scholarly journals The Meaning Of A Moment : An Analysis Of The Photomicrographs Of Dr. Max Poser In Response To Their Physical Location And Trajectory

2021 ◽  
Author(s):  
Heather Westfall
Keyword(s):  
New York ◽  
Physiological Optics ◽  
Physical Location ◽  
History Of

Dr. Max Poser was a researcher, scientist, and lecturer in the fields of ophthalmology and physiological optics at the New York based optics company, Bausch & Lomb. This thesis examines a group of his silver gelatin photographs located at George Eastman House and compares this series of 1930s photomicrographs to other images by Dr. Poser at the Bausch & Lomb archive. This thesis contextualizes the photographs within the history of photomicrography, the biography of Dr. Poser, and his work at Bausch & Lomb to understand why these photographs were made. Several of these photomicrographs were exhibited and published before arriving at the museum, and these frameworks show how the usage of a photograph can change how it is understood. Finally, the thesis examines the physical locations where each of the objects is kept and how those locations generate different connotations that reflect the mission of each institution.

scholarly journals The Meaning Of A Moment : An Analysis Of The Photomicrographs Of Dr. Max Poser In Response To Their Physical Location And Trajectory

2021 ◽  
Author(s):  
Heather Westfall
Keyword(s):  
New York ◽  
Physiological Optics ◽  
Physical Location ◽  
History Of

Dr. Max Poser was a researcher, scientist, and lecturer in the fields of ophthalmology and physiological optics at the New York based optics company, Bausch & Lomb. This thesis examines a group of his silver gelatin photographs located at George Eastman House and compares this series of 1930s photomicrographs to other images by Dr. Poser at the Bausch & Lomb archive. This thesis contextualizes the photographs within the history of photomicrography, the biography of Dr. Poser, and his work at Bausch & Lomb to understand why these photographs were made. Several of these photomicrographs were exhibited and published before arriving at the museum, and these frameworks show how the usage of a photograph can change how it is understood. Finally, the thesis examines the physical locations where each of the objects is kept and how those locations generate different connotations that reflect the mission of each institution.

Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri

2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri
Keyword(s):  
New York ◽  
New York City ◽  
Asian American ◽  
York City ◽  
American Film ◽  
The Sixties ◽  
History Of

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

Beérkezett könyvek

2008 ◽  
Vol 63 (4) ◽  
pp. 769-770
Author(s):  
Csaba Pléh
Keyword(s):  
New York ◽  
Point Of View ◽  
Cambridge University ◽  
New Science ◽  
Oxford University ◽  
History Of ◽  
The Mind ◽  
Oxford University Press

Danziger, Kurt: Marking the mind. A history of memory . Cambridge University Press, Cambridge, 2008Farkas, Katalin: The subject’s point of view. Oxford University Press, Oxford, 2008MosoninéFriedJudités TolnaiMárton(szerk.): Tudomány és politika. Typotex, Budapest, 2008Iacobini, Marco: Mirroring people. The new science of how we connect with others. Farrar, Straus and Giroux, New York, 2008Changeux, Jean-Pierre. Du vrai, du beau, du bien.Une nouvelle approche neuronale. Odile Jacob, PárizsGazzaniga_n

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