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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Jonathan Crary is Meyer Schapiro Professor of Modern Art and Theory at Columbia University. A founding editor of Zone Books, he is the author of Techniques of the Observer (MIT Press, 1990) and coeditor of Incorporations (Zone Books, 1992). He has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts fellowships and was a member of the Institute for Advanced Study in Princeton.
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Vendeur : ANARTIST, New York, NY, Etats-Unis
Hardcover with dustjacket, 172 pages; fair condition; priced-clipped and faded dj is poor with many holes at spine; foxing to outer page edges; owner's sticker; scattered pencil lines in margins. As is; reading copy. Foreign shipping may be extra. N° de réf. du vendeur TeCrTh20
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Vendeur : Wonder Book, Frederick, MD, Etats-Unis
Etat : Very Good. Very Good condition. Good dust jacket. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp. N° de réf. du vendeur Y06N-00679
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Vendeur : Hennessey + Ingalls, Los Angeles, CA, Etats-Unis
Hardcover. Etat : Used - Very Good. wrapped in complimentary Brodart dust jacket protector. Very nice clean, tight copy free of any marks. Some sun fading to dj spine. N° de réf. du vendeur 329753
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Vendeur : Mullen Books, ABAA, Marietta, PA, Etats-Unis
Hardcover. Yellow DJ with purple lettering and illustration; yellow cloth over boards with purple lettering; 171 pp.; richly illustated. This text considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. The author 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. In this context, he examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. -- WorldCat. Good (DJ is price-clipped, toned/edgeworn/scuffed/smudged; boards have a small inkstain to front cover; ifc has a single word written in pen; remaining interior is in excellent condition, but does have a small amount of penciled marginalia.). N° de réf. du vendeur 200480
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Vendeur : Twice Sold Tales, Capitol Hill, Seattle, WA, Etats-Unis
Hardcover, 171 pages. Etat : Good +. Etat de la jaquette : Acceptable. Second Printing. Second Printing. Cloth boards. Bumping to boards and to top and bottom of outer spine. Ex-owner stamp on front free endpapers. Ex-owner name in ink on front paste-down. Binding is tight. Various pages with highlighted lines/sentences. Soiling to text block. Significant sun fading to inner and outer dust jacket save for back of jacket and right inner flap. Soiling to inner and outer dust jacket. Chipping in parts of jacket. Creasing and scuffing to jacket. Inner front left flap clipped, upper right corner. Small tears in various parts of jacket. Sticker residue on back jacket, bottom right corner. N° de réf. du vendeur 10950
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Vendeur : GoldBooks, Denver, CO, Etats-Unis
Hardcover. Etat : new. New Copy. Customer Service Guaranteed. N° de réf. du vendeur 89U77_50_0262031698
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Vendeur : BennettBooksLtd, Los Angeles, CA, Etats-Unis
hardcover. Etat : New. In shrink wrap. Looks like an interesting title! N° de réf. du vendeur Q-0262031698
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