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Causa. I join these words for four people, Some others may overhear them, world, I am sorry for you, You do not know these four people. Ezra Pound / "My day passes between logic, whistling, going for walks, and being depressed." Ludwig Wittgenstein / "On a deux vies, et la deuxième commence quand on se rend compte qu’on n’en a qu’une" Confucius / "My works were designed to amuse, annoy, bewilder, mystify and inspire reflection." Man Ray / «Todas las teorías del dadaísmo y del surrealismo son monótonamente repetidas. El “ready-made” inunda el globo. Cuando todo sea “ready-made” no habrá que tocar nada» Salvador Dalí, 1932 / "existir apenas levemente / como el sol de tarde que dibuja / sombras de las hojas de los plátanos / en la pared que da al oeste." Beatriz Vignoli / "Anything can happen. Especially nothing." Michel Houellebecq
Tableau Synoptic des traits physionomiques: pour servir a l’etude du “portrait parle”,  c. 1909,  Alphonse Bertillon Nineteenth-century police headquarters were host to disorganized “rogues’ galleries” swollen with photographic portraits of criminals, which turned even the simplest of searches into a Sisyphean labor. As a response, police clerk Alphonse Bertillon introduced a rigorous system of classification, or signalment, to help organize archives, a process that included not only quantitative anthropometric measurements of the head, body, and extremities but also qualitative descriptions of the face. Photography’s potential for exactitude made it a crucial tool for Bertillon’s system, and his portrait parlé—the basis for today’s mugshot—posited a powerful analogy between a photographic likeness and the ink fingerprint.Akin to a cheat-sheet for police clerks, this composite photograph illustrates how the mugshot could yield a series of classifications, dividing the male criminal’s face into discrete units of information. Such points of identification include the precise differentiation between left ear and right, the angle of inclination of the chin, and the pattern of the folds on the brow. Although intended merely as a filing aide, this image of the human face in all its striations of repetition and difference renders surveillance as a terrifying manifestation of the modern sublime.

Tableau Synoptic des traits physionomiques: pour servir a l’etude du “portrait parle”,  c. 1909,  Alphonse Bertillon

Nineteenth-century police headquarters were host to disorganized “rogues’ galleries” swollen with photographic portraits of criminals, which turned even the simplest of searches into a Sisyphean labor. As a response, police clerk Alphonse Bertillon introduced a rigorous system of classification, or signalment, to help organize archives, a process that included not only quantitative anthropometric measurements of the head, body, and extremities but also qualitative descriptions of the face. Photography’s potential for exactitude made it a crucial tool for Bertillon’s system, and his portrait parlé—the basis for today’s mugshot—posited a powerful analogy between a photographic likeness and the ink fingerprint.Akin to a cheat-sheet for police clerks, this composite photograph illustrates how the mugshot could yield a series of classifications, dividing the male criminal’s face into discrete units of information. Such points of identification include the precise differentiation between left ear and right, the angle of inclination of the chin, and the pattern of the folds on the brow. Although intended merely as a filing aide, this image of the human face in all its striations of repetition and difference renders surveillance as a terrifying manifestation of the modern sublime.

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Source: ohsnapohsnapohsnap
4 months ago 37 notes

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