Time Machines: Telegraphic Images in Nineteenth-Century France
暫譯: 時間機器：十九世紀法國的電報影像
Taws, Richard
- 出版商: MIT
- 出版日期: 2025-01-21
- 售價: $1,980
- 貴賓價: 9.5 折 $1,881
- 語言: 英文
- 頁數: 400
- 裝訂: Hardcover - also called cloth, retail trade, or trade
- ISBN: 026204918X
- ISBN-13: 9780262049184
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商品描述
A riveting exploration of the relationship between art and telegraphy, and its implications for understanding time and history in nineteenth-century France.
In Time Machines Richard Taws examines the relationship between art and telegraphy in the decades following the French Revolution. The optical telegraph was a novel form of visual communication developed in the 1790s that remained in use until the mid-1850s. This pre-electric telegraph, based on a semaphore code, irrevocably changed the media landscape of nineteenth-century France. Although now largely forgotten, in its day it covered vast distances and changed the way people thought about time. It also shaped, and was shaped by, a proliferating world of images. What happens, Taws asks, if we think about art telegraphically? Placed on prominent buildings across France--for several years there was one on top of the Louvre--the telegraph's waving limbs were a ubiquitous sight, shifting how public space was experienced and represented. The system was depicted by a wide range of artists, who were variously amused, appalled, irritated, or seduced by the telegraph's intractable coded messages and the uncanny environmental and perceptual disruption it caused. Clouds, architecture, landscapes, and gestures: all signified differently in the era of telegraphy, and the telegraph became a powerful means to comprehend France's technological and political past. While Paris's famous arcades began to crisscross the city at ground level, a more enigmatic network was operating above. Shifting attention from the streets to the skies, this book shows how modern France took shape quite literally under the telegraph's sign.
In Time Machines Richard Taws examines the relationship between art and telegraphy in the decades following the French Revolution. The optical telegraph was a novel form of visual communication developed in the 1790s that remained in use until the mid-1850s. This pre-electric telegraph, based on a semaphore code, irrevocably changed the media landscape of nineteenth-century France. Although now largely forgotten, in its day it covered vast distances and changed the way people thought about time. It also shaped, and was shaped by, a proliferating world of images. What happens, Taws asks, if we think about art telegraphically? Placed on prominent buildings across France--for several years there was one on top of the Louvre--the telegraph's waving limbs were a ubiquitous sight, shifting how public space was experienced and represented. The system was depicted by a wide range of artists, who were variously amused, appalled, irritated, or seduced by the telegraph's intractable coded messages and the uncanny environmental and perceptual disruption it caused. Clouds, architecture, landscapes, and gestures: all signified differently in the era of telegraphy, and the telegraph became a powerful means to comprehend France's technological and political past. While Paris's famous arcades began to crisscross the city at ground level, a more enigmatic network was operating above. Shifting attention from the streets to the skies, this book shows how modern France took shape quite literally under the telegraph's sign.
商品描述(中文翻譯)
對藝術與電報之間關係的引人入勝的探索，以及其對理解十九世紀法國時間與歷史的影響。
在時間機器中，Richard Taws 探討了法國大革命後幾十年來藝術與電報之間的關係。光學電報是一種在1790年代開發的全新視覺通信形式，並一直使用到1850年代中期。這種基於信號旗碼的前電力電報，徹底改變了十九世紀法國的媒體格局。儘管如今大多被遺忘，但在當時它能夠覆蓋廣闊的距離，並改變人們對時間的思考方式。它也塑造了，並被一個不斷增長的影像世界所塑造。Taws問道，如果我們以電報的方式思考藝術會發生什麼？電報被安置在法國各地的顯著建築上——幾年來，盧浮宮的頂部就有一個——電報的揮舞肢體成為無處不在的景象，改變了公共空間的體驗和表現方式。這一系統被各種藝術家描繪，他們對電報難以解讀的編碼信息及其造成的奇異環境和感知干擾感到好奇、震驚、惱怒或著迷。雲彩、建築、風景和手勢：在電報時代，所有這些的意義都不同，而電報成為理解法國技術和政治過去的強大工具。當巴黎著名的拱廊開始在地面上交錯時，一個更神秘的網絡在上方運作。這本書將注意力從街道轉向天空，展示了現代法國如何在電報的標誌下字面上成形。作者簡介
Richard Taws is Professor of History of Art and Visual Culture at University College London. He is the author of The Politics of the Provisional as well as coeditor, with Iris Moon, of Time, Media, and Visuality in Post-Revolutionary France and, with Genevieve Warwick, Art and Technology in Early Modern Europe.
作者簡介(中文翻譯)
理查德·陶斯（Richard Taws）是倫敦大學學院（University College London）藝術史與視覺文化的教授。他是《臨時的政治》（The Politics of the Provisional）的作者，並與艾瑞斯·穆恩（Iris Moon）共同編輯《後革命法國的時間、媒體與視覺性》（Time, Media, and Visuality in Post-Revolutionary France），以及與珍妮維夫·華威克（Genevieve Warwick）共同編輯《早期現代歐洲的藝術與科技》（Art and Technology in Early Modern Europe）。
