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Go to Page 80 in the Internet Archive
Title: Das Stottern : eine Monographie für Aerzte, Pädagogen und Behörden
Creator: Gutzmann, Hermann, 1865-1922
Publisher: Frankfurt a. M. : Rosenheim
Sponsor: Open Knowledge Commons and Harvard Medical School
Contributor: Francis A. Countway Library of Medicine
Date: 1898
Language: ger
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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Go to Page 224 in the Internet Archive
Title: Das Stottern : eine Monographie für Aerzte, Pädagogen und Behörden
Creator: Gutzmann, Hermann, 1865-1922
Publisher: Frankfurt a. M. : Rosenheim
Sponsor: Open Knowledge Commons and Harvard Medical School
Contributor: Francis A. Countway Library of Medicine
Date: 1898
Language: ger
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
Artist | Thomas Demand (b.1964 in Germany)
Title | 石窟 Grotte / Grotto (2006)
C-Print / 水晶裱 C-Print/Diasec
198 x 440 cm
Exhibitor | 臺北市立美術館 Taipei Fine Arts Museum
Exhibition | 歷史的結舌 The Stutter of History
德曼一直對文化中所詮釋的「自然」抱有濃厚興趣。許多德曼的影像都在探討同一個問題：「在一個充滿人造加工的世界裡，什麼才是自然？」例如《石窟》（2006），德曼以很注目的方式試圖提出這個問題，藉此引起我們去關注自然中「崇高美學理論」產生的影響，以及攝影能夠塑造（或扭曲）個人經驗和記憶的力量。這件作品德曼用了36噸紙板建造了一個等比例的地下洞窟，然後以攝影把影像保留下來。
這件作品所描繪的鐘乳石和石筍，地質上需要數千年的時間，由水滴中的礦物質逐層堆積而成。而德曼的創作亦以紙板一層層累積完成。這個影像是我們在世界各地紀念品商店中，數以千計的洞穴明信片中都可能見過的景象。德曼收集了數百張這樣的明信片，最終的《石窟》攝影作品是將我們對洞穴的集體印象，凝聚成一體的理想化產物，儘管洞穴的典型模樣在漫長的攝影歷史中，有過多次轉變與修正。
十八世紀哲學崇高美學所說的氣勢震攝，在這件作品中變成了Instagram世代的拍照熱點，而自然的壯麗景象被簡化為日常社交媒體的po圖。德曼為了進一步證明所謂的崇高與Instagram照片都一樣是被製造出來的觀點，他破例保留了這件作品的模型（這是他唯一一次），目前它在米蘭普拉達基金會的地下畫廊中，與作品的研究資料一起展出。
或許正是作品巨大的實體存在及德曼對記憶與攝影交織關係的案例研究，讓他願意將《石窟》的實際模型與其影像攝影的對照並存：一種對物體、記憶與攝影過程之間相互交疊的紀念形式。
Throughout his career, Demand has been interested in our culture's production of "nature." In the end many of Demand's images ask, in a world so fully suffused with artifice, "what is the natural?" In Grotto (2006), for example, Demand famously attempted to ask this question by calling our attention to the legacy of the aesthetic theory of the Sublime in nature in relation to the power of photography to form (or deform) experience and personal memory. To produce this image Demand used thirty-six tons of cardboard to construct a life-size underground cavern before preserving its image photographically.
Like the stalagmites and stalactites it depicts, which have been built up geologically over millennia out of the mineral content of dripping water, Demand constructed this work out of layer after layer of card-board. The image it re-creates is one that we might have seen many times before in the thousands of postcard images of caves sold in gift shops around the world. The artist gathered hundreds of these post-cards, and the final photographic version of Grotto becomes an ideal condensation of our collective image of a cave that has itself been mediated by the long history of photography.
In this work, the terrifying grandeur of the eighteenth-century philosophical Sublime becomes the Instagram generation's idea of a photo-op, and the spectacle of nature is reduced to a daily post. As if to accentuate the point that neither the Sublime nor the Instagram photo are any less constructed than one another, Demand allowed the model for this work to be preserved (just this one time, unlike all of his previous or subsequent models), and it currently sits on view in Milan in a basement gallery at the Prada Foundation along with vitrines full of his research.
Perhaps the sheer weight of its factual material existence and its case-study approach to the concatenations of memory and photography led Demand to allow for Grotto's continued physical existence alongside its photographic counterpart: a kind of memorial to the mutual imbri-cation of objects, memory, and the process of photography.
TFA338
The Senior Stutters Line Dancers of Valdosta performed a show at Lake Park United Methodist Church on March 1, 2011.
AFC Wulfs stuttering start to the season continued with a comprehensive defeat at the hands of high flying league newcomers St Andrews