000			02949cam a2200385 i 4500
001			ocn904131831
003			OCoLC
005			20240726104920.0
008			150227t20152015caua ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dNT _dOCLCF _dCUS _dYDXCP _dEBLCP _dOCLCO _dDEBSZ _dAGLDB _dOCLCQ _dMERUC _dFIE _dBUF _dJBG _dWRM _dOCLCQ _dVTS _dFVL _dINT _dIDB _dOCLCQ _dSTF _dAU@ _dM8D _dOCLCQ _dAJS _dORE
020			_a9780804794008 _q((electronic)l(electronic)ctronic)
050	0	4	_aTR15 _b.M573 2015
049			_aMAIN
100	1		_aSilverman, Kaja, _e1
245	1	0	_aThe miracle of analogy, or, The history of photographyKaja Silverman.
246	3	0	_aMiracle of analogy
246	3	0	_aHistory of photography _nPart 1
260			_aStanford, California : _bStanford University Press, _c(c)2015.
300			_a1 online resource : _billustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
500			_aComplete in two volumes.
504			_a2
505	0	0	_aThe second coming -- _tUnstoppable development -- _tWater in the camera -- _tA kind of republic -- _tJe vous -- _tPosthumous presence.
520	0		_aThe Miracle of Analogy is the first of a two-volume reconceptualization of photography. It argues that photography originates in what is seen, rather than in the human eye or the camera lens, and that it is the world's primary way of revealing itself to us. Neither an index, representation, nor copy, as conventional studies would have it, the photographic image is an analogy. This principle obtains at every level of its being: a photograph analogizes its referent, the negative from which it is generated, every other print that is struck from that negative, and all of its digital "offspring." Photography is also unstoppably developmental, both at the level of the individual image and of medium. The photograph moves through time, in search of other "kin," some of which may be visual, but others of which may be literary, architectural, philosophical, or literary. Finally, photography develops with us, and in response to us. It assumes historically legible forms, but when we divest them of their saving power, as we always seem to do, it goes elsewhere.The present volume focuses on the nineteenth century and some of its contemporary progeny. It begins with the camera obscura, which morphed into chemical photography and lives on in digital form, and ends with Walter Benjamin. _cPublisher
530			_a2 _ub
650		0	_aPhotography _xHistory.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=933046&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hTR _m2015 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c82701 _d82701
902			_a1 _bCynthia Snell _c1 _dCynthia Snell