Eadweard Muybridge's Pacific Coast photographs provide an important site for investigating Victorian visual practices of the “wide.” They do not simply expand a referential frame to encompass novel subjects; they also, and more critically, register powerful narratives of temporality and modernity. This essay's analysis of the “wide” as an incipient concept of critical spatiality is not set against the more familiar temporal dimension of the long nineteenth century (a false and ultimately unproductive opposition). Rather, it places these two concerns in some tension with each other, though the argument is less about periodicity than about the representation of timescales in nineteenth-century media. In Muybridge's photographs, thinking about the representational possibilities of width is impossible without also confronting temporality. The Pacific Coast photographs are important both as explorations of timescales and artifacts in an influential nineteenth-century medium and prompts to reconsider the politico-economic networks that were central to the progress of expeditionary photography itself.

中文翻译：

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广角：Eadweard Muybridge、太平洋海岸和跨土著代表

Eadweard Muybridge 的太平洋海岸照片为研究维多利亚时代的“广阔”视觉实践提供了一个重要场所。它们不是简单地扩展参考框架以包含新主题；它们还，更重要的是，记录了关于时间性和现代性的有力叙述。本文对“宽”作为批判空间性的一个初始概念的分析，并没有与漫长的 19 世纪更为熟悉的时间维度（一个错误的且最终没有成果的对立）相矛盾。相反，它将这两个关注点置于某种张力之中，尽管争论的焦点不是周期性，而是十九世纪媒体中时间尺度的表现。在迈布里奇的照片中，如果不面对时间性，就不可能思考宽度的代表性可能性。