Photographing hyperobjects: The non-human temporality of autoradiography

References

1. Armstrong, C.. ( 2004;), ‘ Cameraless: From natural illustrations and nature prints to photogenic drawings and other botanographs. ’, in C. Armstrong, and C. de Zegher. (eds), Ocean Flowers: Impressions from Nature, Princeton, NJ:: Princeton University Press;, pp. 87–165.
   [Google Scholar]
2. Batchen, G.. ( 2016), Emanations: The Art of the Cameraless Photograph, Munich, London and New York:: DelMonico Books-Prestel;.
   [Google Scholar]
3. Dubois, P.. ( 1998), Der fotografische Akt: Versuch über ein theoretisches Dispositiv (trans. D., Hornig.), Amsterdam and Dresden:: Verlag der Kunst;.
   [Google Scholar]
4. Dvořák, T.. ( 2021;), ‘ Beyond human measure: Eccentric metrics in visual culture. ’, in T. Dvořák, and J. Parikka. (eds), Photography Off the Scale: Technologies and Theories of the Mass Image, Edinburgh:: Edinburgh University Press;, pp. 41–60.
   [Google Scholar]
5. Geimer, P.. ( 2018), Inadvertent Images: A History of Photographic Apparitions (trans. G., Jackson.), Chicago, IL and London:: The University of Chicago Press;.
   [Google Scholar]
6. Gude, W. D.. ( 1968), Autoradiographic Techniques: Localization of Radioisotopes in Biological Material, Englewood Cliffs, NJ:: Prentice-Hall;.
   [Google Scholar]
7. Henning, M.. ( 2018), Photography: The Unfettered Image, London and New York:: Routledge;.
   [Google Scholar]
8. Henning, M.. ( 2021;), ‘ What moves? The itineraries of pre-digital photography. ’, in O. Moskatova. (ed.), Images on the Move: Materiality – Networks – Formats, Bielefeld:: Transcript;, pp. 189–208.
   [Google Scholar]
9. Hepner, A.. ( 2020), The Light at the End of History: Reacting to Nuclear Impact, Durham, NC:: Daylight Books;.
   [Google Scholar]
10. Hoffmann, C.. ( 2002;), ‘ Die Dauer des Moments: Zu Ernst Machs und Peter Salchers ballistisch-fotografischen Versuchen 1886/87. ’, in P. Geimer. (ed.), Ordnungen der Sichtbarkeit: Fotografie in Wissenschaft, Kunst und Technologie, Frankfurt am Main:: Suhrkamp;, pp. 342–77.
    [Google Scholar]
11. Kember, S., and Zylinska, J.. ( 2015), Life After New Media: Mediation as a Vital Process, Cambridge, MA:: MIT Press;.
    [Google Scholar]
12. Krämer, S.. ( 2007;), ‘ Was also ist eine Spur? Und worin besteht ihre epistemologische Rolle? Eine Bestandsaufnahme. ’, in S. Krämer,, W. Kogge, and G. Grube. (eds), Spur: Spurenlesen als Orientierungstechnik und Wissenskunst, Frankfurt am Main:: Suhrkamp;, pp. 11–33.
    [Google Scholar]
13. Latour, B.. ( 1993), We Have Never Been Modern (trans. K. Porter.), Cambridge, MA:: Harvard University Press;.
    [Google Scholar]
14. Lippit, A. M.. ( 2005), Atomic Light (Shadow Optics), Minneapolis, MN and London:: University of Minnesota Press;.
    [Google Scholar]
15. Lucien, H.,, Pallain, M., and Ribery, F.. ( 2016;), ‘ Fukushima: l’invisible révélé, par Hélène Lucien et Marc Pallain. ’, Le Blog de Fabienne Ribery, 29 September, https://lintervalle.blog/2016/09/29/fukushima-linvisible-revele-par-helene-lucien-et-marc-pallain/. Accessed 21 January 2022.
    [Google Scholar]
16. Marani, M.. ( 2019;), ‘ Projeto Chernobyl captures a post-human landscape on radiographic film. ’, The Architect’s Newspaper, 12 November, https://www.archpaper.com/2019/11/projeto-chernobyl-radiographic-film-americas/. Accessed 21 January 2022.
    [Google Scholar]
17. Miceli, A., and Watlington, E.. ( 2019;), ‘ Alice Miceli on X-raying Chernobyl. ’, Art in America, 11 November, https://www.artnews.com/art-in-america/interviews/alice-miceli-chernobyl-radiographs-americas-society-56497/. Accessed 21 January 2022.
    [Google Scholar]
18. Morton, T.. ( 2013), Hyperobjects: Philosophy and Ecology after the End of the World, Minneapolis, MN and London:: University of Minnesota Press;.
    [Google Scholar]
19. O’Brain, J.. ( 2015;), ‘ Nuclear flowers of hell. ’, in J. O’Brian. (ed.), Camera Atomica: Photographing the Nuclear World, London:: Black Dog Press;, pp. 75–105.
    [Google Scholar]
20. Pallain, M.. ( 2017;), ‘ Fukushima: The invisible revealed. ’, Marc Pallain Photography, 5 January, https://www.marcpallain.com/fukushima-the-invisible-revealed/. Accessed 21 January 2022.
    [Google Scholar]
21. Prévost-Balga, A.. ( 2020;), ‘ “Atomic explosion stopped at millionths of a second”: Media micro-temporalities and time synchronisation. ’, Cinergie, 9:17, pp. 173–92.
    [Google Scholar]
22. Pringle, T.. ( 2014;), ‘ Photographed by the earth: War and media in light of nuclear events. ’, NECSUS: European Journal of Media Studies, 3:2, pp. 131–54.
    [Google Scholar]
23. Rogers, A. W.. ( 1979), Techniques of Autoradiography, Amsterdam, New York and Oxford:: Elsevier and North-Holland Biomedical Press;.
    [Google Scholar]
24. Schröter, J.. ( 2011;), ‘ Maßstäbe und Medien: Ein kurzer Diskussionsbeitrag. ’, Sprache und Literatur, 42:1, pp. 112–19.
    [Google Scholar]
25. Schuppli, S.. ( 2014;), ‘ Radical contact prints. ’, in J. O’Brian. (ed.), Camera Atomica: Photographing the Nuclear World, London:: Black Dog Press;, pp. 277–91.
    [Google Scholar]
26. Schüttpelz, E.. ( 2009;), ‘ Ein Maßstab für alle Medien? Eine anthropometrische These im Anschluss an Bruno Latour. ‘, Sprache und Literatur, 40:2, pp. 79–90.
    [Google Scholar]
27. Takeda, S.. ( 2013;), ‘ Trace: Cameraless records of radioactive contamination. ’, in E. Ellsworth, and J. Kruse. (eds), Making the Geologic Now: Responses to Material Conditions of Contemporary Life, Brooklyn, NY:: Punctum Books;, pp. 206–20.
    [Google Scholar]
28. Virilio, P.. ( 1984), War and Cinema: The Logistics of Perception, London and New York:: Verso;.
    [Google Scholar]
29. Wilder, K.. ( 2009), Photography and Science, London:: Reaction Books;.
    [Google Scholar]
30. Zylinska, J.. ( 2017), Nonhuman Photography, Cambridge, MA and London:: MIT Press;.
    [Google Scholar]
31. Moskatova, Olga. ( 2022;), ‘ Photographing hyperobjects: The non-human temporality of autoradiography. ’, Philosophy of Photography, 13:1, pp. 119–33, https://doi.org/10.1386/pop_00042_1
    [Google Scholar]