum separatim editi. Band 16 , Hannover Hahn , , ISBN ; cf.
Paris, , 2 Volumes in-folio. De Grammatica. Migne, P. Wilhelm Schmitz, Ratingen P. Brehmen , , 86 pages, cf.
Chapter II, p. Chapter V, p. Peter Godman. Oxford Medieval Texts, Oxford, In this very instructive Versus. This ensemble of research and teachings became, thanks largely to Alcuinus, an integral part of the new Carolingian branch of the scientific-philosophical Tradition of Knowledge ; cf.
Godman , ed. The Bishops, Kings and Saints of York. Oxford, , p. I pars prior , Berlin, , p. Band I. Wissen und Weltbild.
Brepols Turnhout , , p. Nota bene 2 : 30 to 40 years separate the composition of the Versus de patribus regibus et sanctis euboricensis ecclesiae by Alcuin and the first known Carolingian citations of the works of Boethius.
Scholar at the Carolingian Court, L. Houwen, A. McDonald eds. Groningen, , p. Alcuin: Achievement and Reputation. Education and Society in the Middle Ages and the Renaissance 16 , being a part of the Ford Lectures delivered in Oxford Hilary Term, , posthumous, Leiden, Boston Brill , , p.
Nota bene 3 : In his book Alcuin: Achievement and Reputation. This point of view is in no wise bereft of interest; cf. Bernhard Bischoff.
Lebenswerk und Nachleben. II: Das geistige Leben, B. Galonnier ed. Nota bene 5 : Indeed, one observes a similarity between the Alcuin inventory and that of the catalogue of Augia insula Reichenau Island of the year , in which is found the first known mention of a copy of Boethii De institutione musica libri quinque ; Paul Lehmann ed.
Munich, , p. The Carolingians and the written word. Cambridge UK , , p. Nota bene 6 : Albeit, without denying the pertinence of this hypothesis, assuredly worthy of attention, the question, for the moment, remains open while awaiting more precise research on the subject; cf.
Rosamond McKitterick, Ibid. Die Kultur der Abtei Reichenau. Illo Humphrey. VIII, p. Mathiesen: Nr. VI Nr. Amalarius is the author of 17 known treatises on liturgy, that is to say the science of the order, and all the component parts, of worship services , 6 of the 17 treatises were lost at an early date.
Here is the catalogue and chronology of his liturgical works according to A. Cabaniss, Amalarius of Metz. Amsterdam, , p. Amalarius was, so it seems at one period, the Bishop of Metz, and was indeed the Archbishop of Trier ca.
Migne, ed. Vaticano, I. Hanssens, ed. II, p. VIII, , p. XI, , p. Manitius, Geschichte der lateinischen Literatur. Paris, , Vol. Laistner, Thought and Letters in Western Europe a.
London, , p. Samaran et Robert Marichal eds. IV Commentary, p. Chapter 2: Boethius and Amalarius Symphosius Metensis. Apuleius Lucius. Paulus Thomas, Leipzig Teubner Verlag , , cf.
De Platone et eius dogmate. Liber I, , p. Beaujeu, ed. Paris Les Belles Lettres , , p. Henry Marcan, The Harmonics of Aristoxenus. English , Oxford, , Hildesheim , p.
Laloy L. VI, Nr. II,7: 24, II,8: 25, ed. Boethius Anicius Manlius Torquatus Severinus. De institutione arithmetica libri duo.
Prologus end , I,1, I,2, I, 7; II,2, II,41, II,54; cf. Friedlein , Boethius De institutione arithmetica.
Leipzig, , pages ; J. Patrologia Latina. Paris Belles Lettres , ; H. Oosthout et I. Turnhout Brepols , ; Thesaurus Musicarum Latinarum TML.
Jacobs School of Music, Indiana University, Bloomington, Indiana, USA, Boethii De institutione arithmetica. Nota bene 1 : This study examines the 5 oldest known manuscripts, all from the 9th century, containing the Boehtii De institutione arithmetica libri duo.
This very comprehensive article is divided into seven distincts sections: 1 Historical Study of the treatise Boethii De institutione arithmetica libri duo 2 Proto-philological study and princeps critical edition of the glosses at the end of the Prologue 3 Critical glossary of Latin Stenography entries 4 Proto-philological palaeography: cross-reference signs 5 Manuscript Catalogue 6 Notes 7 6 Plates, and furnishes a precise and thorough research tool for scholars, teachers, and students on the 5 oldest known manuscripts containing the treatise Boethii De institutione arithmetica libri duo.
Nota bene 2 : In this fundamental study on the Boethii De institutione arithmetica libri duo. Boethius Anicius Manlius Torquatus Severinus , De institutione musica libri quinque ; cf.
Leipzig, reprint: Hildesheim, Olms ; C. Fundamentals of Music. Anicius Manlius Severinus Boethius. New Haven, ; C. Brisson Luc. Lettres et sciences humaines.
Jean Trouillard. Index des auteurs modernes, Analytical Index rerum. Index of important Greek terms. Bibliographie analytique, index locorum.
Sankt Augustin bei Bonn Academia Verlag , , pages, Hardcover, Format cm x cm that is to say a Format, whose absolute value, relative to the absolute Unity 1.
Band 2 Dixit Academia Verlag. The book was first published in and has been out of print for many years. Naddaf Gerard. Plato, the Myth Maker.
Chicago and London Chicago Univiversity Press LXVI pages. Platon Bbibliographie. Plato Bibliography Bibliographie Platonicienne Burnyeat Myles Fredric.
Graeser ed. Smiley ed. Butzer P. Karl der Grosse und sein Nachwirken. Mathematisches Wissen. Caiazzo Irene.
Caiazzo, A. Sannino, Turnhout: Brepols , p. Calcidius ca. Waszink, ed. Plato latinus IV , London Leiden, , 2nd edition: , p. From the Cercle of Alcuin to the School of Auxerre: Logiqic, Theology and Philosophy in the Early Middle Ages.
Cambridge G. Paris, , p. XLIV, , 1, p. Rome, ca. Illo Humphrey ed. Nota bene 1 : Le Timaeus Platonis et Commentarius are the sole known works of Calcidius that have come down to us.
They were known already as of the 6th century in Gaule and in Spain; and may also have been known to Alcuin of York, in the 8th century, and were cited later in the middle of the 9th century by John Scottus Eriugena in his Annotationes in Marcianum.
Mynors, Oxford, , 3rd edition , cf. Liber II, p. Mommsen, Monumenta Germaniae Historica, Auctores antiquissimi. XII, Berlin, , p. Catullus ca.
Hermann , D. Iunii Iuvenalis Satirarum libri quinque accedit Suplicae satira. Leipzig Teubner , , cf. Satirae I, , p.
Censorinus ca. Caerellium, accedit Anonymi cujusdam Epitoma disciplinarum Fragmentum Censorini. Nicolas Sallmann, Leipzig Teubner Verlag , ; cf.
Paris, , t. French annotated translation: Censorini De die natali. Paris Vrin , ; cf. Fridericus Hultsch, Censorini de die natali liber ad Q.
Leipzig Teubner Verlag , , cf. XI, XII De musica. De modulatione , p. Claghorn George S. Den Haag Martinus Nijhoff , , cf. Dijkhuis Ben. Muziek bij de antieke Grieken.
Deze documenten omvatten slechts fragmenten met een totaal aan ca. Van de muziek dat de tand des tijds heeft overleeft: drie hymnen van Mesomedes, enige korte instrumentale stukjes, het Seikilosliedje.
Het is anders gesteld met de muziektheorie, waarvan meer informatie is achtergebleven, vooral met name die van Aristoxenus 4e eeuw v. Het mag duidelijk zijn, dat afwezigheid van melodische passages, de theorie feitelijk niet meer dan een dode letter is.
De hoeveelheid materiaal is zodanig, dat er voldoende voorhanden is voor speculatie, doch te weinig voor onomstotelijke conclusies.
Dumbrill Richard J. The Archaeomusicology of the Ancient Near East. By the third millennium BC both pentatonic and heptatonic tunings were quantified throughout the entire tone gamut.
Richard J. Dumbrill has documented the massive empirical experience with strings and pipes that makes this early musicalization of the universe believable.
Ernest McClain [cf. McClain Ernest G. Prelude to the Song itself. York Beach Maine, USA , ]. The first is about the decipherment, translation and interpretation of the few theoretical cuneiform texts dating from the Old Babylonian period, about BC, to Neo Assyrian up to the mid first millennium BC.
Dumbrill undertakes comparative analyses and criticism of various interpretations having preceded his own and introduces new material.
The second part is about the Hurrian hymns, the earliest music ever written, circa BC, and are produced in their integrality. Attempts to the interpretation of Hymn H.
Each fragment of the collection is analyzed separately. The part concludes with statistical analyses attempting at the reconstruction of some Hurrian rules of composition.
The third part consists in the organology with relevant philology and is the largest collection of the Mesopotamian instrumentarium.
The last part is a unique lexicon of all known Mesopotamian terminology, with quotation of texts in which the philology appears.
He was born in France where he studied classics, philology, music theory, interpretation, composition, etc. He resided some years in the medina of Fez in an old palace where he studied the nauba compositions and in the Middle East.
His passions include botany, mycology, cooking, fine wines, music, yachts, and words. Dumbrill is Professor at the Institute of Musical Research, School of Advanced Studies within the University of London.
He is the Founder and Director of ICONEA International Conference of Near Eastern Archaeomusicology , a research group of the Institute of Musical Research, School of Advanced Study, University of London, Senate House Malet Street London WC1E 7HU.
The Elements [ which constitute the philosophy of Geometry in 13 Books] , cf. Heiberg ed. Stamatis, Leipzig, , t. Mathiesen ed.
V,7; ed. Galeni scripta minora. Greene W. Scholia Platonica. Fredericus de Forest Allen, Ionnes Burnet, Carolus Pomeroy Parker; omnia recognita praefatione indicibusque instructa ed.
This scientific-pedagogical Lecture-Concert on the Carolingian Liberal Arts is fourfold. De quattuor disciplinis mathematicis, ed. Jacques Fontaine, ed.
Volume I, p. JAN Carolus von. Musici scriptores Graeci. Nota bene. The photographic book emerges as an experimental product of this moment of transition, a dialog between old and new.
Yet I would argue the s should be considered an equally significant rebirth of the medium, a period in which photography is radically redefined in terms of the visual practices of modernity.
They argue that new media must first learn preestablished codes of communication. Then new media eventually distinguish themselves from these codes by resisting dominant and established languages.
The photographic sequence arranged in the book served as the format in which photography distinguished itself from the established conventions of textual meaning.
It addresses a moment of media history by studying the way photographic books attempt to shape particular modes and habits of perception.
But I do not consider this moment to be on an evolutionary track that ends in a future moment of photographic literacy.
Nonetheless, photographic books are traces of what was considered possible during the Weimar Republic.
They can be considered as part of an historical rupture, defining what contemporary viewers were not yet ready for and preparing them for a future that never occurred.
In , Benjamin might have already realized that photography would not replace text, as Moholy and others predicted, but collaborate with it.
Nonetheless, I believe it is crucial to recuperate this ambition as an alternative to scholarly approaches that limit photographic meaning to the construction of arguments in a rhetorical form.
One goal of this book is to expand upon this restricted conception of photographic meaning. To this end, I focus on books that articulate specific claims for the potential of photography to offer new visual experiences.
I did not select these books because they are considered fine art publications today although several of them are.
They announce an alternative to the limitation of photographic meaning to the conventions of text. These books have the didactic goal of acclimating their audiences to the perceptual conditions of the modern world.
Due to the integration of text, photography, and typographic design in these books, they stand apart from the others that organize this study. Moholy adopted the book-format as a way to train viewers to respond more efficiently to the visual stimulation of the modern world.
Here Comes the New Photographer! Outcries of photo-inflation were partly a response to the growing popularity of photographic books, referring to the staggering quantity of photographs within them.
But it also referred to the inflated value given to the objects, animals, people, and places they reproduced. It collects photographs of an overwhelming variety of subjects: cobblestone pavement, church spires, monkeys, cacti, cooking pots, and many others.
Close-ups and radical camera angles pare down objects to spirals, grids, and other abstract forms. The visual realm of photography was able to bring the past and present into alignment, thereby challenging notions of linear, chronological progress.
While the photographs aim to collapse the distance between various historical time periods, the circumstances surrounding the publication of Urformen der Kunst are also strikingly anachronistic.
Despite this reputation, most of the photographs included in this volume were taken in the s. Urformen der Kunst appealed to cultural critics in search of continuity and stability at a moment when technology and modern life were reconfiguring traditional concepts of time.
Yet to critical theorists like Walter Benjamin, the book inspired a radical conception of the relationship between history and modernity.
After working for fifteen years as a cameraman in the German film industry, Lerski published this photographic book in This chapter explores how the temporal experience of paging through the book complicates the legibility of the face and forces us to modify our understanding of physiognomic practices during the Weimar Republic.
Yet the faces also attempt to form a collective representation of Weimar society that creates a sense of progression and flow.
The brief conclusion considers the afterlife of the Weimar photographic book and whether its employment at the hands of the Third Reich is the appropriate place in which to end a study of Weimar photographic possibility.
Scholars have debated the existence of a distinctly modern form of vision and have declared the need for a more precise definition of the changes in visual experiences that took place in the early twentieth century.
Although it is unlikely photography altered the biological capacity of human vision during this time, it provided the potential for new visual habits to be developed and for lost visual skills to be revived.
Photographic books articulated various forms of modern vision in the Weimar period, testifying to the multivalence of the photographic medium and to why the photographic book remains a compelling format for artists and photographers today.
According to Moholy, the growing prominence of photography and film in mass culture could provide a new form of communication to match the pace of modern life.
Development will overcome this phase, and photographs will replace text as individual, interpretable concepts and expressions.
One could say that the application of photography must lead in a short time to the replacement of an important part of literature by film.
Scholars have frequently pointed to such statements by Moholy as evidence of the replacement of text with photography during the Weimar Republic.
Yet the prophetic nature of his words has been overlooked. Moholy marks his time as a period of development toward a future shaped by an imagined, yet never fully realized, autonomy of visual meaning.
In this passage, Moholy defines the present as a moment of media transition, one in which the proliferation of photography and film foreshadows the eventual obsolescence of text and literature.
It implies that Moholy sees the formulation and demonstration of his theories on modern vision as a way of training his audience for what will come.
In the s, a number of photographers turned to the book format to both explain and approximate what they conceived of as New Vision. Conceived as treatises but also as forms of training, these books have a didactic purpose.
What will be explored here is why the book was considered a productive format for simulating and explicating the conditions of modern vision.
In these cases, the book allows for the approximation of cognitive and perceptual experiences that photographers and theorists associated with modernity.
Rather than emphasizing the more permanent, structured space of the book, Moholy aligned the project with the ephemeral, fleeting reading material of the modern city.
An advertisement from prices the book at 7 marks, which would have been quite reasonable to middle class consumers, the target audience of most illustrated magazines produced at this time.
A passionate book. A book that seems to get out of control. Behne was aware that these issues were changing the way illustrated publications conveyed their information to the public.
A loose balancing of images attempts to create various elements of form, details, contents, slants, black-white effects, size, image contrast, running parallels or movement that thrusts through the field.
The challenge was to create connections between various parts of the visual field. Pages were no longer organized into stable columns and quadrants, and the objective was now to move the eye through the entire field to create a stimulating and also fluid design in order to catch, direct, and retain the attention of consumers.
Bauhaus- Archiv, Berlin. Several of the essays printed at the beginning of the book had already been published elsewhere.
Rather than employing them as illustrations, Moholy relies on these photographs as the raw material of his artistic practice. More than an indirect explanation of modern artistic practice, Malerei Photographie Film is the product of that artistic practice.
According to Moholy, this instinct can be revived, even trained, by immersing oneself in the enormous amount of photographic material being produced in illustrated magazines and books.
At the same time that he implies his interest in the photographs of the illustrated press, Moholy expresses his dissatisfaction with limiting the use of photography to practices of sheer accumulation or the illustration of subjects seen with the naked eye.
We want to systematically produce what is for life the creation of new relationships of importance. Malerei Photographie Film aims to intensify the conditions that Behne describes, training the observer to stay alert and ready to respond to new and thrilling visual information that incessantly arises.
In the first section of the book, Moholy resolves that our eyes can no longer be a reliable source of perception. In an unabashedly technophilic tone, he declares the human body and especially the human eyes to be ill-suited for direct interaction with the quick pace and simultaneity of the modern world.
These new conditions of perception demand photography be used as a supplement to our own inadequate and atrophied visual facilities.
Beyond its reproduction of a subject, a photograph is a perceptual model that induces particular sensations, stimuli, and responses.
Because photography stands in opposition to conventional vision, showing us that which is unfamiliar to our eyes, it offers a chance for perception in its purest and most immediate form, freed completely from associations with the past.
The visual apparatus is not assumed to be the binocular faculties of the individual spectator, but rather the monocular lens of the camera, which constructs an unsettling and even traumatic relationship between the viewer and the object viewed through distortions in scale, size and overall appearance.
Photography provides for the improvement of human sensory capacities by introducing the viewer to new forms of stimulus and by forcing a confrontation with unknown information.
Yet, read how Moholy conceives of this improvement taking place: One can say that the assemblage of man lies in the synthesis of all his functional-apparatus, i.
The entire system of activity depends on the perfection of the sensory organs, which attempts to create new connections between optic, acoustic and other functional phenomenon and forces the integration of the functionalapparatus.
The sequence presents views and suggests connections to which Moholy expected his audience in the s to be unaccustomed, a Weltanschauung determined by the productive possibilities of photography and not yet assimilable through association or memory.
The images are printed on both the verso and recto of the pages, which sets up a series of pairs, as well as a continuous confrontation with visual information.
Moholy has kept some groups bunched together, but others are scattered throughout. Moments of faint recognition arise during which photographs vaguely reference earlier ones.
Mabuse der Spieler on page 81 echoes the X-ray of hands arranged around the periphery of the image like hands on a Ouija board on page Yet other subjects, other thoughts that lie in between, disturb these connections between images, hindering our ability to remember what we just saw several pages back.
This instinctive response opposes a form of understanding based on memory and experience. The photographs expose us to recondite visual information and, accordingly, strive to improve our perceptual capacity.
The first two pairs of images in the book demonstrate the distinction between reproductive and productive photography.
On the left is a photograph of Paris by Alfred Stieglitz taken in The photographer becomes painter. After the brilliant period of the daguerreotype, photographers tried to imitate all directions, styles, and appearances of painting.
It took approximately years for it [photography] to come into its own possibility of application. We flip the page to find the theme of flight continued by a flock of cranes on the left and a squadron of seaplanes on the right.
But in this pair, the rules of perspective are abandoned; the visual field is tilted from the upright plane to the unanchored field of the blank, grey sky.
These views are stripped of any indication of depth or scale. As on many pages in the book, the photographs are reproduced vertically and horizontally, which forces the viewer to turn the book to recognize the content.
But Moholy expects his viewers to be unable to assimilate them to familiar conventions of representation. A ready-made poster. Although a brief label identifying what is shown accompanies almost every image, it implies the subject of the photograph is not always clear.
For example, the aerial view of St. The relationship between text and image indicates a difference in the two forms of communication.
The text describes and supports that experience. Before the sequence begins, two facing pages make the reader aware of the book as a constructed perceptual experience.
A thick, vertical line runs next to the gutter on the page on the right, and the text appears at the top and bottom, leaving the middle of the page blank.
This layout creates a suspenseful pause; the left page is blank except for a massive dot in the lower right that emphatically ends the text that came before.
The stark bareness of these pages hangs like a stage curtain that will be lifted when we turn the page. A photograph by Charlotte Rudolf of the dancer Gret Palucca in mid-leap is coupled with an image of a motorcyclist racing around a corner.
This pair of images shows us motion not as our eyes see it, which would look something like an illegible blur, but as the camera captures it.
Nonetheless, these photographs externalize and break up time experienced with our own eyes and replace it with a temporality that can only be formed in the photograph.
The temporal instant of the photograph has been understood as the basis for the paradoxical experience of time in the age of photography and film.
He defines this condition as a paradox, for there is no truly instantaneous photograph but only the asymptotic movement toward an indivisibly small measure of time.
Each moment of exposure, however instantaneous, always defines a duration, and thus the difference between instant and duration is entirely arbitrary, the one dissolving into the other.
The snapshot demonstrates a movement in time that depends on the aid of the camera. Moholy uses the photographic series in the book to reinforce the paradoxical temporality of photography.
Placing a photograph within a series emphasizes its status as part within a whole, as instant within the overall temporal experience of flipping through the book.
Yet the sequence of discontinuous instances in the book does not relate to the continuous flow of real time, to the experience and perception of time as duration.
Several pages after the pairing of dancer and motorcyclist, an image shows the movement of street traffic across the picture plane, along with glows emanating from street lamps and other stationary sources.
As in the earlier snapshots, this image complicates the difference between instant and duration. The split-second depiction of traffic is also a record of continual motion, of light moving through space over a period of time.
Inversely, the luminous glows appear like instant bursts of light from flash photography. As we move through the next few pages, the theme of light continues.
From the eternity of the astral to the lightning flash, the subjects of the photographs grow increasingly ephemeral. These telescopic enlargements reveal imagery inaccessible to the human eye.
Light is obviously fundamental to photography, part of the word itself. However, it appears entirely different in a photograph than it does to the naked eye.
These images are moments of split-second exposure, preserving an instant barely visible to the naked eye. The dramatic contrasts of dark and light and the changing formal patterns in this sequence evoke the intense visual experience of a lightning storm, but this series of images also suggests a filmstrip, time created through a series of punctuated events.
Malerei Photographie Film is filled with such temporal and spatial reconfigurations. Two photographs near the middle of the book show the perception of space through mirrored spheres.
Toward the end of the book, three strips of film display the creation of motion through the representation of successive instants. Vacillating between the two poles of instant and duration, the rhythm of paging through the book is jerky, caused by successive lags and restarts, drifts and commanding pulls, focusing, indifference, and refocusing.
Like contemporary experiments in nonnarrative, nonlinear cinema, the photographic sequence shows time and space fractured, warped, sped up, drawn out, multiplied, and externalized.
In his analysis, de Duve searches for photographic meaning beyond the semiotic, linguistic features by exploring the nature of our psychological response to the medium.
The experience of timelessness, of nonspace, that is associated with the photographic medium induces an uncontrollable, instinctual response.
Visual experiences encountered through photography that we are unable to recognize, discern, or process generate cognitive activity.
Malerei Photographie Film can thus be understood as a photographic paradox itself, as an attempt to build a new form of communication and perception with what he also defines as inassimilable.
This new perceptual process is one of irreducibly mixed modalities, combining reading and seeing, as well as evoking other nonvisual components such as touch and sound.
It suggests we could hear the music as well as see the color yellow by reading the score. Determined by rhythmic patterns, these images were produced through cinematic projections, and the blurs and quivers were created through movement.
When photographed, these visual symphonies look like the photograms Moholy included in the book. The images from the reflective light play not only correspond to the space of film but are also meant to trigger acoustic sensations.
For Moholy, photography is a gateway into this trans-sensorial world. Color, motion, and rhythm are evoked through the purified realm of photography; a fluid relationship between the senses becomes possible through mechanical reproduction.
Despite the apparent obsolescence of books in the face of more modern forms of communication, Moholy employs the book-format as a site of dialectical tension designed to train the viewer to manage perceptual overstimulation.
Malerei Photographie Film stages the multimedia fragmentation of the modern city, yet the book also collects and cohesively synthesizes its overwhelming content, training the viewer to overcome it via a New Vision able to process it all simultaneously.
This hybrid form of perception is best described as scanning, for the term suggests the copresence of verbal information and visual images.
Scanning continually preoccupies the observer and provides no opportunity to process or reflect. Teaching Film und Foto Malerei Photographie Film established the photographic book as a way to define practices of modern vision and to train its audience to engage with these practices.
Discussions of New Vision photography in the Weimar Republic used Malerei Photographie Film as a pedagogical model. One such discussion materialized as Film und Foto, an ambitiously large exhibition organized by the German Werkbund.
The German Werkbund has assembled this exhibition in order to show these new possibilities of photography. This is the reason for the astounding fact that apparently pure, mechanical photography has become the Kunstwollen of the time.
By demonstrating how photography could generate modern vision, Malerie Photographie Film underscored these art historical claims.
Unmounted and unframed, prints were affixed to the walls with nails. One purpose of the exhibition, then, was to instruct its audience in an art historical lesson: photography embodied a specific way of seeing that was associated with modern life.
Although the Werkbund supported and advertised the publication of all three books as part of the exhibition, their relationship to FiFo is difficult to categorize.
Like Malerei Photographie Film, all three resist description as a particular type of publication, functioning as extended exhibition catalogs, didactic primers, and informative pamphlets.
Despite their supplementary relationship to FiFo, they serve as valuable record of the content and theoretical approach of the exhibition. Printed with a soft cover and using a technique common for brochures, Roh and Tschichold attempted to make the book accessible to a broad audience.
The decision to translate the text no doubt reflects the international audience of FiFo and the photobooks associated with it. Yet, the repetition of text also draws attention to the limitations of language, which supposedly contrasts with the efficiency and universal comprehensibility of photographic images.
He then interprets these images metaphorically, as subtly construed symbols of Weimar society as a sinking ship. From a twenty-first century perspective, it is tempting to read the book as a statement that anticipates the eventual demise of the Weimar Republic.
The violent content of several photographs in the book is difficult to avoid. Toward the end of the book, a photograph from the central police office in Stuttgart of a brutal murder appears beside an image of a dead horse lying in the ruins of a damaged bridge.
In addition to the few images of water, Jennings selects photographs such as these to support his reading of the book as modernist critique. A photograph of a reflective glass ball is as prominent as the more chilling images of murder that follow.
Photographs are printed on the recto and verso of each page, creating pairs of images as well as an unbroken progression of photographs.
Certain pairs of photographs demonstrate the ability of cinematic montage to create meaning through association. The scattering of people enjoying a day at the beach in photograph 12 rhymes visually with the close-up of a card catalog in photograph These pairings demonstrate ways of constructing meaning that are based on montage, considered to be one of the definitive characteristics of photographic and cinematic meaning.
Other pairs in the book have much less in common, formally or thematically. A photograph of a street drain in Paris by Moholy is followed by a photomontage prospectus, an aerial photograph of dikes along a beach, and a portrait by Edward Weston.
Roh and Tschichold. It serves as a deliberately thorough catalog of the visual potential of photography, yet does not provide a sustained narrative or social critique.
The layouts of Filmgegner von heute, Filmfreunde von morgen and Es kommt der neue Fotograf! While the photographic sequence in Foto-Auge unfolds without interruption by text, these two books instruct through an integrated dialog between text and photographs.
These two books were often advertised and discussed as a related set in Die Form and other journals, testifying to their shared approach to teaching an audience how to see photographically.
But it also announces itself as an instructional manual for viewer as much as producer of photographs.
Daniel Magilow acknowledges the status of Es kommt der neue Fotograf! In this way, its function as a training manual underscores the status of the photographic book as being born from a moment of transition.
The interaction between text and photo unfolds like an instructional slide show. The text directs the viewer to how they are supposed to see the photographs.
Then, the book turns to other photographs that break these painterly compositional rules, pointing to the ability of the camera to expand human vision.
This is without doubt a very nice image. For example, you want to show what the worker himself sees while working. In this way, Es kommt der neue Fotograf!
Photography is declared to be the fundamental communicative building block of the modern future. Yet throughout these books, the meaning of photographs is determined by accompanying text.
For example, the photograph on page 86 by Sasha Stone shows a figure splashing into the water at the end of a slide. If photography is the new alphabet as Moholy declared, then these photographic books do not manage to demonstrate the autonomy of photographic meaning.
The format of Es kommt der neue Fotograf! Es kommt der neue Fotograf! The language of photography is not immediately comprehensible and universal, it would seem.
Rather, it must be learned. And acquiring this new language depends on textual guidance, thus producing the media multilingualism of the Weimar present.
In the forward, Richter notes the difficulty of demonstrating the potential of film within the space of the book.
However, Richter explains the filmstrips reproduced in the book attempt to show what the public audience for film normally overlooks: cinematic motion is produced through the rapid succession of individual, still frames.
While the photographs show films broken down into still frames, the text asks the audience to imagine how they might produce motion. Text and image work together to reveal various tricks and techniques of film, thereby sharpening the eye of its audience.
On page 21, five cinematic shots of the same actor at different camera angles are arranged vertically along the page.
Each shot is accompanied by a phrase that describes the angle from which it was taken. This layout emphasizes a dialog between text and image.
Like in Es kommt der neue Fotograf! From its title, one might expect Film und Foto to have defined a relationship between the two modern media.
However, the exhibition seems to have failed to foster such a discussion. Few critics attempted to define connections between the film program and the photographic exhibition.
Looking back on FiFo in Stuttgart, the art historian Walter Riezler, editor of Die Form, admitted the film program was somewhat isolated from the rest of the exhibition.
Apparently without a clear aim, or a system according to the material, and without being convincing. By examining the convergence of still photography and cinematic motion, it demonstrates the formal connection between the two media.
They also provided a space between still photography and cinematic motion that attempted to train their audience to visually and cognitively process these modern media more effectively.
These aspects of the photographic book are worth pursuing further by returning to the final section of Malerei Photographie Film.
Photography is the visual presentation of what can be optically apprehended. Typophoto is the visually most exact rendering of communication.
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