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This essay argues that the natural history diorama preserves environmental consciousness as a technological artifact. Perfected in an era that had come to view progress as a “machine in the garden,” the diorama harnessed technologies, and a technological consciousness, perceived to be responsible for imperiling nature, into the service of a coherent conservation ideal, and in the process obscured the machinery—and the machining—of our views of nature (Marx passim). I reveal the diorama's debt to technology in the context of the early stage dioramas and optical illusions of Louis Daguerre, whose machinery of Romantic nature anticipated the first photographic processes, and in the pioneering museum designs of Carl Akeley, the artist-inventor who helped to engineer environmental sensibility through machines built to solve technical problems that were often remote from the question of conservation.

When Charles Baudelaire visited the diorama, a form of nineteenth-century popular entertainment, he was entranced by its evident falseness which gave way to what he termed 'useful truths'. By generating a convincing illusion of nature through conspicuously mechanical means, the diorama provoked its spectators to experience an intersubjective engagement with their environment. The form was later marshalled in the service of natural history, but the pedagogical and ideological imperatives of the early twentieth-century museum denied the explicit falsehood that was so central to the original diorama. When the form was revived by twenty-first century contemporary artists, the open acknowledgement of its illusory quality was restored as part of a critique of singular authority. Reckoning with the role of deception in an Anthropocene diorama displayed in Paris's Museum of Hunting and Nature, this article asks how what Baudelaire termed the diorama's 'brutal magic' might speak to environmental lies and truths today.

La dagherrotipia rappresenta il primo processo fotografico ad ampia diffusione apparsa durante la prima metà dell'Ottocento. La sua invenzione e sviluppo sono strettamente legati a una rete di scienziati, principalmente fisici e chimici, il cui interesse per la luce e i suoi fenomeni ha significativamente contribuito al progresso delle tecniche fotografiche. Questo contributo ripercorre la storia della dagherrotipia attraverso le figure di questi scienziati, aprendo una finestra su un affascinante capitolo della storia della scienza. Parole chiavi: fotografia, dagherrotipi, ottica, storia della scienza. Daguerreotypes are the first widely disseminated photographic process made public in the first half of the 19th century. Their invention and development are closely related to a network of scientists, primarily physicists and chemists, whose interest in light and its phenomena significantly contributed to the advancement of photographic techniques. This contribution traces the history of daguerreotypy through the figures of these scientists, opening a window onto a fascinating chapter of the history of science. Keywords: photography, daguerreotypes, optics, history of science.

A photographic image is said to provide evidence of a photographed scene because it is a causal imprint of reflected light, an indexical trace of real objects and events. Though widely established in the history, theory, and philosophy of photography, this traditional imprinting model must be rejected because it relies on a “single-stage” misconception of the photographic process: the idea that a photographic image comes into existence at the time of exposure. In its place, a “multistage” account properly articulates different production stages, such as registering and rendering, that are relevant to understanding the relation between a photographic image and the photographed scene. By denying that any photographic image is a causal imprint, the multistage approach proposes a more demanding evaluation of photographic evidence. This has implications for documentary film and photojournalism, along with specialized applications such as forensics, surveillance, and face-recognition technology.

Summary Medical photographic image capture and data management has undergone a rapid and compelling change in complexity over the last 20 years. This is because of multiple factors, including significant advances in ease of photograph capture, alongside an evolution of mechanisms of data portability/dissemination, combined with governmental focus on health information privacy. Literature to guide medical, legal, governmental and business professionals when dealing with issues related to medical photography is virtually nonexistent. Herein, we will address the breadth of uses of medical photography, device properties/specific devices utilised for image capture, methods of data transfer and dissemination and patient perceptions and attitudes regarding photography in a medical setting. In addition, we will address the legal implications, including legal precedent, copyright and privacy law, informed consent, protected health information and the Health Insurance Portability and Accountability Act (HIPAA), as they pertain to medical photography.

The daguerreotype camera stored a shiny mirror finished in a copper plate, treated with chemicals and was the first light sensitive material to capture information and store forever, once treated. Photographers like Herve helped change the perception of Modernist architecture by communicating to a wider audience, making photography a skillful tool in an architects' portfolio as well as being a powerful marketing tool. Ludwig Mies van der Rohe cut up photographs and drawings of a projected glass skyscraper and the Adam Department Store into the existing urban fabric of Friedrichstrasse, Berlin, to portray a realistic project.

This essay argues that there is a diorama remediated within James Hogg’s experimental Scottish Gothic novel, The Private Memoirs and Confessions of a Justified Sinner (1824). Invented in 1822, the diorama was a popular multimedia theater experience comprised of a mural-sized immersive and realistic painting as well as a printed booklet describing the scene. Together, the view and booklet imaginatively transport the diorama’s audience to the depicted location. The diorama in Hogg’s novel is Louis Daguerre’s “Ruins of Holyrood Chapel, a Moonlight Scene” (1823), which places the viewer within the crumbling abbey at Holyrood Palace, Edinburgh, at night, among the tombs of Scottish nobles and royalty buried there. With its remediated Holyrood diorama, Confessions of a Justified Sinner prompts readers and characters, much like diorama-goers, to test their surroundings and determine where reality ends and the screen of illusion begins. Such reality-testing reveals characters’ and readers’ present moments to be part of, not detached from, the history of the ruined Holyrood Chapel and graveyard, the fractured identity of Scots, and the reception and retelling of their stories. Further, reality-testing draws attention to the media that construct one’s sense of self, the present, and the past, and these include not only the newer technology of the diorama, but also that of the novel in the late-Romantic period.

Extrait: \"La substance que l'on doit employer de préférence est le résidu qu'on obtient par l'évaporation de l'huile essentielle de lavande, appliqué en couche très mince, par le moyen de sa dissolution dans l'alcool. Bien que toutes les substances résineuses ou bitumineuses, sans en excepter une seule; soient douées de la même propriété, c'est-à-dire celle d'être sensibles à la lumière, on doit donner la préférence à celles qui sont les plus onctueuses...\"À PROPOS DES ÉDITIONS LIGARANLes éditions LIGARAN proposent des versions numériques de qualité de grands livres de la littérature classique mais également des livres rares en partenariat avec la BNF. Beaucoup de soins sont apportés à ces versions ebook pour éviter les fautes que l'on trouve trop souvent dans des versions numériques de ces textes. LIGARAN propose des grands classiques dans les domaines suivants: • Livres rares • Livres libertins • Livres d'Histoire • Poésies • Première guerre mondiale • Jeunesse • Policier

Connelly and Connelly explore the history of motion pictures and the development of animation. A man named Joseph Niepce (17651-1833) took a photograph in 1826 using a device called a \"camera obscura\". Niepce formed a partnership Louis Daguerre (1787-1851). By 1836, Daguerre had perfected the photo development method of treating silver plates with fumes of iodine. That process was given Daguerre's name: \"daguerreotype process\" because he developed it after Niepce's death.