The Stereoscope and the Stereograph

Form is henceforth divorced from matter. In fact, matter as a visible object is of no great use any longer, except as the mould on which form is shaped. Give us a few negatives of a thing worth seeing, taken from different points of view, and that is all we want of it. Pull it down or burn it up, if you please. We must, perhaps, sacrifice some luxury in the loss of color; but form and light and shade are the great things, and even color can be added, and perhaps by and by may be got direct from Nature.
There is only one Coliseum or Pantheon; but how many millions of potential negatives have they shed,—representatives of billions of pictures,—since they were erected! Matter in large masses must always be fixed and dear; form is cheap and transportable. We have got the fruit of creation now, and need not trouble ourselves with the core. Every conceivable object of Nature and Art will soon scale off its surface for us. Men will hunt all curious, beautiful, grand objects, as they hunt the cattle in South America, for their skins, and leave the carcasses as of little worth.
The consequence of this will soon be such an enormous collection of forms that they will have to be classified and arranged in vast libraries, as books are now. The time will come when a man who wishes to see any object, natural or artificial, will go to the Imperial, National, or City Stereographic Library and call for its skin or form, as he would for a book at any common library. We do now distinctly propose the creation of a comprehensive and systematic stereographic library, where all men can find the special forms they particularly desire to see as artists, or as scholars, or as mechanics, or in any other capacity.


Again, we must have special stereographic collections, just as we have professional and other special libraries. And as a means of facilitating the formation of public and private stereographic collections, there must be arranged a comprehensive system of exchanges, so that there may grow up something like a universal currency of these bank-notes, or promises to pay in solid substance, which the sun has engraved for the great Bank of Nature.

The next European war will send us stereographs of battles. It is asserted that a bursting shell can be photographed. The time is perhaps at hand when a flash of light, as sudden and brief as that of the lightning which shows a whirling wheel standing stock still, shall preserve the very instant of the shock of contact of the mighty armies that are even now gathering. The lightning from heaven does actually photograph natural objects on the bodies of those it has just blasted,—so we are told by many witnesses. The lightning of clashing sabres and bayonets may be forced to stereotype itself in a stillness as complete as that of the tumbling tide of Niagara as we see it self-pictured.
We should be led on too far, if we developed our belief as to the transformations to be wrought by this greatest of human triumph over earthly conditions, the divorce of form and substance. Let our readers fill out a blank check on the future as they like,—we give our indorsement to their imaginations beforehand. We are looking into stereoscopes as pretty toys, and wondering over the photograph as a charming novelty; but before another generation has passed away, it will be recognized that a new epoch in the history of human progress dates from the time when He who

never but in uncreated light
Dwelt from eternity—

took a pencil of fire from the hand of the "angel standing in the sun," and placed it in the hands of a mortal.

Oliver Wendell Holmes

exxonerate

Stuart Ewen presents Mind Games & Activism: Marketing, Persuasion, and the Myth of the Hardwired Public

Gustave Le Bon /// Pavlov // John Broadus Watson - Little Albert ////

 

arguments against the use of parataxis:

It is not, then, the facts in themselves that strike the popular imagination, but the way in which they take place and are brought under notice. It is necessary that by their condensation, if I may thus express myself, they should produce a startling image which fills and besets the mind. To know the art of impressing the imagination of crowds is to know at the same time the art of governing them.  

Gustave Le Bon. "The Ideas, Reasoning Power, and Imagination of Crowds".  

this week we'll show you the face of evil like you've never seen it before

because whatever you think  of any of these people, they don't in fact share the same historical space, they don't share the same historical circumstances and what you have is in this ad for the History Channel is  the collapsing of things which have nothing to do with each other  in order to create a meaning. This is completely illogical but it is very powerful.  

  A policy framework is a logical structure that is established to organize policy documentation into groupings and categories that make it easier for employees to find and understand the contents of various policy documents. Policy frameworks can also be used to help in the planning and development of the policies for an organization.

 

Definition of conduction

noun

[mass noun]

• the process by which heat or electricity is directly transmitted through the material of a substance when there is a difference of temperature or of electrical potential between adjoining regions, without movement of the material.
• the process by which sound waves travel through a medium.
• the transmission of impulses along nerves.
• the conveying of fluid through a channel.

Origin:

mid 16th century (in the senses 'provision for safe passage' and 'leadership'): from Latin conductio(n-), from the verb conducere (see conduct)

 

Velleity/// splendid weaknesses

Velleity has been defined primarily as "the lowest degree of desire or volition, with no effort to act". Thomas Pynchon, in Gravity's Rainbow, described "[t]his connoisseuse of 'splendid weaknesses', run not by any lust or even velleity but by vacuum: by the absence of human hope".

sandman

Most curious to know more of this Sandman and his particular connection with children, I at last asked the old woman who looked after my youngest sister what sort of man he was. 'Eh, Natty,' said she, 'don't you know that yet? He is a wicked man, who comes to children when they won't go to bed, and throws a handful of sand into their eyes, so that they start out bleeding from their heads. He puts their eyes in a bag and carries them to the crescent moon to feed his own children, who sit in the nest up there. They have crooked beaks like owls so that they can pick up the eyes of naughty human children.'

surrealist intrusion/ the enchanter's domain

 

2D/ 3D historic object / art object

olympia ah ah // Whirl about, my wooden doll!

The concert had finished, the ball began. 'To dance with her - with her!' That was the aim of all Nathaniel's desire, of all his efforts; but how to gain courage to ask her, the queen of the ball? Nevertheless - he himself did not know how it happened - no sooner had the dancing begun than he was standing close to Olympia, who had not yet been asked to dance. Scarcely able to stammer out a few words, he had seized her hand. Olympia's hand was as cold as ice; he felt a horrible deathly chill thrilling through him. He looked into her eyes, which beamed back full of love and desire, and at the same time it seemed as though her pulse began to beat and her life's blood to flow into her cold hand. And in the soul of Nathaniel the joy of love rose still higher; he clasped the beautiful Olympia, and with her flew through the dance. He thought that his dancing was usually correct as to time, but the peculiarly steady rhythm with which Olympia moved, and which often put him completely out, soon showed him that his time was most defective. However, he would dance with no other lady, and would have murdered anyone who approached Olympia for the purpose of asking her. But this only happened twice, and to his astonishment Olympia remained seated until the next dance, when he lost no time in making her rise again.
Had he been able to see any other object besides the fair Olympia, all sorts of unfortunate quarrels would have been inevitable. For the quiet, scarcely suppressed laughter which arose among the young people in every corner was manifestly directed towards Olympia, whom they followed with very curious glances - one could not tell why. Heated by the dance and by the wine, of which he had freely partaken, Nathaniel had laid aside all his ordinary reserve. He sat by Olympia with her hand in his and, in a high state of inspiration, told her his passion, in words which neither he nor Olympia understood.
Yet perhaps she did; for she looked steadfastly into his face and sighed several times, 'Ah, ah!' Upon this, Nathaniel said, 'Oh splendid, heavenly lady! Ray from the promised land of love - deep soul in whom all my being is reflected !' with much more stuff of the like kind. But Olympia merely went on sighing, 'Ah - ah!'

ETA Hofmann / The Sandman

The high steeple of the townhall was already casting its gigantic shadow over the market-place.
'Oh,' said Clara, 'let us climb it once more and look out at the distant mountains!'
No sooner said than done. Nathaniel and Clara both ascended the steps, the mother returned home with the servant, and Lothaire, who was not inclined to clamber up so many stairs, chose to remain below. The two lovers stood arm-in-arm on the highest gallery of the tower, and looked down upon the misty forests, behind which the blue mountains rose like a gigantic city.
'Look there at that curious little grey bush,' said Clara. 'It actually looks as if it were striding towards us.'
Nathaniel mechanically put his hand into his breast pocket - he found Coppola's telescope, and pointed it to one side. Clara was in the way of the glass. His pulse and veins leapt convulsively. Pale as death, he stared at Clara, soon streams of fire flashed and glared from his rolling eyes, he roared frightfully, like a hunted beast.Then he sprang high into the air and. punctuating his words with horrible laughter, he shrieked out in a piercing tone, 'Spin round, wooden doll! - spin round!' Then seizing Clara with immense force, he tried to hurl her down, but with the desperate strength of one battling against death she clutched the railings.
Lothaire heard the' raging of the madman - he heard Clara's shriek of agony - fearful forebodings darted through his mind, he ran up, the door to the second flight was fastened, Clara's shrieks became louder and still louder. Frantic with rage and anxiety, he threw himself against the door, which finally burst open. Clara's voice was becoming weaker and weaker. 'Help - help save me!' With these words the voice seemed to die on the air.
'She is gone - murdered by that madman!' cried Lothaire.
The door of the gallery was also closed, but despair gave him a giant's strength, and he burst it from the hinges. Heavens! Grasped by the mad Nathaniel, Clara was hanging in the air over the gallery - with one hand only she still held one of the iron railings. Quick as lightning, Lothaire caught his sister and drew her in, at the same moment striking the madman in the face with his clenched fist to such effect that he reeled and let go his prey.
Lothaire ran down with his fainting sister in his arms. She was saved. Nathaniel went raging about the gallery, leaping high in the air and crying, 'Circle of fire'spin round! spin round!'
 

monument to the peasants /// after dürer /// screenprint

What is “Dead Peasant” Insurance?

Dead Peasant Insurance is sometimes used as a shorthand reference for life insurance policies that insure a company’s rank-and-file employees and name the company as the beneficiary. This means that the company receives the life insurance benefits when the covered employees die. This insurance may also be called “janitor insurance,”…

 

The Peasant War in Germany by Frederick Engels