Amos Morris-Reich – författare

Race and Photography studies the changing function of photography from the 1870s to the 1940s within the field of the "science of race," what many today consider the paradigm of pseudo-science. Amos Morris-Reich looks at the ways photography enabled not just new forms of documentation but new forms of perception. Foregoing the political lens through which we usually look back at race science, he holds it up instead within the light of the history of science, using it to explore how science is defined; how evidence is produced, used, and interpreted; and how science shapes the imagination and vice versa. Exploring the development of racial photography wherever it took place, including countries like France and England, Morris-Reich pays special attention to the German and Jewish contexts of scientific racism. Through careful reconstruction of individual cases, conceptual genealogies, and patterns of practice, he compares the intended roles of photography with its actual use in scientific argumentation. He examines the diverse ways it was used to establish racial ideologies-as illustrations of types, statistical data, or as self-evident record of racial signs.Altogether, Morris-Reich visits this troubling history to outline important truths about the roles of visual argumentation, imagination, perception, aesthetics, epistemology, and ideology within scientific study.

The transformation of the human sciences into the social sciences in the third part of the 19th century was closely related to attempts to develop and implement methods for dealing with social tensions and the rationalization of society. This book studies the connections between academic disciplines and notions of Jewish assimilation and integration and demonstrates that the quest for Jewish assimilation is linked to and built into the conceptual foundations of modern social science disciplines. Focusing on two influential "assimilated" Jewish authors—anthropologist Franz Boas and sociologist Georg Simmel—this study shows that epistemological considerations underlie the authors’ respective evaluations of the Jews’ assimilation in German and American societies as a form of "group extinction" or as a form of "social identity." This conceptual model gives a new "key" to understanding pivotal issues in recent Jewish history and in the history of the social sciences.

The transformation of the human sciences into the social sciences in the third part of the 19th century was closely related to attempts to develop and implement methods for dealing with social tensions and the rationalization of society. This book studies the connections between academic disciplines and notions of Jewish assimilation and integration and demonstrates that the quest for Jewish assimilation is linked to and built into the conceptual foundations of modern social science disciplines. Focusing on two influential "assimilated" Jewish authors—anthropologist Franz Boas and sociologist Georg Simmel—this study shows that epistemological considerations underlie the authors’ respective evaluations of the Jews’ assimilation in German and American societies as a form of "group extinction" or as a form of "social identity." This conceptual model gives a new "key" to understanding pivotal issues in recent Jewish history and in the history of the social sciences.

It is a sign of the accepted evidentiary status of photographs that historians regularly append them to their accounts, Amos Morris-Reich observes. Very often, however, these photographs are treated as mere illustrations, simple documentations of the events that transpired. Scholars of photography, on the other hand, tend to prioritize the photographs themselves, relegating the historical contexts to the background. For Morris-Reich, however, photography exists within reality; it partakes in and is very much a component of the history it records. Morris-Reich examines how photography affects categories of history and experience, how it is influenced by them, and the ways in which our understanding of the relationship between history and photography can be theorized and reoriented.Morris-Reich here turns to five twentieth-century cases in which photography and Jewish history intersect: Albert Kahn's utopian attempt to establish a photographic archive in Paris in order to advance world peace; the spectacular failed project of Helmar Lerski, the most prominent photographer in British Mandate Jewish Palestine; photography in the long career of Eugen Fischer, a Nazi professor of genetics; the street photography of Robert Frank; and the first attempt to introduce photography into the study of Russian Jewry prior to World War I, as seen from the post-Holocaust perspective of the early twenty-first century. Illustrated with nearly 100 images, Photography and Jewish History moves beyond a focus on Jewish photographers or the photographic representation of Jews or Jewish visibility to plumb the deeper and more significant registers of twentieth-century Jewish political history.

As the prototypical exemplar of modern visual technology, photography was once viewed as a way to enable vision to bypass imagination, producing more reliable representations of reality. But as an achievement of technological modernity, photography can also be seen as a way to realize a creation of the imagination more vividly than can painting or drawing. Photography and Imagination investigates, from diverse points of view focusing on both theory and practice, the relation between these two terms. The book explores their effect on photography’s capacity, through various forms and modalities of imaginative investments and displacements, to affect even reality itself.

This book brings together Vilém Flusser and intellectual Jewish history of the second half of the twentieth century. Flusser is viewed today by many scholars as the most original theoretician of media and photography in the second half of the twentieth century, and yet this is the first monograph about him in English.Combining elements of Flusser’s biography with a rigorous study of his writing, this book shows that concepts of ‘virtuality’, ‘medium’, and ‘embodiment’ underpin not only Flusser’s understanding of technological media, such as photography, but also his understanding of evolution and of real or imaginary biological organisms. This book argues that Flusser contended with Nazism in his writings on these biological and ecological themes. Two threads – and their relationship - are explored: the first bears on Nazism as undergirded by a biological perspective – an attempt to eradicate a population taken to be parasitic; in the second, Nazism is simply viewed as ‘stupid’. Such a line of inquiry necessarily leads to and includes our dealing with the ‘Nazi fantasy’, because fantasy was fused into Nazism’s own vision.This book will not only be an ideal resource for students and scholars of intellectual Jewish history but will interest anyone seeking an introduction to Flusser and the philosophy of science within the context of Nazism.

This book brings together Vilém Flusser and intellectual Jewish history of the second half of the twentieth century. Flusser is viewed today by many scholars as the most original theoretician of media and photography in the second half of the twentieth century, and yet this is the first monograph about him in English.Combining elements of Flusser’s biography with a rigorous study of his writing, this book shows that concepts of ‘virtuality’, ‘medium’, and ‘embodiment’ underpin not only Flusser’s understanding of technological media, such as photography, but also his understanding of evolution and of real or imaginary biological organisms. This book argues that Flusser contended with Nazism in his writings on these biological and ecological themes. Two threads – and their relationship - are explored: the first bears on Nazism as undergirded by a biological perspective – an attempt to eradicate a population taken to be parasitic; in the second, Nazism is simply viewed as ‘stupid’. Such a line of inquiry necessarily leads to and includes our dealing with the ‘Nazi fantasy’, because fantasy was fused into Nazism’s own vision.This book will not only be an ideal resource for students and scholars of intellectual Jewish history but will interest anyone seeking an introduction to Flusser and the philosophy of science within the context of Nazism.

As the prototypical exemplar of modern visual technology, photography was once viewed as a way to enable vision to bypass imagination, producing more reliable representations of reality. But as an achievement of technological modernity, photography can also be seen as a way to realize a creation of the imagination more vividly than can painting or drawing. Photography and Imagination investigates, from diverse points of view focusing on both theory and practice, the relation between these two terms. The book explores their effect on photography’s capacity, through various forms and modalities of imaginative investments and displacements, to affect even reality itself.

This volume is concerned with the hitherto neglected role of the humanities in the histories of the idea of race. Its aim is to begin to fill in this significant lacuna. If, in the decades following World War II and the Holocaust – years that witnessed European decolonization and the African-American civil rights movement – the concept of ‘race’ slowly but surely lost its legitimacy as a cultural, political and scientific category, for much of the nineteenth and the first half of the twentieth century concepts of race enjoyed widespread currency in numerous fields of knowledge such as the history of art, history, musicology, or philosophy. Bringing together some of the most distinguished scholars in their respective fields, this is the first collective attempt to address the history of notions of race in the humanities as a whole.