This article introduces the Special Issue on cameraless photography and the translation of Georg Christoph Lichtenberg’s treatise on electrical figures. It summarizes previous discussions on cameraless photography, namely those by Geoffrey Batchen and suggests relating the photogram to current post-lenticular technologies such as radiography, digital scanning or machine vision. It outlines the emergence of cameraless imaging in late eighteenth- and early nineteenth-century scientific research, taking Lichtenberg’s figures as an emblem of automatically generated images situated between duration and instantaneity, between image (...) making and measurement, between nature and culture. (shrink)

This text was first published as ‘De nova methodo naturam ac motum fluidi electrici investigandi’ in Novi Commentarrii Societatis Regiae Scientiarum Gottingensis. Commentationes physicae et mathematicae classis 8 (Göttingen 1778: 168–80). It also appeared in a printing by Joann Christian Dieterich in Göttingen in 1778. Lichtenberg delivered this talk personally to the Royal Society of Sciences in Göttingen on 21 February 1778. Although Lichtenberg was not present, he had already informed the Royal Society of Lichtenberg’s discovery of the electrical figures (...) at a meeting on 3 May 1777. The present German version was first published in Lichtenberg’s Vermischte Schriften, vol. 9 (Physikalische und mathematische Schriften, vol. 4) (Göttingen, 1806) pp. 49–80. Wolgang Promies suggests that the German translation was likely done by Friedrich Christian Kries, who was a co-editor of the Vermischte Schriften and Lichtenberg’s student (see Georg Christoph Lichtenberg [1974], Schriften und Briefe, [ed. Wolfgang Promies (K II: Kommentar zu Band III)], Munich: Carl Hanser Verlag, p. 11). Lichtenberg was the first to propose the use of + and – to designate electricity in this article. (shrink)

Sometimes in the course of image-making, images are asked to represent unusual things. Around 1960, scientists and engineers working on the Computer-Aided Design Project at MIT began imagining that computers could be “active partners” to human designers. They began talking about a future of “human-computer symbiosis.” And they created a new type of image—the screenshot—that represented this new possibility. This paper describes early CAD research as a site for the emergence of the ideal of the interactive computer and how this (...) ideal was described and distributed through screenshots.Though we now routinely associate computers with interactivity, interactivity was beyond the average user’s experience in 1960.... (shrink)