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[探索发现] 【整理】DC 2008-02-13, The Genius of Photography 摄影演义 - 8

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[探索发现] 【整理】DC 2008-02-13, The Genius of Photography 摄影演义 - 8

The Genius of Photography 摄影演义


In the course of our 170 year relationship, photography has delighted us, served us, moved us, outraged us and occasionally disappointed us. But mainly, it has intrigued us by showing the secret strangeness that lies beneath the world of appearances. And that is photography's true genius



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Muybridge’s story exemplifies the surprising new possibilities of the modern world. Born in the ancient market town of Kingston upon Thames, his restless ambitions brought him to San Francisco, a boom city founded on Gold Rush wealth and sustained by the new transcontinental railway, financed by Leland Stanford.

In this thoroughly modern metropolis, Muybridge established a reputation with
mammoth plate landscapes and spectacular panoramas, including an eye-boggling 360-degree view of his adopted city.

Stanford came to Muybridge because he had a rich man’s problem. A passionate race horse breeder, he wanted to prove that a horse lifted all four feet off the ground when it
trotted - something that had evaded human perception for millennia.

This whole relationship between Muybridge and Stanford, I always think of this being proto-cinematic in the 19th century, a director and producer relationship and that Stanford becomes very involved in the technology and funds it and backs it and recruits these engineers, jockeys and other people to help Muybridge, but Muybridge is the director.

The direct stage was Stanford’s own private racetrack at Parallelto. On a specially whited out section of track, Muybridge placed a row of 24 cameras with electric shutters, which would be triggered in sequence, four every second, as the horse passed by. By this means, Muybridge did more than freeze the moment; he took a
scalpel to time itself.

Muybridge's photographs were the first source of accurate information about the
gait of a horse, and it's the beginning of this change where suddenly the camera allows human beings to see faster than our own eyes, to break down the world into dissect motion. And it's part of that kind of intrusion into the flow of time. For Stanford, the project was always about horses, whereas Muybridge understood that this was potentially about everything he could possibly find and really create an encyclopedia of zoological motion.

With his mastery of the material world, the photographer was to the nineteenth century what the computer whisked is to the twenty-first. Scientist, artist, inventor, but most of all, an entrepreneur, these people were in it for the money.

 

mammoth

immense; huge 庞大的; 巨大的

 

trot

move at a pace faster than a walk but slower than a gallop (指马或骑马者)小跑

 

scalpel

a small, very sharp knife that is used by doctors in operations

 

gait

manner of walking or running 步态; 步法:

 

dissect

examine (a theory, an event, etc) in great detail 剖析(理论﹑ 事件等)

[ 本帖最后由 Alick 于 2008-3-20 15:59 编辑 ]

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点!尔何如?鼓瑟希,铿尔,舍瑟而作,对曰:异乎三子者之撰。子曰:何伤乎?亦各言其志也。曰:莫春者,春服既成,冠者五六人,童子六七人,浴乎沂,风乎舞雩,咏而归。夫子喟然叹曰:吾与点也。
Homework

Muybridge’s story exemplified the surprising new possibilities of the modern world. Born in the ancient market town of Kingston upon Thames, his restless ambitions brought him to San Francisco, a bomb city founded on gold rush wealth and sustained by the new trans-continental railway, financed by Leland Stanford.

In this thoroughly modern metropolis, Muybridge established a reputation with mama’s(?) play landscapes and spectacular panoramas, including an eye-boggling 360-degree view of the adopted city.

Stanford came to Muybridge because he had a rich man’s problem. A passionate race horse breeder, he wanted to prove that a horse lifted all four feet off the ground when it trotted - something that had evaded human perception for millennia.

This hot relationship between Muybridge and Stanford, always think of this being photo cinematic in the 19th century, direct and produce the relationship that Stanford becomes very involved in the technology and funs it and backs it and recruits these engineers, jockeys and other people to help Muybridge, but Muybridge is the director.

The direct stage was Stanford’s own private racetrack at Pala Alto. On a specially whited out section of track, Muybridge placed a row of 24 cameras with electric shutters, which would be triggered in sequence, four every second, as the horse passed by. By this means, Muybridge did more than freeze the moment; he took a scalpel to time itself.

Muybridge's photographs were the first source of accurate information about the gait of a horse, and it's the beginning of this change where suddenly the camera allows human beings to see faster than our own eyes, to break down the world and dissect motion. And it's part of that kind of intrusion into the flow of time. For Stanford, the project was always about horses, whereas Muybridge understood that this was potentially about everything he could possibly find and really create an encyclopedia of zoological motion.

With his mastery of the material world, the photographer was to the nineteenth century, or(?) the computer with kit is to the twenty-first. Scientist, artist, inventor, but most of all, an entrepreneur, these people were in need for the money.
Who can say where the road goes
Where the day flows
Only time
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on dribble smile.gif

Muybridge’s story exemplifies the surprising new possibilities of the modern world. Born in the ancient market town of Kingston upon Thames, his restless ambitions brought him to San Francisco, a boom city founded on gold rush wealth and sustained by the new trans-continental railway, financed by Leland Stanford.

In this thoroughly modern metropolis, Muybridge established a reputation with *** played landscapes and spectacular panoramas, including an eye-boggling 360-degree view of the adopted city.

Stanford came to Muybridge because he had a rich man’s problem. A passionate race horse breeder, he wanted to prove that a horse lifted all four feet off the ground when it trotted - something that had evaded human perception for millennia.

This whole relationship between Muybridge and Stanford, always think of this being proto-cinematic in the 19th century, a director and producer relationship that Stanford becomes very involved in the technology and funds it and backs it and recruits these engineers, jockeys and other people to help Muybridge, but Muybridge is the director.

The direct stage was Stanford’s own private racetrack at Pala Alto. On a specially whited out section of track, Muybridge placed a row of 24 cameras with electric shutters, which would be triggered in sequence, four every second, as the horse passed by. By this means, Muybridge did more than freeze the moment; he took a scalpel to time itself.

Muybridge's photographs were the first source of accurate information about the gait of a horse, and it's the beginning of this change where suddenly the camera allows human beings to see faster than our own eyes, to break down the world into dissect motion. And it's part of that kind of intrusion into the flow of time. For Stanford, the project was always about horses, whereas Muybridge understood that this was potentially about everything he could possibly find and really create an encyclopedia of zoological motion.

With his mastery of the material world, the photographer was to the nineteenth century what the computer *** is to the twenty-first. Scientist, artist, inventor, but most of all, an entrepreneur, these people were in it for the money.
实现无障碍英语沟通
Homework:

Muybridge’s story exemplifies the surprising new possibilities of the modern world. Born in the ancient market town of Kingston upon Thames, his restless ambitions brought him to San Francisco, a boom city founded on gold rush wealth and sustained by the new trans-continental railway, financed by Leland Stanford.

In this thoroughly modern metropolis, Muybridge established a reputation with memoth played landscapes and spectacular panoramas, including an eye-boggling 360-degree view of the adopted city.

Stanford came to Muybridge because he had a rich man’s problem. A passionate race horse breeder, he wanted to prove that a horse lifted all four feet off the ground when it trotted - something that had evaded human perception for millennia.

This whole relationship between Muybridge and Stanford, always think of this being proto-cinematic in the 19th century, a director and producer relationship that Stanford becomes very involved in the technology and funds it and backs it and recruits these engineers, jockeys and other people to help Muybridge, but Muybridge is the director.

The direct stage was Stanford’s own private racetrack at Pala Alto. On a specially whited out section of track, Muybridge placed a row of 24 cameras with electric shutters, which would be triggered in sequence, four every second, as the horse passed by. By this means, Muybridge did more than freeze the moment; he took a scalpel to time itself.

Muybridge's photographs were the first source of accurate information about the gait of a horse, and it's the beginning of this change where suddenly the camera allows human beings to see faster than our own eyes, to break down the world into dissect motion. And it's part of that kind of intrusion into the flow of time. For Stanford, the project was always about horses, whereas Muybridge understood that this was potentially about everything he could possibly find and really create an encyclopedia of zoological motion.

With his mastery of the material world, the photographer was to the nineteenth century what the computer whist is to the twenty-first. Scientist, artist, inventor, but most of all, an entrepreneur, these people were in it for the money.
All ways lead to Rome !
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on lecoq

Muybridge’s story exemplifies the surprising new possibilities of the modern world. Born in the ancient market town of Kingston upon Thames, his restless ambitions brought him to San Francisco, a boom city founded on gold rush wealth and sustained by the new trans-continental railway, financed by Leland Stanford.

In this thoroughly modern metropolis, Muybridge established a reputation with *** played landscapes and spectacular panoramas, including an eye-boggling 360-degree view of the adopted city.

Stanford came to Muybridge because he had a rich man’s problem. A passionate race horse breeder, he wanted to prove that a horse lifted all four feet off the ground when it trotted - something that had evaded human perception for millennia.

This whole relationship between Muybridge and Stanford, I always think of this being proto-cinematic in the 19th century, a director and producer relationship that Stanford becomes very involved in the technology and funds it and backs it and recruits these engineers, jockeys and other people to help Muybridge, but Muybridge is the director.

The direct stage was Stanford’s own private racetrack at Pala Alto. On a specially whited out section of track, Muybridge placed a row of 24 cameras with electric shutters, which would be triggered in sequence, four every second, as the horse passed by. By this means, Muybridge did more than freeze the moment; he took a scalpel to time itself.

Muybridge's photographs were the first source of accurate information about the gait of a horse, and it's the beginning of this change where suddenly the camera allows human beings to see faster than our own eyes, to break down the world into dissect motion. And it's part of that kind of intrusion into the flow of time. For Stanford, the project was always about horses, whereas Muybridge understood that this was potentially about everything he could possibly find and really create an encyclopedia of zoological motion.

With his mastery of the material world, the photographer was to the nineteenth century what the computer whisked is to the twenty-first. Scientist, artist, inventor, but most of all, an entrepreneur, these people were in it for the money.
Humor first, Joke later...

on sophi

 

Muybridge’s story exemplifies the surprising new possibilities of the modern world. Born in the ancient market town of Kingston upon Thames, his restless ambitions brought him to San Francisco, a boom city founded on Gold Rush wealth and sustained by the new transcontinental railway, financed by Leland Stanford.

In this thoroughly modern metropolis, Muybridge established a reputation with
mammoth plate landscapes and spectacular panoramas, including an eye-boggling 360-degree view of his adopted city.

Stanford came to Muybridge because he had a rich man’s problem. A passionate race horse breeder, he wanted to prove that a horse lifted all four feet off the ground when it trotted - something that had evaded human perception for millennia.

This whole relationship between Muybridge and Stanford,
I always think of this being proto-cinematic in the 19th century/and that is essentially, a director and producer relationship and that Stanford becomes very involved in the technology and funds it and backs it and recruits these engineers, jockeys and other people to help Muybridge, but Muybridge is the director.

The direct stage was Stanford’s own private racetrack at Parallelto. On a specially whited out section of track, Muybridge placed a row of 24 cameras with electric shutters, which would be triggered in sequence, four every second, as the horse passed by. By this means, Muybridge did more than freeze the moment; he took a scalpel to time itself.

Muybridge's photographs were the first source of accurate information about the gait of a horse, and it's the beginning of this change where suddenly the camera allows human beings to see faster than our own eyes, to break down the world into dissect motion. And it's part of that kind of intrusion into the flow of time. For Stanford, the project was always about horses, whereas Muybridge understood that this was potentially about everything he could possibly find and really create an encyclopedia of zoological motion.

With his mastery of the material world, the photographer was to the nineteenth century what the computer whisked is to the twenty-first. Scientist, artist, inventor, but most of all, an entrepreneur, these people were in it for the money.

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