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Books > Arts & Architecture > History of art / art & design styles > 1800 to 1900
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Techniques of the Observer - On Vision and Modernity in the Nineteenth Century (Paperback, New Ed)
Loot Price: R1,189
Discovery Miles 11 890
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Techniques of the Observer - On Vision and Modernity in the Nineteenth Century (Paperback, New Ed)
Series: October Books
Expected to ship within 10 - 15 working days
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Jonathan Crary's Techniques of the Observer provides a dramatically
new perspective on the visual culture of the nineteenth century,
reassessing problems of both visual modernism and social modernity.
This analysis of the historical formation of the observer is a
compelling account of the prehistory of the society of the
spectacle. In Techniques of the Observer Jonathan Crary provides a
dramatically new perspective on the visual culture of the
nineteenth century, reassessing problems of both visual modernism
and social modernity. Inverting conventional approaches, Crary
considers the problem of visuality not through the study of art
works and images, but by analyzing the historical construction of
the observer. He insists that the problems of vision are
inseparable from the operation of social power and examines how,
beginning in the 1820s, the observer became the site of new
discourses and practices that situated vision within the body as a
physiological event. Alongside the sudden appearance of
physiological optics, Crary points out, theories and models of
"subjective vision" were developed that gave the observer a new
autonomy and productivity while simultaneously allowing new forms
of control and standardization of vision. Crary examines a range of
diverse work in philosophy, in the empirical sciences, and in the
elements of an emerging mass visual culture. He discusses at length
the significance of optical apparatuses such as the stereoscope and
of precinematic devices, detailing how they were the product of new
physiological knowledge. He also shows how these forms of mass
culture, usually labeled as "realist," were in fact based on
abstract models of vision, and he suggests that mimetic or
perspectival notions of vision and representation were initially
abandoned in the first half of the nineteenth century within a
variety of powerful institutions and discourses, well before the
modernist painting of the 1870s and 1880s.
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