{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://iastate.aviaryplatform.com/iiif/0p0wp9tk0r/manifest","type":"Manifest","label":{"en":["Kouwenhoven, John Atlee, Made in America"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","metadata":[{"label":{"en":["Preferred Citation"]},"value":{"en":["Made in America. Iowa State University Lecture Series (RS 8/6/53). Special Collections and University Archives, Iowa State University Library, Ames, Iowa."]}},{"label":{"en":["Publisher"]},"value":{"en":["Iowa State University. Special Collections and University Archives"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["There are no restrictions on access. (access)","This item is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. 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to?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=7.2,8.053"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ladies and gentlemen,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=14.7,15.78"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"welcome to our fourth lecture on Art in America Today.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=15.78,19.6"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Before I introduce tonight's speaker,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=19.6,22.05"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"let me tell you of some of the symposium's upcoming events.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=22.05,25.93"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Tomorrow, Kristin Anderson will be our craftsperson","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=25.93,29.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in metals at Carver Hall.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=29.27,31.71"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Allister McDuff will give a lecture","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=31.71,33.94"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"on Eskimo Art tomorrow at noon in the Pioneer Room.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=33.94,37.58"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And tomorrow evening, Palo Soleri will lecture","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=37.58,40.21"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"on Art in Public Places and Environmental Art","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=40.21,43.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"at 8:00 p.m here in the sunroom.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=43.24,45.053"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Tonight's speaker was born in Yonkers New York","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=46.29,49.51"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and received his bachelor's degree from Wesleyan University","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=49.51,53.42"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in Middletown, Connecticut.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=53.42,55.46"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Later he received his master's degree","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=55.46,57.53"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and PhD from Columbia 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editor","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=63.75,68.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of Harper's Magazine.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=68.25,70.14"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He returned to teaching as professor of English","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=70.14,73.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"at Barnard College and served there in that position","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=73.8,77.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"until his retirement in 1975.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=77.25,79.613"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Our speaker, Mr. Kouwenhoven has written several books","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=80.49,84.19"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"including \"Made in America,\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=84.19,85.977"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"The Beer Can by the Highway\" and \"Partners in Banking.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=85.977,89.57"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Currently he is a Meredith professor of English","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=89.57,92.44"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"at Barnard College and a trustee","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=92.44,94.22"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"on the Vermont Arts Council.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=94.22,96.53"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And just recently, he served as assistant","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=96.53,98.98"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to the producer for the PBS television series","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=98.98,101.627"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"The Best of Families.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=101.627,103.05"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ladies and gentlemen, it is my pleasure","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=103.05,104.76"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to introduce Mr. John Kouwenhoven.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=104.76,107.839"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(applause)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=107.839,110.089"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(indistinct) let me know (indistinct).","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=116.588,118.595"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e All right, thank you very much.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=118.595,120.245"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Good evening, ladies and gentlemen,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=121.23,122.58"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and thank those of you who came any distance","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=122.58,125.92"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for coming out on a night like this.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=125.92,128.65"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Can those of you in the back, hear me clearly?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=128.65,130.95"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=132.05,132.883"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I put as a title on this thing,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=136.2,138.823"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the democratization of vision, and maybe by the end,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=139.78,144.56"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"you'll know why I did.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=144.56,146.653"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And as a subtitle, I put the interaction of technology","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=147.72,152.15"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and art in photography.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=152.15,154.373"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"When last I was here, speaking at a session","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=157.78,161.52"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of your institute on national affairs,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=161.52,164.653"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I had occasion to quote the French painter Edgar Degas.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=165.77,169.023"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But that having been just short of 15 years ago","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=169.92,173.68"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"on March 15th, 1963, to be exact,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=174.54,178.38"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'll take the academic prerogative of repeating myself,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=178.38,182.55"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or rather as academics do repeating other people,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=182.55,186.453"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"by repeating what Degas said.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=187.81,190.95"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He was talking about paintings.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=190.95,193.303"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And what he said was \"A picture is something","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=194.33,196.617"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"which requires as much navary, trickery","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=196.617,199.827"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"and deceit as the perpetration of a crime.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=199.827,203.793"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"The artist does not draw what he sees","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=205.037,208.487"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"but what he must make others 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evening,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=217.38,221.64"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"records precisely what the camera's lens sees","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=221.64,225.98"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"whether or not it is what the 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assertion","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=232.66,235.56"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"because a great deal of nonsense has been written","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=235.56,238.15"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and uttered about the deceitfulness of photographic images","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=238.15,242.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or if the speaker or a writer is less blunt than Degas was","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=243.65,247.94"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"about the right of photographic 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selective.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=255.27,257.453"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The artist, whether poet, painter, dramatist,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=259.0,262.19"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"novelist, composer or whatever, select certain 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details","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=272.72,276.65"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in what the regnant philosopher art calls","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=276.65,280.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a perceptible self identical whole expressive","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=280.27,285.16"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of human feeling.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=285.16,286.423"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"As Degas also said, \"Even working from 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me.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=295.717,297.79"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Degas went on, \"when young can needed a house or a tree","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=297.79,302.687"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"he turned around and took them from behind his back.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=302.687,307.0"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, yes, why not?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=307.0,308.843"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Photographers are not deceitful.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=310.73,313.573"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They cannot include elements taken","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=314.42,316.77"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"from behind the camera's back.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=316.77,319.61"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It is nonsense to argue as is frequently done","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=319.61,323.58"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that the image recorded by lens focused 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Rodin","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=540.993,543.92"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in fact, sat thus in this pattern of light and shadow","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=543.92,548.54"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"juxtaposed in exactly this 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artist.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=565.39,566.503"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/151","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I must admit that these notions of mine","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=569.2,571.49"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/152","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"about the truth of photographic 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memorabilia","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1574.24,1577.6"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/397","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"if only because there's some vague feeling","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1577.6,1579.81"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/398","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that it's indecent to do 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conception","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1610.43,1614.58"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/407","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of present reality.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1614.58,1616.033"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/408","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The album's pages are 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image?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1633.26,1636.223"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/413","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Does that help?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1637.4,1638.453"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/414","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Not much, let me put it out then.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1640.3,1643.32"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/415","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay, excuse me.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1648.52,1650.653"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/416","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A typical page in the later part of the 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1910,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1661.05,1665.02"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/419","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and at the bottom a similar group taken at the same resort","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=1665.02,1667.99"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/420","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the following 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earlier","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5044.05,5047.65"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1309","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"when people like my aunt began running amuck","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5047.65,5050.4"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1310","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with snapshot cameras almost a century 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snapshots","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5063.95,5067.39"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1315","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"we and others have taken, all of us have begun to learn","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5067.39,5071.98"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1316","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the import of certain lines in Whitman's leaves of grass.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5071.98,5076.143"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1317","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Let me read a few of those lines","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5077.01,5078.93"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1318","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"while you look at some pairs of snapshots on the screen","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5078.93,5083.72"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1319","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I'll end this session.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5083.72,5085.393"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1320","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"All truths wait in all things.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5097.112,5099.779"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1321","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Next pair.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5102.44,5103.273"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1322","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"The insignificant is as big to me as 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place","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5127.457,5131.167"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1327","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"is equal to any.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5131.167,5133.317"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1328","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the last pair.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5135.59,5136.893"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1329","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"And there is no object so soft","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5138.177,5141.857"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1330","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"but it makes a hub for the wheeled universe.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5141.857,5146.157"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1331","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you very much.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5150.48,5151.48"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1332","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(applause)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5152.636,5154.969"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1333","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Thank you Dr. Kouwenhoven","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5162.662,5163.94"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1334","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and Mr. Kouwenhoven is now open for questions","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5163.94,5167.11"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1335","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"from the audience if you would like to ask him any.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5167.11,5171.173"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1336","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e (indistinct) I'll be back here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=5173.656,5176.177"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29130/annotation/1337","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/029/130/original/AV167998_Made_in_America_a.vtt?1623261180","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/029/130/original/AV167998_Made_in_America_a.vtt?1623261180"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29131","type":"AnnotationPage","label":{"en":["AV167998_Made_in_America_a.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916/transcript/29131/annotation/1338","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- Do you want to? Ladies and gentlemen, welcome to our fourth lecture on Art in America Today. Before I introduce tonight's speaker, let me tell you of some of the symposium's upcoming events. Tomorrow, Kristin Anderson will be our craftsperson in metals at Carver Hall. Allister McDuff will give a lecture on Eskimo Art tomorrow at noon in the Pioneer Room. And tomorrow evening, Palo Soleri will lecture on Art in Public Places and Environmental Art at 8:00 p.m here in the sunroom. Tonight's speaker was born in Yonkers New York and received his bachelor's degree from Wesleyan University in Middletown, Connecticut. Later he received his master's degree and PhD from Columbia University. He then served as a member of the Bennington College Literary Facility and was later managing editor of Harper's Magazine. He returned to teaching as professor of English at Barnard College and served there in that position until his retirement in 1975. Our speaker, Mr. Kouwenhoven has written several books including \"Made in America,\" \"The Beer Can by the Highway\" and \"Partners in Banking.\" Currently he is a Meredith professor of English at Barnard College and a trustee on the Vermont Arts Council. And just recently, he served as assistant to the producer for the PBS television series \"The Best of Families.\" Ladies and gentlemen, it is my pleasure to introduce Mr. John Kouwenhoven. let me know .\r\n\r\n- All right, thank you very much. Good evening, ladies and gentlemen, and thank those of you who came any distance for coming out on a night like this. Can those of you in the back, hear me clearly? Okay. I put as a title on this thing, the democratization of vision, and maybe by the end, you'll know why I did. And as a subtitle, I put the interaction of technology and art in photography. When last I was here, speaking at a session of your institute on national affairs, I had occasion to quote the French painter Edgar Degas. But that having been just short of 15 years ago on March 15th, 1963, to be exact, I'll take the academic prerogative of repeating myself, or rather as academics do repeating other people, by repeating what Degas said. He was talking about paintings. And what he said was \"A picture is something \"which requires as much navary, trickery \"and deceit as the perpetration of a crime. \"The artist does not draw what he sees \"but what he must make others see.\" I remind you of that quotation because photography, one aspect of which I will be considering this evening, records precisely what the camera's lens sees whether or not it is what the photographer wants others to see. I want to insist upon that assertion because a great deal of nonsense has been written and uttered about the deceitfulness of photographic images or if the speaker or a writer is less blunt than Degas was about the right of photographic images to be considered as art. All art is selective. The artist, whether poet, painter, dramatist, novelist, composer or whatever, select certain details out of the vast amorphous flux of his total experience and joins or fits together those details in what the regnant philosopher art calls a perceptible self identical whole expressive of human feeling. As Degas also said, \"Even working from nature, \"you have to compose. \"Monet said to me.\" Degas went on, \"when young can needed a house or a tree \"he turned around and took them from behind his back.\" Well, yes, why not? Photographers are not deceitful. They cannot include elements taken from behind the camera's back. It is nonsense to argue as is frequently done that the image recorded by lens focused light on a photographic negative is untrue. In some sense, it can be argued, of course that photographs often fail to tell the whole truth. But that is equally true of all pictures. Nevertheless, on modified trance from a photographic negative incontrovertibly tell a truth. The only lying or deceit associated with photography is committed by those who deliberately tamper with the images recorded on their negatives with the intent to produce prints that appear to be straight photographs, but are not. There is of course, no dishonesty or deceit in manipulating or combining photographic images to produce an interesting design, but the resulting print is not a photograph. And unless the print maker has deliberately taken pains to be deceptive, no one will mistake it for other than what it is, a design in which photo mechanical images are arranged or fitted together or distorted in ways that have more or less interest depending upon its creator's ability as a designer. Most, if not all of what is called fakery in photography is no such thing. Perhaps you have seen reproductions of photographs made during the 1860s by William Notman in his Montreal studios. Pictures of trappers and hunters posed amid elaborately contrived settings of stonewalls, trees, heaps of white fox fur and salt. These pictures tell no lies, they tell unvarnished truths namely that salt and white fox fur under studio light look very much like snow. That man posing by a real tent set amid small trees brought into a studio, looked very much like man posing in an ingeniously contrived studio setting. If as I have read, Notman publicly claimed to have taken those pictures in the bush, he was a liar, not the photographs. He was also a fool because whoever looked at his transparently honest photographs would believe them, not him. Conversely, there's nothing untruthful about Edward Steichen's greatly admired gum prints of the early 1900s despite his own assertion in the first issue of Stieglitz's Camera Work that he was indeed a faker who took liberties as all artists do with objective reality. No one looking at his famous picture of Rodin among his sculptures would for a moment consider that that print was evidence that at some instant in the past Rodin in fact, sat thus in this pattern of light and shadow juxtaposed in exactly this way with his sculptures of the Thinker and of Victor Hugo. Quite evidently the picture is not a photograph but a design expressive of Steichen's perception of Rodin as an artist. I must admit that these notions of mine about the truth of photographic images don't please many people who know a great deal more about photography than I do. My friend, Janet Malcolm, who writes perceptively about photography and other things for the New Yorker recently challenged those assertions I've just made by asking, \"Does the photograph \"showing a tree growing out of someone's head \"really tell the truth?\" I see what she is calling attention to, just as you do. But my answer was about that tree growing out of someone's head, the photographic image tells a very solid truth that appearances are often deceptive or misleading. And I went beyond that to say, no painting or other manmade picture could tell that truth so convincingly. Photographic images untampered with tell us as nearly absolute truths about appearances as we are able to record. What troubles is when we look at a photograph from the vantage point that Janet Malcolm occupied when she asked her challenging question is the result of forgetting that the truths recorded by unmodified photographic images including snapshots are truths about light reflecting surfaces only. Surface truths may be amusingly, grotesquely, horribly or seductively misleading as to the \"inner truth\" of things, as we suppose that inner truth to be, or they may, as those recorded in many of Walker Evans photographs, for example, do, powerfully suggest or imply such an inner truth. But the inner truth of things outside ourselves is never actually perceptible. Plato to the contrary, not withstanding. No pictorial art, neither paintings nor doctored photographs can incontrovertibly record the inner subsurface truth about anything except the artist's own inner vision, his own way of seeing. And it can do that only, I think, by distorting or in some other way, tampering with observable surface truth, hence the selectivity of all the arts. I conjecture that our uncomfortable doubts about photography as art arise from our conscious or unconscious awareness that unmolested photographic images cannot in fact lie about external objective reality and that they often force us to see that reality in ways that do not harmonize with our subjective perceptions. I was led into those thoughts by your institute's request that I speak about art and technology as one aspect of the program concerned with art in America today, a public matter, for photography is surely the most public art we have, if art it is. And the question of whether or not it is art arises because it is in a basic sense, a technological development. In a way it's curious that there should be any debate about technology's relation to art. Our words techniques, and art derived from Greek and Latin words, having exactly the same meaning. If you look up technology in the great Oxford dictionary, you'll find that it means first of all a discourse or treatise on art. Technique is defined first of all as a manner of artistic execution or performance in relation to formal or practical details. A technician is \"one skilled in the technique \"or mechanical part of an art as music or painting.\" Conversely art means, first of all, skill as a result of knowledge and practice, technical or professional skill, perfection of workmanship or execution. An artist is by definition, a follower of a pursuit in which skill comes by study or practice a practical man opposed to a theorist. He may be a follower of a manual art, a mechanic. Only in the mid 19th century about the time that photography was perfected did the word artist begin to have the special meaning of one who makes his craft a fine art or one who cultivates one of the fine arts which pleased by perfection of execution. And only then did the word technology come to mean the study of the practical or industrial arts, a definition which seems to reflect a belief that the fine arts were neither practical nor concerned with the diligence or the organized skills that the word industry denotes. From there, it was a comparatively short but treacherous step to think and talk of art as if it consisted only of the non-material qualities possessed by the products of the so-called fine art and to think and talk of technology as if it consisted only of knowledge of the methods and materials used in making things not classified as fine arts, specifically the machines and the chemical and physical processes used in modern manufacturing plants. And once that shift in meaning had become part of our everyday language, it was, I suppose, inevitable that technology soon came to mean, first of all the machines and the processes themselves, and then by extension, the entire system of large scale production and distribution. Hence the complacency with which otherwise sensible people insist that art and technology are in some way opposed to one another. And hence also the fuzzy minded assumption that the blame for our society shortcomings can be laid upon technology rather than upon human laziness and greed that afflict all of us, the owners and managers of machines, as sorely as they afflict you and me. The cant phrase is that technology is dehumanizing mankind. I'd like to suggest that the opposite is in fact true, that the accelerating development of technology in all its phases is forcing more and more people to assume the responsibilities of being human. In the moments when we fear technology, we fear it, I think, because we fear the responsibilities it confronts us with. Scholars, even young ones, still talk as if our task were one of civilizing the machine, but technology, I am convinced, is ever more insistently forcing us to see that our real task is to civilize ourselves. I should be looking at photography from that point of view this evening. Back in 1966, John Szarkowski, director of the Photography Department at the Museum of Modern Art organized an exhibition called the photographer's eye and published a book with that title. In both, he explored the thesis that the study of photographic form must consider the medium's fine art tradition and its functional tradition as intimately interdependent aspects of a single history. A thesis suggested to him he generally asserted by a long ago book of mine called \"Made in America: the arts in modern civilization.\" Turn abouts, fair play. So this evening I shall take off from an idea Szarkowski drops into the introduction to his book. Having sketched the rapid rise and spread of photography during the first 40 years of its history, he makes this point about the difference between painting and photography in the early 1880s. I quote him \"Painting was difficult, expensive, and precious \"and it recorded what was known to be important. \"Photography was easy, cheap, and ubiquitous \"and it recorded anything. \"Shop windows and sod houses and family pets \"and steam engines and unimportant people.\" \"And once made objective and permanent, \"immortalized in a picture, these trivial things \"took on importance. \"By the end of the century, that is by 1900, \"for the first time in history \"even the poor man knew what his ancestors \"had looked like.\" Szarkowski and his book perceptively explores the implications of that fact for the development of photography showing how it affected the training of the photographer's eye. What I shall try to do is to explore its implications for all of us, non photographers and photographers alike. For all of us live to a degree we scarcely realize in a world of which we are aware primarily because of photography. And the overwhelming majority of the photographs to which we owe our awareness are snapshots, not sell all prints made by artists photographers or those who profess to be such. We live quite literally in a snapshot world. My own encounter with that extraordinary effect occurred when I looked at the snapshots in an album assembled between 1884 or 1885 and 1915 by one of my mother's older sisters, one of the Philadelphia maiden aunts who in the days when I knew them dutifully but not joylessly kept house for their widowed mother, my quaker grandmother. Most of the pictures in the album are snapshots in the sense of the term that I am employing. They are predominantly photographs taken quickly with a minimum of deliberate posing on the part of the people represented and with a minimum of deliberate selectivity on the part of the photographer so far as vantage point and the framing of the image were concerned. The earliest pictures in the album were taken when my mother was eight or 10 years old, the latest when I was six and my parents were still a young married couple. Looking through them now trying to decipher the faded blueprints and sepia prints as its melancholy aspect, none of those pictured in the album except my sister and I is now alive. Even the houses they lived in then are gone. And yet in a curious way, those vanished people and places and events are a vivid part of my present world. Thanks to these familiar snapshots, I am, I suddenly realized, a member of the first generation in human history whose awareness of the past comprises a multiplicity of unarguably real informal images of our parents' childhood as well as the world of our own childhood. I mean, by this more than I think John Szarkowski meant when he said even the poor man knew by 1900 what his ancestors had looked like. It was true, of course, that almost anyone who was of age at the turn of the century could have daguerrotype or carte de visite photograph or a tin type of his grandfather or even his great grandfather. But these were not snapshots, they were formerly posed images often taken amid the luxurious and elegant settings provided by the photographer's studio, painted landscape backgrounds, Grecian columns, balustrades, draperies, tasseled sofas, carved oak chairs. They were the poor man's substitute for a portrait by John Singer Sargent or Corollas Duran. Nothing like an album of snapshots was possible before the 1880s. Beginning then however, people with cameras ran rampant as a professional photographer at the time bitterly complained. \"They haphazardly photographed objects of all sorts, \"sizes and shapes.\" He lamented. \"Without ever pausing to ask themselves, \"is this or that artistic.\" The results gathered into family albums grant us a visual acquaintance with the past unlike that available to anyone rich or poor in previous generations. Many of us have inherited such albums for even in our mobile throwaway society, people keep such intimate memorabilia if only because there's some vague feeling that it's indecent to do otherwise. The one I own is I suppose much like hundreds of others at the same period. And I discuss it and a few of the pictures it contains, not because it is uniquely interesting but because it is representative. It just happens to be the one to which I owe my recent awareness of what snapshot vision has done to our conception of the past and our conception of present reality. The album's pages are large. Now, if we get out of the light down and I'll start showing your shoot slides, please. The first one on the left, please. Does this light cloud the image? Does that help? Not much, let me put it out then. Okay, excuse me. A typical page in the later part of the album contains at the top a group of vacation snapshots taken at Rockport Massachusetts in the summer of 1910, and at the bottom a similar group taken at the same resort the following summer. At the center is a slightly tilted picture of the shingle of cottage, half of whose ground floor was open porch with the dormared second floor projecting over it. There are several snapshots of the rocky coast one with a ready to launch coast guard lifeboat dominating the entire right half of a picture in which the boat was obviously intended to be only a minor focus of interest. And there are snapshots of posed groups of adults and children arranged in tiers on the porch steps. But not all of the snapshots of people are self-consciously posed. Look at these two, for example. Give me the next one on the left please and the next one on the right. Both of them side by side, slide this one over more. Am I in the way of it for some reason? Is that one all the way on the screen? I can't see. Sorry, I have to have the light again. On the left screen is a snapshot of my grandmother and her parasol sitting near one of my aunts on the sun warmed rocks across the water from the straight Smithian. On the right screen, a snapshot taken by one of my aunts from the porch of grandmother's cottage during the arrival of a visitor who's come by automobile. In neither picture did the human subjects deliberately assume poses they thought were pictorially suitable. In this sense, both pictures qualify as snapshots, even though in the left picture, the photographer's selection of the pictorial elements may have been quite deliberate. In the other picture on the right however many of the pictorial elements in the design are obviously accidental. As for instance, the off balance posture of the smiling woman in dark traveling clothes approaching the camera at the right. The particular way her arms are disposed and the way the folds of her long skirt curved toward the ground combined to create an image of lively motion contrasting with the casual repose of the three white clad female figures at the left and the straight dark unrounded form of the man standing at the center. And surely, my aunt, intent on snapping that picture before the visitor came too near the camera cannot have deliberately composed the picture so that the two telephone poles at the center and the one up the hill near the straight Smithian serve as markers for the three groupings of human figures, while the fourth pole at the far left provides a visual accent against the water in the sky to balance the heavier form of the end against the sky at the right topping the rise of ground, nor could she have realized that the lines of the post and rail fence would converge as they do to the smooth, the rectangular plane of the automobiles roof. In the earliest pages of the album, few of the photographs have the accidental design qualities that these genuine snapshot possess. The young ladies who took them in the late 1880s and the early 1900s saw the world about them with eyes accustomed to seeing what pictures made by well-known painters and illustrators had taught them to see. They had been conventionally educated according to middle-class Philadelphia standards, they took music lessons, they did embroidery and cross stitching and mending. They carved things out of wood, they drew and painted pictures with varying degrees of skill. In such circumstances, it was inevitable that when my eldest aunt got her first camera in the mid '80s when she was about 16, she selected her subjects with a painter's rather than a photographer's eye. Many of her early photographs are interior shots, time exposures taken with a camera on a tripod by gas light or by window light reflected from mirrors or white sheets hung behind camera. The next one on the left, please. Some are quite lovely, but like that one could not have been composed or lighted by someone who had never seen paintings or engraved reproductions of paintings by Eastman Johnson, John Singer Sargent or my aunt's distinguished fellow townsmen, Thomas Akins. Escorting a young lady through the fields on a summer day in the '90s, the young lady not needing a hat since she and she walks in the shade of a parasol he's holding for her. My mother and a young friend on a snowy day in the winter of '88 coasting down traffic free spruce street hill. When the children from neighboring houses trudging counter movement back up to the top of the rise. Next on the right. My never seen grandfather dead 15 years before I was born in his untidy hunting jacket and rumpled gators standing in the back entry of his house with his gun in one hand, a brace of squirrels hanging from the other, looking down at the spaniel who had dropped in contented wariness at his feet. The next on the left, please. My mother and her sisters making Christmas candies in the dining room with the aid of a gas burner on which the sugar syrup was boiled, supplied with gas by a flexible tube, descending from one of the branches of the chandelier that hang from the plaster rosette in the center of the ceiling. Number 19, the next one on the right, please. Slide it. The earliest of those snapshots were taken with a handheld camera using the recently perfected dry plate negatives. When we broke up grandmother's house after the last of her unmarried daughters gave up trying to maintain it, I found on a closet shelf, one of the cardboard boxes in which a dozen of these 3 1/4 by 4 1/2 inch glass plates had been packaged. The blue label tells us they were Arrow Brand extra rapid dry plate for in or outdoor photography made in St. Louis by the MA Seed company. One of my aunts had written odds and ends on the side of the box. And had kept in it two exposed plates, both damaged but both readable. The next two on the left end. I mean the next one on the left and the next on the right please. Those are the glass plates as I photographed them stuck up against the window. One showed a skating party and the flooded black yard. The other shows my mother as an 18 year old perched on the porch railing of a seaside cottage sewing while her cousin reads to her. Now the next pair please. Left and right. I had prints made from them. The plates are marred by fingerprints and spots where the gelatin coating was nicked from the glass. And the skating scene was badly light struck. There are no prints from either of those blemish negatives in my aunt's album, but the plates themselves were carefully kept no doubt because as Szarkowski says, \"Even such trivial images once made objective \"and permanent seem too important to destroy.\" Both the projectors off, please So that we have a black screen and we can have the house lights up. Those gelatin coated dry plates commercially available at relatively little cost in the early 1880s brought about a major change in the nature of photographic images. For one thing, they freed the photographer from the necessity to remain close to his dark room. With the earlier wet plate process, you had to prepare the glass plate in the dark room illuminated only by a dim red or orange light by coating it with a collodion and soaking it in a silver nitrate solution, then insert it in a light proof holder, carry it to where your camera had already been set up and focused, insert it still wet in the camera, uncap your lens, make your time exposure, recap the lens. Take the exposed plate in its resealed holder immediately back to the dark room and put it through a series of chemical bass to bring out and fix the image. Only if you had a portable dark room in a tent or a horse-drawn wagon could you move about with any freedom at all. And even then the time required to select your subject, set up and focus your camera, prepare your chemicals, make your plate ready, precluded the possibility of anything like spontaneous picture taking. The dry plates available in the 1880s, however, were ready whenever you wanted them. And the new compact hand cameras with fast acting mechanical shutters and simple viewfinders were quite light and easy to carry. So you were relatively free to wander about taking pictures wherever and whenever you wanted to. Furthermore, the new cameras and plates were amazing and cheap. The average amateur's equipment in the late '80s cost less than $20 including camera, tripod, six double plate holders and a box of a dozen dry plates. Since the plates were as the Arrow Brand label says, extremely sensitive, you could get a clear picture with an exposure of one 25th of a second or even less in normal daylight. And even at night, you could do so with the aid of inexpensive magnesium flares. So you didn't have to carry your tripod with you, fix your camera to it, fiddle with its adjustable legs to level your camera every time you took a picture The whole business of picture taking, thanks to the dry plates suddenly became both easy and unobtrusive, A picture taking expedition had been reduced from something like an African Safari to the equivalent of a mere stroll with a picnic basket. You could photograph anything or anybody with a minimum of fuss and even more importantly, without enlisting the cooperation of your subjects. And because you could do so, you did do so. The era of snapshots had arrived. When George Eastman came along at the end of the 1880s with his extraordinarily Kodak and his celluloid roll film, he vastly increased the number of snapshots you could take on a single loading of the camera. And by cheapening and simplifying the process, vastly increased the number of people who could indulge in the sport. But hundreds of thousands of snapshots had been taken on dry plates before Kodak's you press the button and we do the rest became one of the best known advertising slogans in history. The word snapshot, as I pointed out several years ago in an article in Appeture was originally a hunting term. The earliest recorded use of the word is in the diary of an English sportsman with the opposite name of Hawker who in 1880 noted that almost every bird he got was by snapshot, meaning a hurried shot taken without deliberate aim. As early as 1860, Sr. John Herschel, one of the pioneers of photography and the man who invented its name by the way, speculated about the possibility at some future time of being able to take photographs in a 10th of a second as it were by a snapshot. But that was a figure of speech, depending for its effect upon the readers familiarity with hunters lingo. Even in the 1880s, by which time it appears frequently in articles about the new instantaneous photography, its hunting origins were still remembered and acknowledged by putting the term quotes. But by 1890s, the takeover was complete and Anthony's Photographic Bulletin and other magazines could and did publish about it labeled snapshots taken with a hand camera, no quotes, no apologies whatever. The term had been appropriated to photography because it was appropriate. Ever since the dry plates became available, people had been fascinated with the idea of shooting pictures surreptitiously. They went about hunting for unposed images to record taking pictures of people before they had time to freeze into the formal expressions and stances we instinctively adopt when we ready ourselves for posterity, even taking pictures of people without their knowledge. Indeed the early hand cameras were generally referred to as detective cameras. And George Eastman's advertisements of his first Kodak claimed only that it was the smallest lightest and simplest of all detective cameras, not something altogether new. Even that claim was only partly justified. The Kodak was considerably larger and heavier than the concealed vest camera advertised in the late 1880s, which could be hung around your neck, under your vest or coat with its button shaped lens protruding through a convenient button hole. It came in two sizes, but even the larger $15 size was smaller than a Kodak. And it had been on the market for two years before the Kodak appeared. An article in Harper's in January 1889 said that as many as 300 of the buttonhole cameras were carried in Russia by the police and that in Germany, they were very popular, especially with artists. A clientele that tells us, I suppose as much about late 19th century German art as it does about the Czar's police. In any event, the insistence in advertisements on the concealed invisible aspect of such cameras and upon their being quote, \"always ready \"and the in focus\" witnesses, the then current interest in unpremeditated shots at unwitting subjects. And if one looks at any group of snapshots made at the time and compares them with the paintings and engravings and other pictorial material then available, one can easily see why, for without intending to do so, without realizing what they were doing, the amateur takers of snapshots were revolutionizing mankind's way of seeing. We do not yet realize, I think how fundamentally the snapshot altered the way people saw one another and the world around them. I am of course, aware that much has been written about the effects of photography on many aspects of our culture. William M Ivan's Jr, for some years, the curator of prints at the Metropolitan Museum said some of the wisest and the crispest and the most profound things that have ever been said on this topic 20 years ago in that fascinating book of his too scrupulously entitled, \"Prints and Visual Communication.\" A title that gives no hint of its far reaching implications and it's illuminating insights into the way changes in the technology of picture making and of picture reproduction have affected not only the visual arts but science and technology as well. But we paid very little heed to the effect that snapshots have had upon all of us, photographers and non photographers, by reshaping our conception of what is real and therefore of what is important. Ivans was of course, right, in saying that men, people tend to see and value only what the pictorial techniques and conventions of their time are calculated to show them. From pictures made by those techniques and in accordance with those conventions, we learn what is worth looking for and looking at. And never before in the world's history as a change in the technology of picture making so suddenly and drastically altered pictorial conventions and hence our ways of seeing as the development of snapshot photography has done. What differentiates snapshots from all earlier modes of picture making is that they taught us to see things not even their makers had noticed or been interested in. The snapshots you and I make, always call our attention to things we were unaware of when we pointed the camera at them. And not infrequently when we pick up the finished prints at the drugstore, those unnoticed elements of the scene are obtrusively evident. And on occasion, they proved to be as interesting as or even more interesting than the things we intended to record. For the camera lens is after all indiscriminate. Unlike our eyes, it pays equal heed to the light reflected from the surfaces of everything within its field division. Unless the photographer deliberately interferes in some way, which amateur snapshot makers are not or didn't use to be likely to do, the pattern of forms and textures revealed in a print made from a photographic negative is determined by the impartial objectivity of light, not by the photographers subjective preoccupations and aesthetic choices. The lights down again, please in the next picture on the left Leave the other screen dark. Center that one. Yeah and get it just as sharp as you can, please. I'll give you a moment to look at it after it's in focus. Forgive the light. Look for instance, at this snapshot from my aunt's album. one summer day in 1902, someone with a camera in hand stood on the front porch of Mr. George Burnam's summer cottage on Sutton's Island off the main coast, taking pictures of the sea and of Mount Desert Island in the distance. There's several such seascapes on contiguous pages of my aunt's album, all of them taken from that place. At some point, the photographer turned and noticed my mother then a young woman of 24 and George Burnham's daughter, Persus at the shelter down to the porch mother reading, Persus writing letters at a trestle table islanded on an Oriental rug. Whoever it was behind the camera saw, I suppose, two young woman in a delightfully relaxed vacation moment. And after centering them in the camera finally snapped the picture. What the camera recorded, however included many things of which the photographer was surely unaware. I'll let you look at it a moment again without the light. Inconspicuous, but significant details such as the dog curled asleep on the rug under the table where Persus has tossed the crumple pages of answered letters or impulsively discarded drafts of her own. Salient aspects of the scene such as the oddly juxtaposed rocking chairs in the foreground where they tightly laced right-hand seats and backs. The reflection in the window above them of a pine tree silhouetted against the sky above Mount Desert and against the intervening ocean, the reflections of its branch is blurred just enough to indicate there's a breeze coming in off the water. The texture of weathered shingles and the salt tooth profile they make at the corners of walls and columns, the intricate zigzag perspective of receding openings framed by the serrated edges of those columns and by their inverted reflection in the varnish matched the board ceiling. Like the photographer, I have a personal interest in the people who were evidently the intended subjects of that snapshot. Both of them became important in my life. One is my mother, the other is my beguiling, adventurous, lavish and much loved adoptive aunt. And yet for me, and I would suspect for the photographer, after seeing the finished print, this is less a picture of the young women than of the asymmetrical space in which they are centered or sharply defined space, open to sunlit woods, but itself only very gently illuminated and in an inexpressible touching way almost absolutely shadowers. My point here is simply that by isolating a group of forms and textures within the arbitrary rectangular frame provided by the edges of its glass plate or film, a snapshot forces us to see and thereby teaches us to see differently than we would have seen through our own unaided eyes and also differently than people had been taught to see by pre-photographic pictorial conventions. All pictures of any sort have edges that cut off our peripheral vision and thereby dissociate their forms and surfaces from surrounding forms. By the mere act of isolating certain forms and textures in this way, all pictures give enhanced significance to whatever images they contain. But the peculiarity of the snapshot photograph is that the hierarchy of images within its frame is not ordained by the picture maker. Whatever hierarchy or forms appears in the snapshot is ordained by the indiscriminate neutrality of light. Once people began to look at snapshots they had taken, they therefore began to see as significant a great many things whose significance they had never seen before. The next picture on the right, please and turn off the left projector altogether. They probably didn't altogether enjoy being forced to see in this way. I do not suppose for instance, that my aunt was pleased when she printed this snapshot to see the prominence it gives to the shabbily dressed man on the corner under the old overcoat and dirty blanket thrown over the back of the trash cart's horse. She had been on a centimeter pilgrim to downtown Philadelphia one day in 1885 to take a picture of a building at the corner of Fourth Street and Apple Tree Alley, which 40 years earlier had been the house where her mother, my grandmother, lived. Long before 1885 when the snapshot was taken, the building had been remodeled for stores on the ground floor and tenements above. No doubt my aunt wished that the idle blacks and the dump truck and horses would go away so she could get an unobstructed view of the building. Certainly she wasn't interested in the street traffic or she would not have angled her camera to get in as much of the house as possible even though by doing so she cut off the horses legs. Yet the picture she took, and she must've realized when she saw the print, nullifies whatever sentimental selectivity, there may have been in her vision of the house as an historical object. Thanks to the snapshot's unbiased hierarchy of formed, we cannot help seeing historical truths of a different order. An arguably truthful images of urban realities which were in fact, a part of the house's history and are here inextricably associated with it no matter how disinclined the photographer may have been to see them. It's more than a mere chance of chronology that the classic book about life in the tenements and the slums of our cities appeared in 1890 at the end of the first decade of snapshot photography. And that it was written by a man who had taken thousands of snapshots in the hallways and rooms of tenements, in slum alleys, in cheap lodging houses, sweat shops and degraded hovels of all kinds. Jacob Reese's \"How the Other Half Lives\" was a powerful and influential book, precisely because its author had a snapshot sense of the reality of life in the slums. Many of his pictures were made in places so dark, he could not have seen in advance the details of texture and form that the snapshots record so convincingly. They were taken by the light of the explosive flash produced when a mixture of powdered magnesium and potassium chlorite is in a pan. It's a blinding light, but so brief where the exposures that the snapshot was made even before the subjects eye could blink shot in reaction. Quite literally quicker than a wink. Reese was thoroughly aware of how basically his knowledge of the actualities the tenements was founded upon his documentary snapshots of the inhabitants and their surroundings and he wanted to show that reality to others. The title page of his book proclaims, the next one on the left please, that it is illustrated chiefly from photographs taken by the author. Now the next one on the left, please. And the stories that he wrote as a police reporter for the New York Sun were also illustrated from his photographs. But it is misleading to be told as we are in some histories of photography that although Reese's writing was effective, it was his camera that was decisive in making his work and incontrovertible powerful weapon in his successful campaign to have rear tenements torn down, child labor laws strengthened and enforced, police lodging houses abolished. Reese's photographs are indeed compelling and incontrovertible as many of us have seen for ourselves. Thanks to Reese's son who gave the original glass plate negatives to the Museum of the City of New York, thanks to Grace Mayer who was then the museum's curator of prints and photographs and had excellent prints made from the plates, those wonderful pictures are now often reproduced and have become a part of almost everyone's consciousness of our urban history. But relatively few of Reese's contemporaries ever saw them, for there was no effective technology for transferring photographic images to the printed page. The first halftone reproduction of a photograph had been printed in a newspaper in 1880, but even in 1890, the quality of halftones was still so crude and undependable that only a dozen of the 43 illustrations in how the other half lives were made directly from Reese's photographs. And those dozen are the least convincing of the lot. The most effective pictures in the book are those printed from engraved plates of pen and ink drawings based upon the photographs. The next picture on the right, please, and also the next on the left. And spread them all the way further. A little further. Yeah, that's an important figure there. A good example is this picture captioned, \"in a Chinese joint\" signed Canyon Cox 1889 after photograph. On the left screen is the photograph after which Cox's drawing was made. Notice how the photograph bears out what I said earlier about the way of snapshots their arbitrary edges enhance the significance of every element of the pattern of forms and textures they isolate as the frames of all pictures do. But notice also that the hierarchy of images in the snapshot, the ranking or grading of forms and textures according to their visual significance is determined by the unbiased play of light independent of the photographer's volition. One can guess that if Reese himself had made a sell all print from his plate, he would have cropped it to exclude some of the same elements Canyon Cox decided were pictorially irrelevant. But there they are in the snapshot and they are by no means irrelevant, except from the point of view implicit in traditional notions of pictorial balance and coherent design. From that point of view, the ominous half faced figure at the right is a disruption of pictorial unity. Its presence in the design raises questions the design itself does not and cannot answer. The next pair, please. The same sort of thing is true of this pair. On the right Reese's photograph of a child in the stairway hall of a tenement house. On the left, a pen and ink sketch that was published in the New York Sun as an illustration for one of Reese's articles about raising the slums of Mulberry band. No doubt reached himself, had he been the artist who translated the photographic image into a line drawing would have eliminated the same visual elements that this sketch eliminates. For example, the mysteriously blurred image of the adult slum dweller intruding from unknown opera stories of the tenement into the barren solitude as a forlorn child. He would have realized that there was little use in trying to devise a linear translation of the photographs record of the meaningless refuse on the hall floor or of the texture on the uncropped expanse of wainscot in the left foreground of the irrational hieroglyphics of desolation. None of that incontestable imagery was translatable into other visual terms. And none of it therefore could have been communicated to newspaper readers at the time, even if Reese or the paper's picture editor had wished to include it, which they almost certainly would not have wanted to do. For even now when good halftone reproductions of photographs are possible, people with a cultivated sense of pictorial design would be inclined to crop Reese's negative eliminating areas at the left and at the right in order to achieve a better, that is to say more balanced and coherent design. live in New York and many other cities, coast to coast shared a revolutionary change in their vision of \"how the other half lives.\" My aunts and their friends acquired a shared snapshot awareness of how they themselves lived. Part of the significance of albums like theirs in here's of course, in what they do not include. There are for instance, no close ups of faces or objects in my aunt's album since she had no lenses capable of producing them. But technical deficiencies do not explain the absence of pictures of the kitchen in my grandparents' house, though every other room except the bathroom is recorded, nor do they explain the absence of any pictures of the servants who worked in that kitchen. The only snapshots in the album showing members of what we still irrelevantly call the working class are one of a four horse private coach with a portly coachman on the box and the one I showed you earlier in which the two blacks are apparently idling on a street corner. Not until the second decade of the 20th century was it possible for almost everyone to have a snapshot awareness of the world beyond the precincts of his own life routine. By then, however, it was not only possible, but practically unavoidable. Everyone's Sunday newspaper had a rotogravure section or a pictorial magazine. And though these supplements contained a fair share of posed portraits or mugshots of the great or the notorious, snapshot images appeared with increasing frequency, editors were well aware of the convincing qualities of snapshot vision. Late in 1918 the pictorial magazine of the New York Sun, Jacob Reese's old paper published what it labeled the first actual photograph of X Kaiser Wilhelm of Germany in exile. The next one on the right, please. And you can cut the left screen for the moment. He's riding in the carriage in that tilted rectangle at the center and just below it to the right, what it proudly calls a snapshot of the former crown Prince standing with others on the deck of the small boat that took him ashore and home. The Prince is the man at far left pointed to by a small arrow, super imposed on the snapshot so you could see that the person most worth your attention was not the one the snapshot caught your attention to. Editors were also aware that snapshot images were important historical documents. When The Sun probably two pictures at the signing of the armistice, both of them drawings, it did so under a boxed caption, which said \"Unfortunately for history, no photographs of the armistice \"proceedings were taken and these drawings constitute \"the sole record.\" It was indeed on fortunate and would have been even if the drawings had been more compelling than they are for as Ivan said at the end of that wonderful book of his, \"At any given moment, the accepted report of an event \"is of greater importance than the event, \"for what we think about and act upon is the symbolic report \"and not the concrete event itself.\" By 1918, the non-verbal symbolic reports upon which men were willing to act and about which they were willing to think seriously were predominantly reports made by the snapshot camera widely reproduced in newspapers and magazines. Yet as The New York Sun's art critic, Charles Fitzgerald said a few years earlier, \"The camera had the awkward habit \"of reporting the significant and the impertinent \"with equal indifference.\" That habit was indeed awkward for those photographers who were exploring the possibilities of photography as art, who wanted to make pictures expressing their personal vision, their subjective decisions about what is and is not important. Only a very few photographers have ever succeeded in using the camera effectively to that end. The overwhelming majority of photographic images have been made by people who were content to let available light determine what was significant. The cumulative effect of 30 years of mass participation in the process of running amuck with cameras without ever pausing to ask is this or that artistic had been the discovery that there was an amazing amount of significance, historical and otherwise in a great many things that were deemed impertinent until snapshots began forcing people to see them. I'm not making the absurd claim that every snapshot has importance as a revelation or even that any sizeable group of snapshots like an album full will surely reward you with an awareness of the hitherto unrealized significance of some class or type of forms or surfaces. I am saying that because snapshots often revealed impressive or delightful significance in things no earlier mode of seeing had enabled mankind to see, our postulates about what really matters have been profoundly altered. And I'm also saying that because snapshots taken a century ago and those now on TV news programs made in quick succession half a world away can be seen, thanks to the modern technology of transmission and reproduction by almost everyone in our world simultaneously. We really do live in what we can call a snapshot world. What the consequences will ultimately be, no one can know. What some of the consequences seem to me to have already been is worth knowing. In all the arts indeed in all our attempts to impose order upon chaos, one can see during the past 100 years a new concern with the significance of surfaces. A new preoccupation with objects, as we have been forced to see them by lights nonselective revelations. Much has been written, for instance, about the ways of development of what we call modern art from Corbey through Cera, Cezanne, and Picasso parallels the development of photography and always many of its technical and formal elements to photographic imagery. Think for instance about the snapshot composition of Degas' canvases, whose ages arbitrarily crop an implicitly larger scene or about Monet's technique of capturing the fleeting effects of light with his so-called comma brushstrokes derived from the hillation or blurred aura of light around bright or moving objects in photographic images. It is surely more than a coincidence that the first exhibition of paintings by the French impressionists was held in a Parisian photographer's studio. Similarly, the patterns and forms revealed by such technologically advanced snapshots as the photo micrographs of organic and inorganic substances or by time-lapse photography have taught more than one of our contemporary painters and sculptors to see such patterns elsewhere if only in the mind's eye. The next pair, please, both projectors at once. At first glance, you may wonder which of these is a photograph and which of these is a work by some modern artist. In fact, both are photographs. The one at the left, the micro photograph of the crystalline structure of a metal, the other a time-lapse photograph of a drop of cream's behavior when it falls into another liquid. Take them off now, blacken screens. I'm sure I don't need them. In literature too, snapshot vision has had notable consequences. It's well-known that the modern novel and short story have been profoundly affected by the movies. But it's worth reminding ourselves that there are lots of other evidences. It was a group of poets born in the snapshot era who associated themselves just before World War I as the self-styled imagists brought together by a professed desire to free of formal conventions and of all restrictions upon subject matter. And by a determination to use the language of common speech to present hard and clear images. We are not a school of painters, there's books from on road but we believe that poetry should render particulars exactly and not deal in vague generalities. Surely these images had been affected by their awareness of the visual precision and the unconventional subject matter of instantaneous photographs. Perhaps the most important and far reaching consequence of snapshot vision has been its impact upon our sense of history. Few would deny, I think, that the publication of Thomas Beer's \"The Move Decade\" in 1926 and of Frederick Loris Alan's \"Only Yesterday\" in 1931 bore witness to a fundamentally changed conception of what history is. The authors were born respectively in 1889 and '90, members of the first generation born in the Kodak era. I can think of no writer of history before Beer who would have begun his book with a verbal snapshot of such an apparently trivial event as the one Beer selected, the aged and garrulous Bronson Alcott, father of Louisa May, hanger on of Amerson. Stepping back in bewildered shock from the edge of Emerson's grave, his face startlingly bloodless. A small boy pressing forward among the assembled mourners to get a look down into the hole. The distraught Alcott grasping the boy with a grip so cruel that his daughter raised her horse spinsters voice in the highest commanding, \"Pa, let go.\" as she stooped to wrench the child's arm free, \"You're hurting Georgie's arm.\" Both books are full of what Alan called tremendous trifles. Those in Alan's book, being events and things which his readers remembered well as if they had happened only yesterday. And they remember those tremendous trifles, the sorted divorce trial of daddy and Peaches Browning, Lindbergh's trans-atlantic flight, the pig woman testifying and all mills murder trial from a hospital bed wheeled into the court room because they had watched them through the snapshot images of thousands of newspapers. The permanence of this imagery, endlessly proliferated surely had much to do with the recognition of such events and circumstances as significant data of history. Since then, history has moved even closer to us. History for our generation is the tremendous trifles that we're going to watch on news this evening and have watched in recent memory. Tremendous trifle like Lee Harvey Oswald being escorted by police down a jail carter in Texas as a punchy man steps forward and shoots him. Aldrin and Armstrong kangaroo hopping on the dusty surface of the moon. One of the local television stations in Albany advertised recently, \"Our news team can cover \"a fast breaking news event at nine o'clock \"and have it on the air at nine o'clock.\" You can't get it any faster than that. Electronic news gathering means unparalleled speed in news coverage. It makes the difference between news we can talk about and news you can see. When Columbus returned to Portugal to report having reached the East Indies by sailing westward, fetching along an alligator and some gold as proof, the event was already months in the past and not yet very convincing history. It must have been many more months before people in Europe like you and me heard even rumors of this altogether dubious event. Four centuries later when Matthew Brady and Alexander Gardner took their stark photographs of dead soldiers on the battlefields of the Civil War, it was a quarter of an hour or more before even they themselves saw the unarguable realities recorded on the glass plates. Several weeks before the public saw even second hand would engrave translations of them and several years before the photographs themselves were seen by more than a few hundred people. Stepping ashore at San Salvador and Hispaniola was actuality. A dead soldier's blade in a shell hole was actuality. Neither was history until people possessed a symbolic report of it. Reports made in verbal symbols, however vivid or detailed are open to doubt as Columbus discovered. So is the most carefully drawn or painted picture. So is the translation of a photographic image into the most conscientious wooden engraver's syntax of lines and dots. Therefore history for many sanctuaries was something untrustworthily reported that happened long ago. Thanks or no thanks to the snapshot, history is now what we live in from the moment we are old enough to look at the pictures our parents take us. That is one consequence of the modern technology of visual communication. Our now at once becomes history. And for most of us, history is our own individual now. Other consequences are flowing from the fact that willingly or unwillingly we are participants in a revolution in seeing, the revolution which began as noted earlier when people like my aunt began running amuck with snapshot cameras almost a century ago. Call it for want of a better term, the democratization of vision. From the enumerable images objectively recorded by undifferentiating light in the snapshots we and others have taken, all of us have begun to learn the import of certain lines in Whitman's leaves of grass. Let me read a few of those lines while you look at some pairs of snapshots on the screen and I'll end this session. \"All truths wait in all things.\" Next pair. \"The insignificant is as big to me as any.\" Next pair. \"I do not call one greater and one smaller.\" Next pair. \"That which feels it's period and place \"is equal to any.\" And the last pair. \"And there is no object so soft \"but it makes a hub for the wheeled universe.\" Thank you very much.\r\n\r\n- Thank you Dr. Kouwenhoven and Mr. Kouwenhoven is now open for questions from the audience if you would like to ask him any.\r\n\r\n- I'll be back here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43853/file/116916#t=0.0,5182.27592"}]}]}]}