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The motive for late eighteenth-century proto-technics of photography and cinema was never quite mimetic representation: it was generating autonomous impressions of natural phenomena within the tradition of Naturphilosophie. The article analyses a series of connections between ‘natural hieroglyphs’ (von Lichtenberg), Jacques-Alexandre-César Charles’s ‘megascope’, Wedgwood’s pre-photography, Lavater’s silhouettes and antecedents of Marey’s ‘graphic method’. The goal is to document precursor ideas, devices, setups and frameworks of photoimaging medias to show that the genealogy of photography and cinema intersected through many polymath transverses within the ambit of natural philosophy (and the context of slavery).
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https://doi.org/10.1386/pop_00038_1 Published content will be available immediately after check-out or when it is released in case of a pre-order. Please make sure to be logged in to see all available purchase options.