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Vision, visibility and power in colonial India
Author: Niharika Dinkar

Beyond its simple valorisation as a symbol of knowledge and progress in post-Enlightenment narratives, light was central to the visual politics and imaginative geographies of empire. Empires of Light describes how imperial designations of ‘cities of light’ and ‘hearts of darkness’ were consonant with the dynamic material culture of light in the nineteenth-century industrialisation of light (in homes, streets, theatres, etc.) and its instrumentalisation through industries of representation. Empires of Light studies the material effects of light as power through the drama of imperial vision and its engagement with colonial India. It evaluates responses by the celebrated Indian painter Ravi Varma (1848–1906) to claim the centrality of light in imperial technologies of vision, not merely as an ideological effect but as a material presence that produces spaces and inscribes bodies.

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Niharika Dinkar

emerges as a result of the encounter with imperial technologies of vision – elite artists and subalterns rendered visible in different degrees in the imperial visual economy. In a telling analogy, a monograph on Ravi Varma compared his prints to ‘the ubiquitous Dietz lantern’ in creating ‘a taste for decoration in the Indian home’.99 The inclusion of devices like the kerosene lamp in the scholar paintings draws attention to this significant transformation of public and private spaces and to the perceptions of lighting technologies as agents of modernisation. Retaining

in Empires of light
Detection, deviance and disability in Richard Marsh’s Judith Lee stories
Minna Vuohelainen

.11 In its investment in discourses of normativity, detective fiction is often seen as a conservative genre focused on identifying and apprehending the criminal through the detective’s command of ‘technologies of vision that could see further and deeper than the untrained eye’.12 Holmes’ ‘deductions’, while reflective of Arthur Conan Doyle’s desire to inject scientific vigour into the genre, are also attempts to read physical signs left on bodies by acts of crime, neglect, work or habit. Rosemary Jann notes Holmes’ reliance on ‘indexical codes of body and behavior

in Richard Marsh, popular fiction and literary culture, 1890–1915
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Adam Page

perception. The view from above was the source of a liberating new vision, while also a disconcerting portent of the power of new technologies to dominate human life. This tension reflected broader responses to new technologies that promised to transform the world, but aviation and the aerial view were particularly important to the developing practices of town planning. Representations of cities as defined units helped planners to see urban development in a new way and thus propose interventions and new urban shapes.20 6 Introduction The same technologies of vision

in Architectures of survival
Ruth Livesey

of mediating techniques and technologies of vision (Crary, 1990; Otter, 2008). To look, and to look at London’s urban scene in the late 1880s in particular, was to negotiate a series of alternate frames and lenses or to throw new light on old subjects: an assumption given narrative form in the retitling of Harkness’s Captain Lobe (1889), as In Darkest London in 1891 (Law, 1893). In this easy borrowing of H. M. Stanley’s trope of imperial venture, the East End – and the place of poverty more generally – becomes labelled as a continent of darkness. This in turn

in Margaret Harkness
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The veil as technology of illumination
Niharika Dinkar

discovery and the visual horizons it breached. And yet, Hodges marks it as a personal vision, stamping it with his own act of witnessing. Even as the iconography of unveiling is dismissed as outmoded, the technologies of vision which it authorises continue to have resonance. The visual trope of discovery that underlines these acts of unveiling is continued in the exposing mechanism of the gaze, an aspect discussed in the following two chapters. The use of the veil as a visual device that extended the range of vision into hitherto unknown worlds was not unlike the

in Empires of light
Leah Modigliani

with the low camera angle used, is of aggrandizing the subjects. The youth who may or may not be ‘workers,’ are cast in everyday clothes and hairstyles. Contrary to their literally elevated status as subjects in the gallery, the camera has recorded in colour all the non-idealistic details of each sitter’s face; messy hair, beard stubble, and pimples. In relation to Young Workers Wall’s reference to Hera is revealing and curious; it likens the modern technologies of vision exemplified in the camera and lightbox to the vengeful Greek goddess of marriage and fertility

in Engendering an avant-garde
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Fred Botting

and subject position, the endless refraction of desire, with a visual apparatus that has become irreducibly and fatally different’(182). In its conjunction with technologies of vision, this version of the vampire looks back at a modern world of illusory human securities, not as an archaic remnant of a barbaric prehistory, but as an uncanny harbinger of what is to come, glimpsing a fatal difference

in Limits of horror