Pictorialism (prelude and fugue)

Research output: Contributions to collected editions/worksChapterpeer-review

Standard

Pictorialism (prelude and fugue). / von Xylander, Cheryce.
Aesthetics of Universal Knowledge. ed. / Simon Schaffer; John Tresch; Pasquale Gagliardi. Palgrave Macmillan, 2017. p. 77-113.

Research output: Contributions to collected editions/worksChapterpeer-review

Harvard

von Xylander, C 2017, Pictorialism (prelude and fugue). in S Schaffer, J Tresch & P Gagliardi (eds), Aesthetics of Universal Knowledge. Palgrave Macmillan, pp. 77-113. https://doi.org/10.1007/978-3-319-42595-5_5

APA

von Xylander, C. (2017). Pictorialism (prelude and fugue). In S. Schaffer, J. Tresch, & P. Gagliardi (Eds.), Aesthetics of Universal Knowledge (pp. 77-113). Palgrave Macmillan. https://doi.org/10.1007/978-3-319-42595-5_5

Vancouver

von Xylander C. Pictorialism (prelude and fugue). In Schaffer S, Tresch J, Gagliardi P, editors, Aesthetics of Universal Knowledge. Palgrave Macmillan. 2017. p. 77-113 doi: 10.1007/978-3-319-42595-5_5

Bibtex

@inbook{503c760562dd474e8e7fa063d16f06f9,
title = "Pictorialism (prelude and fugue)",
abstract = "In 1995 Bill Gates purchased the Bettmann Archive, canonical repository of the pictorial past. Gates{\textquoteright} corporation Corbis moved the collection to Iron Mountain, an underground data-prison, promising to digitize a fraction of the collection and restrict access to the rest. This was not a break with established routines of picture trafficking, but a continuation of the cultural commerce of Otto Bettmann himself. This chapter juxtaposes the career of the Bettmann cultural establishment with the pictorial output of other Weimar practitioners, notably Eduard Fuchs and Herbert Bayer, illuminating what was at stake in rival modes of global image banking. Despite continuities in service delivery, a profound difference of aesthetic allegiance separates Bettmann and Corbis–Bettmann, centered on the role of historicity in the manufacture of image banks.",
keywords = "Audio book, Ferris wheel, Thumbnail image, Virtual actuality, Visual professional, Philosophy, Sociology",
author = "{von Xylander}, Cheryce",
year = "2017",
month = jan,
day = "1",
doi = "10.1007/978-3-319-42595-5_5",
language = "English",
isbn = "978-3-319-42594-8",
pages = "77--113",
editor = "Simon Schaffer and John Tresch and Pasquale Gagliardi",
booktitle = "Aesthetics of Universal Knowledge",
publisher = "Palgrave Macmillan",
address = "Switzerland",

}

RIS

TY - CHAP

T1 - Pictorialism (prelude and fugue)

AU - von Xylander, Cheryce

PY - 2017/1/1

Y1 - 2017/1/1

N2 - In 1995 Bill Gates purchased the Bettmann Archive, canonical repository of the pictorial past. Gates’ corporation Corbis moved the collection to Iron Mountain, an underground data-prison, promising to digitize a fraction of the collection and restrict access to the rest. This was not a break with established routines of picture trafficking, but a continuation of the cultural commerce of Otto Bettmann himself. This chapter juxtaposes the career of the Bettmann cultural establishment with the pictorial output of other Weimar practitioners, notably Eduard Fuchs and Herbert Bayer, illuminating what was at stake in rival modes of global image banking. Despite continuities in service delivery, a profound difference of aesthetic allegiance separates Bettmann and Corbis–Bettmann, centered on the role of historicity in the manufacture of image banks.

AB - In 1995 Bill Gates purchased the Bettmann Archive, canonical repository of the pictorial past. Gates’ corporation Corbis moved the collection to Iron Mountain, an underground data-prison, promising to digitize a fraction of the collection and restrict access to the rest. This was not a break with established routines of picture trafficking, but a continuation of the cultural commerce of Otto Bettmann himself. This chapter juxtaposes the career of the Bettmann cultural establishment with the pictorial output of other Weimar practitioners, notably Eduard Fuchs and Herbert Bayer, illuminating what was at stake in rival modes of global image banking. Despite continuities in service delivery, a profound difference of aesthetic allegiance separates Bettmann and Corbis–Bettmann, centered on the role of historicity in the manufacture of image banks.

KW - Audio book

KW - Ferris wheel

KW - Thumbnail image

KW - Virtual actuality

KW - Visual professional

KW - Philosophy

KW - Sociology

UR - http://www.scopus.com/inward/record.url?scp=85074313913&partnerID=8YFLogxK

U2 - 10.1007/978-3-319-42595-5_5

DO - 10.1007/978-3-319-42595-5_5

M3 - Chapter

AN - SCOPUS:85074313913

SN - 978-3-319-42594-8

SP - 77

EP - 113

BT - Aesthetics of Universal Knowledge

A2 - Schaffer, Simon

A2 - Tresch, John

A2 - Gagliardi, Pasquale

PB - Palgrave Macmillan

ER -