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A Survey of the Latin Classics. Oxford, reprint , p. James Willis. Engelbrecht, in Corpus scriptorum ecclesiaticorum latinorum.
XI, , cf. II, 8, p. Ilsetraut Hadot. Hadot, op. Hadot, p. Martianus Minneus Felix Capella 5th century, a. James Willis, Martianus Felix Capella, De nuptiis Philologiae et Mercurii.
Eyssenhardt, Martiani Minnei Felicis Capellae De nuptiis Philologiae et Mercurii libri VIIII. MARTIN Thomas-Henri.
Notices on Atlantide, on the World Soul, etc. Volume 1. Scholia Platonica…. Fonds grec. Mathiesen Thomas J. Lincoln, Nebraska USA University of Nebraska Press , London UK, ISBN: , , xv — pages, cf.
York Beach Maine, USA , , cf. Testi e strumenti di letteratura greca antica, medievale e umanistica. Platonis Dialogi secundum Thrasylli tetralogias dispositi.
Hermann, vol. IV, Leipzig Teubner , , cf. Ziegler et H. Leipzig Teubner Verlag , , 8 volumes 1st edition , Greek text only ; cf.
Harvard University Press , Londres, ; cf. Heinemann, Loeb Classical Library, , 11 volumes Greek text with English translation ; cf.
Hubert et H. Drexler eds. Fascicule 1: Leipzig Teubner Verlag , , p. XIII-1, English translation by H. Cherniss, Cambridge, Mass.
Harvard University Press , ; cf. Bernardakis ed. Leipzig Teubner Verlag , , p. Lasserre, Plutarque, de la musique. Loeb Classical Library, Moralia.
XIV, English translation by B. Einarson et P. Dod eds. Minio-Paluello, ed. Minio-Paluello, B. Dod, eds. Dod, ed.
Commentaria in Aristotelem Graeca. CAG , Berlin, vol. Strange, Porphyry, On Aristotle Categories. I, Chapter 6, p. Syntaxis mathematica. I, pars I libros, I-VI continens , Leipzig Teubner Verlag , , vol.
Venetus Marcianus, gr. Volume 2, Chapter 19, p. Thomas J. XLIIII-LXIV, p. Teeuwen Mariken. Harmony and the Music of the Spheres. The Ars Musica in Ninth-Century Commentaries on Martianus Capella.
Carolingian scholars produced a wealth of commentaries and glosses, which survived hidden in the margins of a remarkably large number of manuscripts.
In the first part of the book, the manuscript tradition of the oldest commentary is taken under scrutiny, and the Carolingian reception of ancient knowledge on the subject of music is opened up and analyzed.
Its relevance for the formation of a new, medieval music theory is evaluated. In the second part, the relevant parts of the oldest commentary are edited on the basis of eight ninth-century manuscripts.
Carolingian Scholarship and Martianus Capella. It is well known that the Carolingian royal family inspired and promoted a cultural revival of great consequence.
The courts of Charlemagne and his successors welcomed lively gatherings of scholars who avidly pursued knowledge and learning, while education became a booming business in the great monastic centres, which were under the protection of the royal family.
Scholarly emphasis was placed upon Latin language, religion, and liturgy, but the works of classical and late antique authors were collected, studied, and commented upon with similar zeal.
De natura mundi et animae. Waterfield Robin. Timaeus and Critias. Zeyl Donald J. Plato: Timaeus. English translation, Indianapolis, Indiana, Cambridge, Massachusetts Hackett Publishing Co.
Mohr, K. Sanders and B. Sattler eds. Albertson David. Nicholas of Cusa and the Legacy of Thierry of Chartres. Oxford Studes in Historical Theology , Oxford University Press, One of the neglected aspects of this tradition was the development of Christian Neopythagoreanism in Late Antiquity and its rebirth in the twelfth century with the early scholastic Thierry of Chartres.
Mathematical Theologies is a ground-breaking study in the history of Western theology and a major new interpretation of Cusanus.
David Albertson is a member of Academia. Angotti Claire. Brinzei Monica. Bos Leyden , Monica Brinzei Paris , Steve F. Brown Boston , Dragos Calma Bonn , Jean Ceylerette Lille , William J.
Kneepkens Groningen , Steven J. Princeton Princeton University Press , Baldwin John Wesley , Paris, Paris Flammarion , Music Theory and Its Sources: Antiquity and the Middle Ages.
BAV gr. BNM gr. Alberto Gallo. Bower Calvin M. Bubnov Nicolas. Gerberti opera mathematica. De disciplinis mathematicis. Constantino suo Gerbertus scolasticus S.
XVI chapters [col. XCIV chapters ch. II et III: 12 divisions of the As , [col. Versus [col. Inhabiting the shifting boundary between philosophy and history of science, the De arithmetica itself has been neglected by most medievalists.
At the heart of that vision is a developing trend in twelfth-century philosophy that places number and proportion at the heart of the physical cosmos.
Caiazzo is a member of Academia. Codices Boethiani. Great Britain and the Republic of Ireland. Gibson, L. Smith, J. Ziegler eds.
Christchev, R. Gameson, A. Holdenried, F. Robb, T. Webber, J. Longo, S. Magrini, M. Passalacqua, eds. Lesley Smith ed. Cropp Glynnis M.
Burrell Margaret. This collection of essays has been offered by colleagues who have enjoyed working with Glynnis Cropp on her various projects during her career.
They include Liliane Dulac, Angus Kennedy, James Laidlaw, Peter Ricketts, Brian Merrilees, Nadia Margolis, Roy Rosenstein, Keith Atkinson, Maxwell Walkley, Denis Drysdale, Alison Hanham and Roger Collins.
Like the gentleman offering his ruby heart to the seated lady, these essays are offered with homage, respect and affection.
The editors of this collection have been colleagues of Glynnis in medieval French studies in New Zealand. Courtenay Willaim J. Universities and Schooling in Medieval Society.
Education and Society in the Middle Ages and Renaissance, 10 , ed. Courtenay and J. Miethke, Leiden Brill , Teaching Careers at the University of Paris in the Thirteenth and Fourteenth Centuries, Texts and Studies in the History of Medieval Education, 18 , Notre Dame, Indiana USA , Parisian Scholars in the Early Fourteenth Century: A Social Portrait.
Cambridge Studies in Medieval Life and Thought, fourth series, 41 , Cambridge Cambridge University Press , Rotuli Parisienses. Supplications to the Pope from the University of Paris.
Education and Society in the Middle Ages and Renaissance, , Leiden Brill , Delhaye Philippe. Dillon Emma. The Sense of Sound. Listening to the Past, Listening in the Past — p.
Sound and the City — p. Charivari — p. Madness and the Eloquence of Nonsense — p. Sound in Prayer — p. Sound in Prayer Books — p.
Devotional Listening and the Montpellier Codex — p. The poly-textual motet is especially well-known to scholars of the Middle Ages for its tendency to conceal complex allegorical meaning in a texture that, in performance, made words less, rather than more, audible.
It is with such musical sound that this book is concerned. What did it mean to create a musical effect so potentially independent from the meaning of words?
Is it possible such super-musical effects themselves had significance? The Sense of Sound offers a radical re-contextualization of French song in the heyday of the motet c.
In identifying new audible interlocutors to music, it opens our ears to a broad spectrum of sounds often left out of historical inquiry, from the hubbub of the medieval city; to the eloquent babble of madmen; to the violent clamour of charivari; to the charismatic chatter of prayer.
Drawing on a rich array of artistic evidence music, manuscripts, poetry, and images and contemporary cultural theory, it locates musical production in this period within a larger cultural environment concerned with representing sound and its emotional, ethical, and social effects.
She is a specialist in medieval music, in medieval manuscripts, and in the reception of medieval music. Professor Dillon is the author of Medieval Music-Making and the Roman de Fauvel.
Folkerts Menso. A collection of Essays. Utah Studies in Literature and Linguistics, 18 , ed. Masi,Bern, Frankfurt-am-Main,Las Vegas, , p.
Fontaine Jacques. III, p. Freudenthal Gad. Paris Peeters France , , p. Friedlein Godofredus. Anicii Manlii Torquati Severini Boetii, De institutione arithmetica libri duo, De institutione musica libri quinque, accedit Geometria quae fertur Boetii.
Lipsiae Leipzig , B. Teubner Verlag , , reprint Frankfurt am Main, Minerva , Severino Boetio translati [i. Pseudo-Boethius], col.
Galonnier Alain. Anecdoton Holderi ou ordo generis Cassiodorum. Actes du Colloque international Singer-Polignac. Avant propos, p. I, 1, p. Boezio, la Filosofia, la Sapienza, p.
Dominique Bertrand, S. Garrison Mary. Butzer, M. Kerner, W. Oberschelp, Brepols Turnhout , , p.
Nelson Janet L. Tweddle Dominic. Catalog of 59 items, many photographed. Gibson Margaret T. Green Rosalie B. Griffiths Fiona J. The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century.
Hadot Ilsetraut. Paris CNRS , , p. Hellmann Martin. Tironische Noten in der Karolingerzeit, am Beispiel eines Persius-Kommentars aus der Schule von Tours.
Hanover Hahn Verlag , , xxviii pages, 12 pl. Supertextus Notarum tironianarum. I, Chapter 2, p. Huglo Michel. Huh Min-Jun.
Nota bene: In this fundamental study on the Boethii De institutione arithmetica libri duo. Professor emeritus in Musicology.
Plates, glossaries, Indices, Ph. Illo Humphrey, ed. The 14 Descriptiones include two glossaries of 9th-century Boethian glosses in tironian notes.
Marco Mostert, The Library of Fleury. To this end, it is equipped with an extensive and up-to-date bibliography on the works, glosses, commentaries, and translations of the Boethian corpus, on the prosopography and hagiography of Boethius, on Boethius and the Liberal Arts.
Jong Mayke de. Scholar at the Carolingian Court. Lafleur Claude. Universities in the Middle Ages. Hoenen, J. Schneider, G.
Wieland,Leiden Brill , , p. LePree James F. Marenbon John , Boethius. Masi Michael. Boethius and the Liberal Arts. Utah Studies in Literature and Linguistics, vol.
Mellon Elizabeth A. Burney Mostert Marco. The Library of Fleury. Munk-Olsen Birger. Novikoff Alex J. The Culture of Disputation in Medieval Europe: Pedagogy, Practice, and Performance.
Philadelphia University of Pennsylvania Press , Modeled on Socratic and Aristotelian methods of argumentation, this rhetorical style was refined in the monasteries of the early Middle Ages and rose to prominence during the twelfth-century Renaissance.
Strict rules governed disputation, and it became the preferred method of teaching within the university curriculum and beyond.
In The Medieval Culture of Disputation. Alex J. The polemical value of disputation was especially exploited in the context of competing Jewish and Christian interpretations of the Bible.
Disputation became the hallmark of Christian intellectual attacks against Jews and Judaism, first as a literary genre and then in public debates such as the Talmud Trial of and the Barcelona Disputation of As disputation filtered into the public sphere, it also became a key element in iconography, liturgical drama, epistolary writing, debate poetry, musical counterpoint, and polemic.
The Medieval Culture of Disputation places the practice and performance of disputation at the nexus of this broader literary and cultural context.
Articulate and carefully researched, The Medieval Culture of Disputation traces the history of the medieval love of argument from its origins in the ancient dialogue to the debating culture of high medieval Europe.
Introduction to Arithmetic. Robbins et L. Karpinski, New York et Londres, , Ann Arbor University of Michigan Press , , New York , p. Papahagi Adrian.
Boethiana mediaevalia. The transmission of the Consolatio Philosophiae in the Carolingian age 2. Hic magis philosophice quam catholice loquitur.
The reception of Boethian Platonism in the Carolingian age 3. Glossae collectae on the Consolatio in Paris, BnF, Fonds latin [origin: Corbie?
The Wheel of Fate [ Rota Fortunae ] metaphor in the Old English Boethius 5. Alfred and Notker translating Boethius 6. But how did the medieval West rediscover it?
Where did the text resurface at the end of the eighth century? How did ninth- and tenth-century scholars react to this complicated book, replete with Platonic lore yet devoid of explicit references to Christ?
How did translators such as Alfred and Notker cope with the difficult philosophical vocabulary of the text they turned into Old Englih and Old High German?
By examining afresh the manuscripts and available bibliography, he summarises the state of the question and clarifies a few vexed questions raised by previous scholars.
Papahagi does not confine himself to a pars destruens. Patch Howard R. The Tradition of Boethius. For example, the caption underneath the photograph on page 13 compares the stamens and anthers of the blossom to a waterfall.
Formen des Leben. Neue Sachlichkeit photography undergoes a shift in cultural meaning in photographic books like Formen des Lebens.
No longer expressive of modern industry and mechanical reproduction, it now reveals the antithesis of modern progress, a conservative anchoring of culture to dreams of a natural past.
Photographic books of plants were part of a larger impetus to return the modern world to nature in the early twentieth century.
As scholars have shown, these efforts derived from a variety of ideologies and political viewpoints and did not occur in Germany alone.
To do this, he employs the rhetoric of racial purity being cultivated by the National Socialist party. Since the beginning, they have grown wild in our Fatherland or in German-speaking regions.
Certain plants that arrived in Germany from degenerate cultures, or that came in from foreign lands on the streets of our transportation system, are not found in this collection.
Fifteen thousand copies were published in By , 62, copies of the book were printed and twelve photographs were added to further editions.
Neue Sachlichkeit photography thus operates as cultural currency, a style available to be circulated and politicized through accompanying text.
Urformen der Kunst is not really a book about flowers, but a book about form. Despite their shared associations with Neue Sachlichkeit, Urformen der Kunst was not entirely at ease among the photographic books of plants discussed above.
Referencing both its nineteenth-century roots and the Weimar present, it refuses to be a product of any single set of temporal circumstances.
Urformen der Kunst attempts to bring past and present, history and modernity, into new and often unexpected relationships.
Despite its expensive price and its apparently retrograde content, the first edition of Urformen der Kunst, consisting of 6, copies, sold out after only eight months.
Nierendorf had been a prominent supporter of progressive artists and artistic movements since the s. But in Urformen der Kunst, this exoticism is tempered in favor of a transcendental purity of form.
As endlessly various as the kingdom of developing and declining mineral, animal, and vegetable forms is, it is determined from an otherworldly, fixed, and eternal law and obeys the unfathomably secretive command of creation that calls it into being.
All forms of nature are the permanent repetition for centuries of the same sequence and only yield to change from climatic dislocation or changing topographical conditions, which does not disturb the basic forms.
The omniscient history that Urformen der Kunst presents relies on the accumulation of a wide variety of Urformen and the abstraction of plants from their everyday appearance.
These forms are the visual evidence of connections between cultural production and the corresponding age. Goethe argued Urformen visualized the spiritual building blocks of human life and these forms could be observed in plants, as materializations of the Platonic ideal.
The same law will be applicable to all other living organisms. Urformen der Kunst consists of photographic enlargements of various species of plants that range from three to thirty times their natural size.
On pages 22 through 25, thick stems of plants bisect the photographs into mirrored halves. Flowers and leaves, such as those on pages 30 and 31, exhibit radial or axial symmetry.
Repetitive formal arrangements encourage comparison among the pages and ensure their coherence as a comprehensive collection.
Berlin: Ernst Wasmuth, , A number of pages include two or three images arranged in symmetrical compositions that complement the measured regularity of the individual plants.
On page 28, two tightly braided stalks of Cassiope tetragona frame a bloom of Chrysanthemum Leucanthemum photographed slightly from below.
The arrangement creates a balanced formal rhythm that is repeated throughout the book. By isolating the plants from any particular time and place, these photographs serve as a symbolic language of forms that can be associated with a variety of cultural monuments.
But on the other hand, the photographs must avoid any specific indexical referent in order to serve as Urformen and to encourage imaginative associations by its audience.
The photographic enlargement of plants distances them from a specific referent and encourages the identification of general formal patterns that can be associated with a variety of objects.
For example, the arrangement of three vertical branches in plate 15 shows specimens of Cornus Nuttallii and Cornus florida, as well as potentially evoking Native American totem poles, wrought iron fencing, and the scepters of a royal court.
The microscope reveals macro-systems in a drop of water and the instruments of the observatory open up the infinity of the universe.
Today technology forms our connection to nature stronger than ever before and creates for us through apparatus insights into the world that were earlier closed off to our senses.
Urformen der Kunst is thus framed as rediscovering the laws of continuity, rebinding the modern world to creative spirit.
For Nierendorf, history is defined by permanence rather than change, and when an object properly conveys the spirit of its age, it situates itself in this history of enduring forms.
That is, the unity between nature and art, past and present, appears all the more convincing because it requires no textual guidance or accompaniment.
The petals of a flower can be compared to a coiled snake, which can then be compared to a spiral staircase or wheel of a machine.
In contrast, the formal connections in Urformen der Kunst rely on imagination and free association. This happens through associations occurring in the mind of the viewer rather than the sequencing or comparison of images.
The visual experience Urformen der Kunst offers can be clarified further by comparing it to a photo-essay that appeared in the popular magazine Uhu in These associations are not provided through captions or comparisons.
The difference suggests photographic books and photo-essays in the illustrated press were in dialog but were not one and the same.
Instead, I believe Urformen der Kunst preserves a kind of experience often associated with the realm of the book.
Its photographic material conjures up an imagined space in the mind of its viewers. In several photographs in Urformen der Kunst, such as the Aconitum anthora in plate 31 and the Verbena canadensis in plate 39, shadows of leaves on the blank ground establish some sense of depth.
However, it is more common for the botanical forms to appear without shadows, suspended in a space without the slightest trace of context.
Branches and blooms extend across the photographs, taking up as much space as possible. Circular blooms expand radially from the center of photographs, bursting forth with no stem or roots in sight.
The blank space in which the plants are suspended contrasts with the meticulously detailed texture of the plants.
Although the photographs provide no sense of scale, they give the ribbing of stalks, the vesicular patterns of leaves, microscopic tendrils, and pointed thorns a monumental presence.
The precision of these magnified details suggests something other than the particularities of individual plants. The book presents none of the tears, creases, folds, and holes that often accompany botanical specimens.
The thin, dry leafs of Silphium laciniatum in plates 40 and 41 have the texture and thickness of bronze.
The tendrils of pumpkin gourd in plate 53 appear like iron spirals. The sculptural weight created through the photographic enlargement of the plants suggests the endurance of form.
The fixed stillness of each form implies timelessness and formal purity. Rights Society ARS , New York. Although Nierendorf claims connections between art and nature are inherently present, these associations remain unfixed without external guidance.
Through many years of difficult work Herr Professor Blonssfeldt [sic] achieved the production of these photographs, which shift the small into the monumental and the monument into its origin.
Some critics were not convinced of the magical connections Nierendorf and others claimed for Urformen der Kunst.
I am afraid that is what they mean. According to this title, the images of plants were used as models for the architectonic creations of man.
It is quite astonishing that all possible styles from civilization can be recognized in the development of buds and knots, and in the tendrils and structure of leaves.
These echoes, repeatedly so close, by no means prove that the earliest creations were plagiarized from plants. But perhaps they prove that they were of a more botanical character than the creations of today.
He suggests the connections between art and nature are not as inherent in the photographs as Nierendorf claims.
Blossfeldt began his studies at the Museum of Decorative Art in Berlin in and served as an apprentice to Meurer from to On excursions to Rome, Greece, and North Africa, Blossfeldt made plaster casts and bronze models of plants and eventually learned to photograph.
In keeping with contemporary trends in the decorative arts, Meurer emphasized the basis of all artistic form could be found in the natural world.
Plaster casts, bronze models, and photographs made by Blossfeldt and others apprenticed to Meurer visualized these Urformen to teach students to recognize them in nature.
But this visual practice did not depend on studying nature directly. Rather than complicating the authenticity of the forms represented in each image, the use of sculptural models and drawings served to highlight the underlying Urformen.
For Meurer, photography was not obliged to record directly and indiscriminately. They see in this more beautiful form what no one recognizes, and most will consider the group of sepals of a clover blossom with the leaves removed to be a pineapple, for example.
Here is how Meurer explains the organization of his pedagogical system: The examples are applied to a framework of stages that supports the increasing interpretative and representational abilities of the student, as well as following the ascending phases of development in the history of ornamental types.
The ornamental and botanical representations in the tables are ordered here so that the comprehension of a sequence of forms is facilitated through progressive examples.
This succession of forms also fosters the improving skill and dexterity of the artist as he works his way through the book. The lithographs in Pflanzenbilder are organized into ten volumes of ten tables.
The genus and species of the plant appears at the bottom of each plate. By presenting a series of images as the primary carrier of meaning, it also anticipates Urformen der Kunst.
Blossfeldt produced a number of the plaster casts and models reproduced in Pflanzenbilder. Circles or other geometrical forms are often superimposed on the plant forms to highlight their underlying balance.
An important difference emerges if we explore how Blossfeldt selected and arranged the photographs in Urformen der Kunst.
Blossfeldt collected over a thousand photographs he had taken since the s on sixty-one separate poster boards.
As Ulrike Meyer Stump has explained, Blossfeldt often cut up photographic prints and mounted the separated parts on different boards according to the botanical forms represented.
The soft, feathery fronds of common comfrey and polypody appear on the sixth board. Photographs of larkspur appear on one board, while forsythia and dogwood appear on another.
These boards constituted a career-long search for Urformen in botanical specimens, and he eventually used them to select the images for Urformen der Kunst.
The images in Urformen der Kunst are almost always fragments of what appear on the poster boards. The source photograph of plate 19 includes the top branches of the plant, which are less symmetrical than the branches that appear in the book.
Makeshift clay stands that Blossfeldt used to stabilize the specimens are also cropped out. In the source photograph of plate 90, which shows two examples of Phacelia tanacetifolia, we can see the tacky clump of clay Blossfeldt used to adhere the plant to the board.
Like his mentor, Blossfeldt seems to have conceived of photography as a process of manipulation and modification rather than the sachlich approach that he would be associated with in the s.
However, Urformen der Kunst parts ways with the rigid sequencing of Pflanzenbilder. Numbers Blossfeldt inscribed in the lower right corner of his poster boards suggest a logical sequence, yet they neither follow the developmental system Meurer lays out in his publications, nor do they correspond to the sequential arrangement of images in Urformen der Kunst.
The Saxifraga willkomminana displayed on the sixty-first board, the last in the numbered sequence, appears in plate 65 of Urformen der Kunst.
Images that appear side by side on the poster boards are scattered throughout the book. However, other sections of the book present a cluster of images from the same board.
The sequence unfolds in no particular order, creating a kaleidoscope of changing visual form. Without text, without an explicit logic that guides the sequential arrangement of the photographs, the historical continuity and development these Urformen are meant to explicate is left undefined.
The production of Urformen der Kunst was thus a process of complicating a direct connection to its own immediate origins.
The loss of such a system comes across in the last eight images of the book. This sequence dispels with the balance and symmetry of botanical structure emphasized so strongly throughout the rest of the book.
Small flowers fill these photographs, resulting in chaotic, all-over patterns that contrast with the sparse compositions appearing earlier in the book.
Rather than showing ideal forms, these images present clusters of botanical specimens that reference the multiple variations in appearance a single species can contain.
It is not surprising that Urformen der Kunst was often discussed in a Surrealist context. The art historian provocatively compared Urformen der Kunst to Histoire naturelle, a portfolio of drawings by the Surrealist Max Ernst published in They likewise seem like a mythical history of nature and creation.
They are only photographs, but now and then appear more symbolic, more uncanny than those creatures by the truly imaginative Max Ernst.
Not restricted to images of plants, Histoire naturelle consists of fantastical images from the mineral, vegetable, and animal worlds.
Rather than conceiving of plants as the visualization of continuities uniting all forms through time, Bataille argues that continuity can be shattered by their diabolical details.
Even the most beautiful flowers are spoiled in their centers by hairy sexual organs. But even more than by the filth of its organs, the flower is betrayed by the fragility of its corolla: thus, far from answering the demands of human ideas, it is a sign of their failure.
Bataille dismantles the system of resemblances and correspondences set up by Nierendorf in Urformen der Kunst. Rather than upholding the plant as a timeless form, the inevitable rot of the flower is symbolic of the death drive.
The independence of the visual from the textual realm was also important to the art theorist Carl Einstein, who selected and arranged the five photographs by Blossfeldt that accompany the essay.
Published in , Negerplastik consists of a twenty-three-page essay followed by pages of photographs of African sculpture. It provides an early example of an attempt to reconsider the relationship between images and text in the age of photographic reproduction.
Negerplastik was never recognized as a significant or even sound study of African art. Rather than providing an ethnographic analysis, Einstein states the photographs of African sculpture must be visually experienced, isolated from any cultural or temporal context.
His theory of African sculpture extolls the ability of the visual to destroy memory, opening up a completely original experience to the viewer that is unhindered by experience or preconceptions.
The backgrounds in both sets of photographs range from dark to light grey. The floral and vegetal forms in Urformen der Kunst recall the floating, isolated sculptures in the photographs of Negerplastik.
Without any comparative, classifying, or developmental structure, the photographic sequence in Urformen der Kunst triggers free and imaginative associations through form.
For example, the seed Callistemma brachiatum in plate 11, magnified to thirty times its natural size, appears like a hat or a thimble. The anthropomorphic appearance of a number of images in the book causes the boundaries between human and botanical forms to dissolve.
The frontal symmetry of plate 12, the Geum rivale, transforms the enfolding petals into eye sockets, while the curvy thistle at the stem hints at facial hair.
Shoots of chestnut blooms on the following page appear like totem poles, but the stalks also contain notches and ridges that align in facial configurations.
In plates 88, 89, 90, and 93, specimens of wild heliotrope and comfrey appear like carnival masks. Rather than confirming the eternal return of certain forms through history, these images confront the viewer with the human body in the stems, bulbs, and petals of plants.
History was an intensely discussed concept in the Weimar Republic. In the Passagen-Werk, an ambitious, yet uncompleted, study of the nineteenth century, Walter Benjamin sought to uncover the origins of Weimar modernity through a montaged collection of images and essays.
He has done more than his share of that great stock-taking of the inventory of human perception that will alter our image of the world in as yet unforeseen ways.
Everything is so new here that even the search leads to creative results. Technology is, of course, the pathbreaker here.
It is not the person ignorant of writing but the one ignorant of photography who will be the illiterate of the future.
Leaping toward us from every calyx and every leaf are inner image-imperatives [Bildnotwendigkeiten], which have the last word in all phases and stages of things conceived as metamorphoses.
For Nierendorf, this critique involved drawing connections between the past and the present and using photography to reveal continuity.
For Benjamin, the book brings moments in history together into an instantaneous flash of alignment. Rather than tracing progressive and continual development through time, Benjamin conceives of history as an instantaneous flash.
It is based on fragmentation and rupture but also on unique moments in which the fragments of history realign.
Rather than searching for the unified visual signs of an age, Bloch argues for the existence of multiple conceptions of the present at a particular moment in time.
But they are thereby not yet living at the same time with the others. They rather carry an earlier element with them; this interferes.
No longer homogenously experienced by everyone, the Now is constituted by the historical baggage of a particular class or identity.
But Bloch argues further that the nonsynchronous features of the present are the materials of political revolution and these ideological materials were being used expertly by the right.
Their concept of historical time brought society into line, synchronizing it according to the imperatives of a totalitarian regime.
But the historical references Urformen der Kunst evokes are never made explicit. It avoids binding visual form to an explicit historical reference and thereby resists the construction of history to serve the defined interests of the present.
Urformen der Kunst never sits comfortably in any of the historical moments it might evoke. It remains out of sync, unwilling to bind a volatile present to a mythic past.
It presents a series of eighty photographs uninterrupted by text. The recto of each page shows a close-up of an anonymous member of the working class.
Using mirrors, black velvet cloths, lighting and soft-focus techniques he developed as a film cameraman, Lerski creates contrasts between shadow and light that attempt to convey an inner spirit, making visible the invisible.
Psychology is seen in them more than achieved by them. Since his appointment as director in , Glaser had transformed the Kunstbibliothek into a research library actively engaged with contemporary photography.
Priced at 18 Marks, it was published by Hermann Reckendorf as a quartosized art publication, unaffordable to the members of the working class it depicted.
But we have for a long time been misled by the apparently objective likeness that photography prides itself on caring for. The technology has come so far that it has completely eliminated the hand and also the spirit of man.
Traditionally, portraits are defined as the representation of an individual or group of known individuals.
Beyond a physical likeness, they convey a psychological dimension of the subject, drawing out aspects of his or her interior life.
He wants to form with and through light. He wants to serve nothing other than the means of his technology. Here it is also spirit that creates its importance, and spirit is served by the wonderful medium of light.
Light makes the invisible visible, shines in the depths and unveils mysteries. Believe me, photography is a great thing!
Precisely rendered details anchor the spiritual in recorded fact. The first photograph shows a porter with his head angled towards the lower right corner of the page.
Lerski has focused the camera on an area extending from the brow bones to the mouth. The thick hairs of his mustache and lines on his forehead are defined clearly.
The precise articulation of his perspiration and weathered skin contrasts with the ethereal haze surrounding him. These techniques serve to visualize a spirituality that can only be conjured up by the camera.
Pores, glistening skin, moles, wrinkles, blemishes, hairs, and freckles are pressed to the surface and given importance by their proximity.
Plate 37 shows the head of a beggar from Saxony against crinkled paper, emphasizing contrasts in texture. Pressed to this picture plane, all of this skin invokes the photographic negative.
It is present as opaque surface, obscuring as well as revealing content. A number of heads are marked by an oily sheen brought about by reflected light.
Chins, upper lips, and jaw lines seem to be covered in glistening moisture. The dramatic articulation of the skin is graphic and awkwardly personal, and the proximity of the heads insists we connect with these people intimately.
But as much as skin is the barer of spirit, it is also the source of glares and reflections that block the transparent presentation of interiority.
Many of the heads are partially cloaked in darkness; light and reflections expose only partial, abstracted features. Other heads are blurred, forming only an ephemeral presence on the page.
Folkwang, Essen, Germany. Photo Credit: Getty Research Institute, Los Angeles. Swiss by birth, Lerski began his career as an actor in a small theater group in Milwaukee, Wisconsin.
He opened up a photography studio in and produced portraits and publicity shots of fellow actors. Lerski moved to Germany in and worked in the film industry from to From his work on these films, Lerski earned a reputation for his intensely lit close-ups.
When exploring a relationship between the photographic book and film, such clear differences should not be overlooked. Photo Credit: The Getty Research Institute, Los Angeles.
There is considerable visual evidence that Lerski was interested in the interaction between his photographs and the pages on which they are viewed.
Every page presents a photograph surrounded by a white space, yet the place of the image on the page changes throughout the book.
At times, the photograph dominates the page, as on page 17 where the white space acts as a border around the centered face.
The same wife of a chauffeur appears in the upper left corner on the next page. She looks down and seems to contemplate the wide space of white that surrounds her image.
Throughout the book, the place of the image drifts around the page. Heads that look to their right appear in the upper left corner and vice versa.
The changing place of the photograph emphasizes the difference in the heads from page to page and the variety of unexpected viewing angles the photographs present.
The white space works to isolate the heads from what comes before and after and pulls our attention away from the continuous sequence of images.
But this space also links one page to the next and strings the photographs along into a sequential group.
Their absorption thus leads to a heightened awareness of the book-format, its sequence of images, and the relationships among the various photographs.
Light, the essence of photography, is responsible for the progression of the book as well as its stagnation. Mesin Gol Sriwijaya FC Merapat ke Badak Lampung.
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