![]() ![]() Jules Luys and the Controversy over “Effluviography”Ĥ. Case Study I: Signs of Life or “False Flames”? We must, Geimer argues, seek to keep both in sight: the technical making and the necessary unpredictability of what is made, the intentional and the accidental aspects, representation and its potential disruption.Ģ. Interwoven with the familiar history of photography is a secret history of photographic artifacts, spots, and hazes that historians have typically dismissed as “spurious phenomena,” “parasites,” or “enemies of the photographer.” With such photographs, it is virtually impossible to tell where a “picture” has been disrupted-where the representation ends and the image noise begins. Geimer’s investigations complement the history of photographic images by cataloging a corresponding history of their symptoms, their precarious visibility, and the disruptions threatened by image noise. ![]() With Inadvertent Images, Peter Geimer explores all kinds of photographic irritation from throughout the history of the medium, as well as accidental images that occur through photo-like means, such as the image of Christ on the Shroud of Turin, brought into high resolution through photography. Though rarely considered seriously, those accidents can offer fascinating insights about the nature of the medium and how it works. ![]() As an artistic medium, photography is uniquely subject to accidents, or disruptions, that can occur in the making of an artwork. ![]()
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