[...] something much larger than the simple biological ="trms">agent that he or she always has been.

vision of man “as a prisoner of climate” and not of man as the maker of it

is the ="trms">Anthropo="trms">cene a critique of the ="trms">narratives of freedom='qstn'>?
price we pay for the pursuit of freedom

politics='lgc'>: the most common shape that freedom takes in human ="trms">societies.
politics has never been based on reason alone. (it seems politics is something that is out of control)
(Maslin, Global warming) ='lgc'>[Global warming='lgc'>] requires nations and regions to plan for the next 50 years, something that most ="trms">societies are unable to do because of the very short-term ="trms">nature of politics.

="large lg2" stl="font-size:112%"> ="trms">Anthropo="trms">cene was neither an ancient nor an inevitable happening

the crisis of climate change calls for thinking ="trms">simultaneously on both registers, to mix together the immiscible chronologies of capital and ="trms">species ="trms">history.

as ="ppl">Gadamer pointed out, Dilthey saw “the individual's private ="trms">world of experience as the starting point for an expansion that, in a living trans="trms">position, fills out the narrowness and fortuitousness of his private experience with the in="trms">finity of what is available by re-experiencing the ="trms">historical ="trms">world.”

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

(="ppl">Peter ="ppl">="ppl">Galison, in Image of Objectivity)

“let ="trms">nature speak for itself” (!) a new brand of ="trms">scientific objectivity that emerged in the 19th century ='lgc'>=> restrain themselves from imposing their hopes, expectations, ="trms">generalization, ="trms">aesthetics, even ordinary ="trms">language on the image of ="trms">nature. (the image of ="trms">nature has never been objective)

the ="trms">present usage of objectivity can be applied to everything from ="trms">="trms">empirical reliability to procedural correctness to emotional detachment

each component of objectivity opposes a distinct form of subjectivity; each is defined by censuring some (by no means all) aspects of the personal.

personal idio="trms">syncrasies

this ideal of objectivity attempts to eliminate the mediating ="trms">presence of the observer

the ="trms">phenomena never sleep and neither should the observer

heroic self-discipline

profoundly moralized vision

and like almost all forms of moral virtuosity it preaches asceticism

human worker whose attention wandered, whose pace slackened, whose hand trembled

the self-recording ="trms">instrument promised to replace the weary artist

machines offered freedom from will

being true to ="trms">nature='lgc'>:
="prgrph">-in its ="trms">method (mechanical)
="prgrph">-in its moral (restrained)
="prgrph">-in its ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics (individualised)

early alternative approaches to creating picture that were true to ="trms">nature, but not objective in the mechanical sense


atlases habituate the eye, they are perforce visual


(contrast to the ="trms">scientific visual forms of photography where one is on the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right place at the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right time with the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right ="trms">="trms">equipment) the Kinect's total randomness

one problem of atlases is that they have to decide what ="trms">nature is
they all have to solve the problem of choice='lgc'>: which objects should be ="trms">presented and from which viewpoint (Kinect choosing mechanism and arbitrariness='qstn'>?) (can we not choose what ="trms">nature is when we are at it='qstn'>? and when we are at ="trms">nature='qstn'>?)


rejection of ="trms">aesthetics (but what seduction exactly betrays='qstn'>? or what does it make accurate='qstn'>?)


average (is truth to ="trms">nature='qstn'>?)


asceticism of non="trms">interventionist objectivity


“straight photography” is above all a sig="trms">nature of a particular s="trms">cene, a ="trms">specific and localized re="trms">presentation only awkwardly adaptable to a mosaic com="trms">position from ="trms">different individuals (Zeiss-lens-camera images)

how ="trms">scientists deployed mechanical means to police the artist


(for ="ppl">Martin ="ppl">Kusch - objectivity and ="trms">historiography) truth-to-="trms">nature had its rationale in enlightenment sensationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list psychology, with its conception of the self as fragmented, passive, and ="trms">excessively receptive.
='lgc'>='lgc'>--> to be true to ="trms">nature was actively to select and ="trms">interpret sensations and in that way bring them under ="trms">epistemic control.
='lgc'>='lgc'>--> re="trms">presentation in nanofacture, image is used to actually engineer the whole thing. making and seeing coincide.

="large lg1" stl="font-size:128%">
eliminating judgment
the device would remove the process of abstraction from the artist's pen

what characterized the creation of late 19th century pictorial objectivity was self-sur="trms">veillance

(note of Geppetto, Younus, Pinocchio)

personal equation='lgc'>: a ="trms">systematic error correction


to produce re="trms">liable images


While in the early nineteenth century, the burden of re="trms">presentation was ="trms">supposed to lie in the picture itself, now it fell to the audience. The psychology of pattern recognition in the audience had replaced the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical claims of the ="trms">author. Mistrusting themselves, they assuaged their fear of subjectivity by transferring the necessity of judgment to the audience.


(Grashey's) police ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor was entirely appropriate. Not only was the ="trms">history of late-nineteenth-century photography thoroughly bound up with the ="trms">history of crime control, the x-ray photography itself was increasingly finding its way into court.

="trms">scientific evidence

legal evidence

at issue was, once again, the shifting border between judgment and mechanization, between the possibility (or necessity) of human ="trms">intervention and the ="trms">routinized, automatic functioning of the ="trms">technology.

medico-legal concept of evidence

the image of the x-ray appeared (in court at least) to preempt and displace all other forms of knowl="trms"nttrm="knowledge,Knowledge">edge.

(Allan ="trms">Poe='lgc'>:) “if we examine a work of ordinary art, by means of a powerful microscope, all traces of resemblance to ="trms">nature will disappear='lgc'>--but the closest scrutiny of the photographic drawing discloses only a more absolute truth, more perfect identity of aspect with the thing re="trms">presented.”

trompe l'oeil (new note)

in X-ray, the encryption of information takes place in the ="trms">technology itself

photographs did not carry a transparent meaning


once so policed, and presumably only then, could the photographic process be elevated to a special ="trms">epistemic status, putting it in a ="trms">category of its own

in contrast to drawings, photograms were tarnished by the crudeness imposed by the limited palette of the color raster. Given the choice, the ="trms">author clearly favored the crude but mechanical photographic process. Accuracy had to be sacrificed on the altar of objectivity. (is Kinect pure mechanical='qstn'>? why i have been insisting to remove my hands='qstn'>?! why i was craving for objectivity='qstn'>?)

='lgc'>=> to leave imperfections in the photograph as a ="trms">literal mark of objectivity

testimony to objectivity

rejection of subjective temptation

sophistication could corrupt an individual='qstn'>? (you can be accurate but not sophisticated) (not cleaning up the image of plates)

="large lg3" stl="font-size:112%">
The moral ="trms">narrative surrounding this mechanical construction of pictorial objectivity took many forms. As we have argued, pictures (properly constructed) served as talismanic guards against frauds and ="trms">system builders, ="trms">aesthetes and idealizers.

extending the mystique of the visual to the ="trms">dense ="trms">symbolic ="trms">presentation of functions and graphs

inscription ="trms">instruments

="large lg4" stl="font-size:110%"> (Marey, ="trms">method grafique) “the graphical ="trms">method ="trms">translates all these changes in the activity of forces into an arresting form that one could call the ="trms">language of the ="trms">phenomena themselves, as it is superior to all other modes of expression.”

graphical re="trms">presentation could cut across the artificial boundaries of ="trms">natural ="trms">language to reveal ="trms">nature to all people,

they were the words of ="trms">nature itself

the search for this rendition of objective re="trms">presentation was a moral as much as ="trms">technical, quest.


="large lg5" stl="font-size:145%"> morality of self-restraint


(for the ="trms">scientific atlas makers of the later nineteenth century,) the machine aided where the will failed. (at once a powerful and polyvalent ="trms">symbol,) the machine was fundamental to the very idea of mechanical objectivity.

the machine, in the form of new ="trms">scientific ="trms">instruments, ="trms">embodied a ="trms">positive ideal of the observer='lgc'>: patient, indefatigable, ever alert, probing beyond the limits of the human senses. (what other ="trms">relationships exist with the machine='qstn'>? other than this self-disciplined observer)
[...]