Francis Galton's Face Project
Morphing the Victorian Human
Bibliographic Data
| ID | 12910739 |
|---|---|
| Authors | Suzanne Bailey (0009-0001-1468-2546, St Vincent's Health, corresponding author) |
| Year | 2012 |
| Volume | 5 |
| Issue | 2 |
| Pages | 189-214 |
| Publication date | 2012-06-12 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Photography and Culture (JOURNAL) |
| Journal identifiers | ISSN: 1751-4517 • E-ISSN: 1751-4525 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.2752/175145212x13330132507077 |
| OpenAlex | W1967631228 |
| Language | EN |
| References cited | 18 |
This essay complicates standard readings of Francis Galton's composites by examining his objectives for photography in relation to his work in heredity and to his interest in mapping the body in terms of novel codes and patterns. As new additions to the visual rhetoric of photography, Galton's composite photographs reformulate, stretch, and decenter the human subject. Galton's family composites, for instance, show singular bodies retaining the traces of other bodies that share a similar heredity. These images thus represent in visual terms the individual human as the sum of past evolution and of the action of nature, which works to pressure and shape human and animal development
Aesthetics · Art · Biology · Face (sociological concept · Galton's problem · Heredity · Morphing · Photography · Relation (database · Social science · Sociology · Statistics · Visual arts · Australian History and Society · Computer Science · Geographies of human-animal interactions · Historical Gender and Feminism Studies · Mathematics · Artificial Intelligence
Hereditary genius
How We Became Posthuman
Memories of my Life, by Francis Galton
Composite Portraits, Made by Combining Those of Many Different Persons Into a Single Resultant Figure
Framing the Victorians
"Baby's Picture is Always Treasured"
Veins of Resemblance
Educated Eyes and Impressed Images
The Body and the Archive
A Model Jew
| Highly cited | No |
|---|