商品描述
Physicist Gabriel Lippmann's (1845-1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann's death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann's reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography's ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography 1. The first coherent volume on Gabriel Lippmann and interferential Photography: There is not one single book dedicated to this topic, only some articles which are spread out and old. 2. It promotes a truly interdisciplinary understanding of Lippmann's photography by addressing concrete essential questions about process history, materiality, and main institutions, by presenting its other practitioners (Ramon y Cajal, Richard Neuhauss, Hermann Krone, etc.), and by tying the history of colour photography with the history of science. 3. It expands the understanding of colour photography before its emergence as a historical subject in the 1930s, which is crucial for its position in the history of the medium that I hope to strengthen, and for future media archaeology studies. It does so by situating Lippmann and his technology within a multitude of networks, disciplines, and discussions, asserting that his work was not an oddity or an exception, but rather a vivacious set of inquiries.
商品描述(中文翻譯)
物理學家加布里埃爾·利普曼（Gabriel Lippmann，1845-1921）的攝影技術是製作彩色照片的最古老方法之一。那麼，為什麼這位1908年諾貝爾獎得主的成就仍然在小眾圈子之外鮮為人知呢？本書以利普曼逝世百年為契機，反思他的科學、攝影和文化遺產，首次探討他的干涉彩色攝影。這一媒介最初於1891年披露，本文將通過三個塑造力量來考察其出現：科學、媒體和博物館。一組國際學者重新評估利普曼在科學史上的接受度，他在此領域最為人所知，並超越他在法國的努力，深入探討他的彩色攝影作為對各種歷史學的挑戰的複雜性。此外，他們還分析彩色照片作為光學媒介，從而使利普曼攝影與藝術、文化和帝國歷史以及媒體考古學的聯繫多元化。貢獻者們還專注於干涉板作為一種需要保護和展覽的實物，這種實物仍然吸引著當代的類比攝影師。本書使讀者能夠了解利普曼，掌握他多彩作品的跨學科複雜性，並最終擴展他在攝影史上的地位。
1. 這是關於加布里埃爾·利普曼和干涉攝影的第一本連貫的專著：目前沒有一本專門針對這個主題的書籍，只有一些分散且較舊的文章。
2. 本書通過探討有關過程歷史、物質性和主要機構的具體基本問題，介紹其他從業者（如拉蒙·卡哈（Ramon y Cajal）、理查德·紐豪斯（Richard Neuhauss）、赫爾曼·克羅內（Hermann Krone）等），並將彩色攝影的歷史與科學史聯繫起來，促進對利普曼攝影的真正跨學科理解。
3. 本書擴展了對彩色攝影的理解，尤其是在其於1930年代作為歷史主題出現之前，這對於加強其在媒介歷史中的地位以及未來的媒體考古學研究至關重要。它通過將利普曼及其技術置於多重網絡、學科和討論中，主張他的工作不是奇特或例外，而是一組生動的探究。
作者簡介
Dr. Hanin Hannouch is Curator for Analog and Digital Media at the Weltmuseum Wien. She has guest-curated the exhibition Slow Colour Photography about interferential colour photography at Preus Museum: National Museum of Photography (Norway) and is the guest-editor of the journal PhotoResearcher Nr. 37 Three-Colour Photography around 1900. She is currently writing her monograph about the history of colour photography in Imperial Germany. William R. Alschuler earned a doctorate in astronomy from University of California, Santa Cruz and has been at the School of Critical Studies at the California Institute of the Arts since 1992. He has previously published articles on holography and Lippmann photography, has compiled a catalogue raisonné of Lippmann photographs, and contributed ten articles to the Encyclopedia of 19th Century Photography (2007). walschuler@hotmail.com Prof. Dr. Klaus Hentschel double-majored in physics and philosophy at the University of Hamburg, submitted his thesis in 1989 on philosophical (mis)-interpretations of Einstein's theory of relativity, and took his ha_x0002_bilitation degree in 1995 on the interplay between scientific instrument design, experimental practice, and theory formation in spectroscopy and astrophysics. He is professor of the history of science and technology at the University of Stuttgart since 2006 Lazaros C. Triarhou is professor of neuroscience at the Department of Psychology, Aristotelian University Faculty of Philosophy in Thessaloniki, Greece. He obtained his MD from the Aristotelian University and continued his training in the United States, where he completed a MSc in neuroscience at the Center for Brain Research at the University of Rochester, New York, and a PhD in medical neurobiology at Indiana-Purdue University in Indianapolis. Susan Gamble is a visual artist who works in photo-technology, including holography. With her partner, Michael Wenyon, they are UNESCO laureates for their work in technology. Gamble has a BA in fine arts from Goldsmiths College, London and a PhD in the history of science from Cambridge Uni_x0002_versity. She was a fellow at the Center for Advanced Visual Studies at MIT. Wenyon & Gamble have work in the photography collection of the V&A Museum, the National Portrait Gallery in Washington, DC, and the MIT Museum; they have exhibited at the Whitney Museum in New York, the Tokyo Museum of Photography, the Calouste Gulbenkian Museum in Lisbon, and many other venues. Gamble has previously written on this topic. Prof. Dr. Jens Schröter has been chair for media studies at the University of Bonn since 2015. He was professor of multimedial systems at the University of Siegen from 2008 to 2015. From 2008 to 2012, he was director of the graduate school Locating Media at the University of Siegen; he is director (together with Anna Echterhölter, Vienna; Andreas Sudmann, Bochum and Alexander Waibel, Karlsruhe) of the Volkswagen Foundation-main grant How is Artificial Intelligence Changing Science. Dr. Elizabeth Cronin is the Robert B. Menschel Curator of Photography at the New York Public Library and author of Heimat Photography in Austria: A Politicized Vision of Peasants and Skiers. She has curated and co-curated such exhibitions as Viewpoints: Latin America in Photographs and Public Eye: 175 Years of Sharing Photography. She holds a PhD in art history from the Graduate Center, City University of New York, an MA in art history from the University of Minnesota, and an MA in German studies from the Technical University of Dresden. Rolf Sachsse was trained by Karl-Hugo Schmoelz and Walde Huth as a pho_x0002_tographer with a specialisation in advertising, architectural, and industrial photography. He studied art history, communications research, and German literature in Munich and Bonn. He completed his PhD on the history of architectural photography in Germany (1900-1975) in 1983. Until 2017, he was professor for design history and design theory at the Hochschule der Bildenden Künste Saar in Saarbrücken. Since 2018, he has been a lecturer at the University of Bonn. Dr. Hans I Bjelkhagen, a consultant at Hansholo Consulting Ltd, was awarded his doctoral degree in 1978 by the Royal Institute of Technology in Stockholm, Sweden. Over the last fifteen years, Bjelkhagen has received much international recognition for his work in the field of colour holography. In 1983, Bjelkhagen joined CERN in Geneva, Switzerland and, in 1984, Fermilab in Batavia, Illinois. Between 1985 and 1991, he was at Northwestern University, working on medical applications of holography Jens Gold has been a photograph conservator at Preus Museum: National Museum for Photography (Norway) since 2002. Currently, he is PhD Candi_x0002_date at the University of Oslo - Institute for Archaeology, Conservation and History, with the research project: "Lippmann Interference Photography: History, Materiality and Treatment Challenges". He completed his studies in photography conservation in 1998 from HTW Berlin- University of Applied Sciences, and he graduated from the University of Oslo in 2018 with an MA in object conservation. From 1999 to 2001, he was a fellow in the Mellon Advanced Residency Program in Photograph Conservation at the George Eastman House and the Image Permanence Institute in Rochester, New York. Curator and head of the exhibitions department at Photo Elysée, Museum for Photography, in Lausanne, Pauline Martin is an art historian and author of a PhD thesis about the history of blur in photography. She has published several books, including L'oeil photographique de Daniel Arasse. Théories et pratiques d'un regard (Fage éditions, 2012) and L'Évidence, le vide, la vie. La photographie face à ses lacunes (Ithaque, 2017). Curator in charge of the photographic archives at the Institut pour la photographie des Hauts-de-France since 2021, Carole Sandrin has been curator head of the preservation department of Photo Elysée, Lausanne from 2011 to 2020. She was in charge of the Société française de photographie collection from 2005 to 2011 and graduated with a professional MA in the preservation of cultural goods (University Paris I Panthéon-Sorbonne) in 2010. Author of several articles on scientific photography, she has co-curated exhibitions on the SFP collection, the amateur photography around 1900, the history of projected photography, Charlie Chaplin, Agnès Varda and Bettina Rheims. Nathalie Boulouch is an associate professor at Rennes 2 University. She teaches history of contemporary art and history of photography. Between 2014 and 2019, she was director of the Archives de la critique d'art and coordinated research programmes exploring the archives of art critics on different topics. Since completing her PhD on autochrome photography in France (1903-1931), her main research has focused on the history of colour photography (19th-20th centuries) from a technical, cultural, artistic, and critical point of view Manuel del Cerro is professor emeritus of ophthalmology and neurobiology at the University of Rochester, New York. A native of Argentina, he obtained his BA and BSc degrees from the Buenos Aires National College and his MD from the University of Buenos Aires Medical School. He is one of the most active microscope collectors in the United States, and he is the founder of the Microscope Historical Society.
作者簡介(中文翻譯)
哈寧·哈努赫博士是維也納世界博物館的類比與數位媒體策展人。她曾擔任挪威普魯斯博物館（Preus Museum: National Museum of Photography）展覽《慢色彩攝影》的客座策展人，該展覽探討了干涉色彩攝影，並且是期刊《PhotoResearcher》第37期《1900年前後的三色攝影》的客座編輯。她目前正在撰寫有關德意志帝國色彩攝影歷史的專著。
威廉·R·阿爾舒勒在加州大學聖克魯斯分校獲得天文學博士學位，自1992年以來一直在加州藝術學院的批判研究學院任教。他曾發表有關全息攝影和利普曼攝影的文章，編纂了利普曼照片的圖錄，並為《19世紀攝影百科全書》（2007）貢獻了十篇文章。walschuler@hotmail.com
克勞斯·亨茨切爾教授於2006年起在波恩大學擔任媒體研究系主任。他於2008年至2015年在西根大學擔任多媒體系統教授。2008年至2012年，他擔任西根大學媒體定位研究生院的主任；他與安娜·艾赫特霍爾特（維也納）、安德烈亞斯·蘇德曼（波鴻）和亞歷山大·維貝爾（卡爾斯魯厄）共同擔任大眾汽車基金會主要資助項目《人工智慧如何改變科學》的主任。
伊莉莎白·克羅寧博士是紐約公共圖書館的羅伯特·B·門謝爾攝影策展人，並著有《奧地利的故鄉攝影：農民與滑雪者的政治化視野》。她策劃和共同策劃了《觀點：拉丁美洲攝影》和《公共視野：175年的攝影分享》等展覽。她擁有紐約市立大學研究生中心的藝術史博士學位，明尼蘇達大學的藝術史碩士學位，以及德累斯頓工業大學的德語研究碩士學位。
羅夫·薩克斯曾在卡爾-雨果·施莫爾茲和瓦爾德·胡斯特的指導下接受攝影訓練，專攻廣告、建築和工業攝影。他在慕尼黑和波恩學習藝術史、傳播研究和德國文學。1983年，他完成了有關德國建築攝影歷史（1900-1975）的博士學位。直到2017年，他在薩爾布呂肯的薩爾藝術大學擔任設計歷史和設計理論教授。自2018年以來，他在波恩大學擔任講師。
漢斯·I·比耶爾卡根博士是漢斯全息顧問有限公司的顧問，於1978年在瑞典斯德哥爾摩的皇家理工學院獲得博士學位。在過去的十五年中，比耶爾卡根因其在色彩全息攝影領域的工作而獲得了許多國際認可。1983年，比耶爾卡根加入瑞士日內瓦的CERN，1984年加入伊利諾伊州巴塔維亞的費米實驗室。1985年至1991年，他在西北大學工作，專注於全息攝影的醫療應用。
詹斯·戈德自2002年以來一直擔任挪威普魯斯博物館（Preus Museum: National Museum for Photography）的攝影保護專家。目前，他是奧斯陸大學考古學、保護與歷史研究所的博士候選人，研究項目為《利普曼干涉攝影：歷史、物質性與處理挑戰》。他於1998年在HTW柏林應用科學大學完成攝影保護學習，並於2018年在奧斯陸大學獲得物件保護碩士學位。1999年至2001年，他是喬治·伊士曼博物館和影像持久性研究所的梅隆高級駐留計劃的研究員。
保琳·馬丁是洛桑攝影博物館Photo Elysée的策展人及展覽部門負責人，她是一位藝術史學家，並撰寫了有關攝影模糊歷史的博士論文。她出版了幾本書，包括《丹尼爾·阿拉斯的攝影眼：一種視角的理論與實踐》（Fage éditions, 2012）和《顯而易見、虛無、生命：攝影面對其缺陷》（Ithaque, 2017）。自2021年以來，她擔任上法蘭西攝影研究所的攝影檔案策展人，並於2011年至2020年擔任洛桑Photo Elysée的保護部門策展人。她曾負責法國攝影協會的收藏，並於2010年獲得巴黎第一大學（Panthéon-Sorbonne）文化財產保護專業碩士學位。她撰寫了多篇有關科學攝影的文章，並共同策劃了有關SFP收藏、1900年前後的業餘攝影、投影攝影歷史、查理·卓別林、阿涅斯·瓦爾達和貝蒂娜·雷姆斯的展覽。
娜塔莉·布盧洛克是雷恩2大學的副教授，教授當代藝術史和攝影史。2014年至2019年，她擔任藝術批評檔案館的主任，並協調研究計劃，探索藝術批評家的檔案。自從完成有關法國自動色彩攝影（1903-1931）的博士學位以來，她的主要研究集中在19世紀至20世紀的色彩攝影歷史，從技術、文化、藝術和批評的角度進行探討。
曼努埃爾·德爾·塞羅是紐約羅徹斯特大學的眼科和神經生物學名譽教授。他出生於阿根廷，獲得布宜諾斯艾利斯國立學院的文學士和科學士學位，並在布宜諾斯艾利斯大學醫學院獲得醫學博士學位。他是美國最活躍的顯微鏡收藏家之一，也是顯微鏡歷史學會的創始人。
