Stefan Höhne dives into a wealth of letters—correspondence sent to the New York City Transit Authority in the period 1955–1968.
Good Pictures is about the advice given to photographers—mostly amateurs—on the techniques they should use to improve their work. Of course, the advice is intimately tied to technological developments in photography as well as the desire of camera makers to sell new products.
The author’s intention is to study cases that “suggest an architectural history of spaces that have been generated or extensively reconstituted by electric light.” His thesis is “the electric light changes the underlying nature of a space.”
The public’s faith in science and technology has never been higher. Computer “apps” that explore things such as the frequency of, and point of origin of, COVID-related Google search terms, and Twitter posts, are being used to trace the progress of the virus and to predict the sites of further outbreaks. The United States has been roiled by the death, at the hands of the police, of George Floyd. Floyd’s killing was captured by an app that has been circulating throughout the globe that has acquired the near iconic power of the crucifixion. With the majority of the American people equipped to make audio–visual recording of police brutality and post them on social media, we expect that crimes such as this will certainly diminish.
Albright’s book focuses on a group of Americans who live a life of digital hyper-connectivity. Mostly under age 50, this would include what are called Generation X (born between 1965 and 1979), Millennials (born between 1980 and 1999), and their offspring — some, as we have seen, still infants.
Mann and Toles crystallize for us climate change denialism, principally in the United States, over the last generation. The core of this denial results from the confluence of several trends deeply embedded in the American culture.
“From today, painting is dead!” is said to have been proclaimed by the French painter Paul Delaroche in 1839 after seeing his first daguerreotype. His was an early name on the list of people who have made fools of themselves when prognosticating a future resulting from a new medium or invention. Motivated by either techno-euphoria or pessimism they have become famously wrong.
It’s interesting that the first major science fiction novel was written by a woman and perhaps significant that it presents a dark vision of scientific experimentation.
Peter Buse, in his The Camera Does the Rest, stakes out different territory. His focus is on the social meaning of the Polaroid camera: how did it change photography? How were the cameras used? And how did Land intend them to be used — a concept that often differed from their actual use.
By Christopher Cooper. New York: Race Point Publishers, 2015, 195 pages. Ask a “twentysornething” or “millennial” A what the word… Read More