By Museum Ludwig Cologne
A desirable perception into the photographic choice of the Museum Ludwig, Cologne whic deals 860 works by means of round three hundred photographers.
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Extra resources for 20th Century Photography (Klotz)
This appropriation faced, however, two kinds of difWculty, beyond the most immediate ones of an unreliable technology. First, there was the technical difWculty that everywhere afXicted the utility of photographic records: It was no use accumulating records if the storage system did not make it possible to retrieve them, cross-reference them, or compare them. In consequence, the effective incorporation of record photography in policing, medicine, psychiatry, engineering, social welfare, and the geographical survey depended on the development of a composite machine—a computer—in which the camera, with its lessthan-efWcient chemical coding system, was hooked up to that other great nineteenth-century machine, the upright Wle cabinet, which, when combined with the classiWcatory structure of the catalog, constituted a new 14 – THE ONE-EYED MAN AND THE ONE-ARMED MAN information technology that would radically redirect the public and legislative functions of the archive.
The formation of history was itself inseparable from the development and institutionalization of a regime of evidence, a technology of truth, and an apparatus of documentation, with its case studies, records, Wles, and archives. Historical practice, too, as I argue in “The Pencil of History” (chapter 5), only secures the meaning and import of its documents, its notion of the eventhood of the event, and its protocols of evidence within a speciWc discursive regime and disciplinary machinery. To practice history is to practice a (documentary) discipline, here, in the “liberal democracy” of academe.
It was actively resisted and undermined by counterpowers, evasions, and perverse reinvestments. 18 – THE ONE-EYED MAN AND THE ONE-ARMED MAN It generated an excess of meanings that could not be curtailed by its technology of sense. And it continued to be cut across by desires that could not be subsumed within its utilitarian rationality. Panopticism and disciplinarity thus do not describe a remorseless and exhaustive system, but neither are they general metaphors. They are the concerted effects of speciWc material apparatuses and techniques, and as such, they offer a delimited framework in which to think about the “general politics” of truth in the burgeoning archives of late nineteenthcentury photographic documentation.
20th Century Photography (Klotz) by Museum Ludwig Cologne