ion, the image presents a central, roughly square form that itself appears to serve as a source of illumination, blanketing its darker frame in a gauzy light. An extensive caption penned directly on the photographic negative compensates for this obscurity. Tersely detailing the materials and techniques that Hausmann used to produce the image—from his selection of film, filters, and lamps to the exposure time and the distance of the camera from its subject—it reduces the image to a set of sensitivities, intensities, temporal intervals, and spatial coordinates.1 Critically, it also identifies the bright square as a section of wooden board that, to the naked eye, displayed a prominent grain, no trace of which is visible here. Using a photographic emulsion sensitive to infrared, a range of the electromagnetic spectrum with a wavelength longer than that of visible light, the artist staged the apparent dematerialization of the board, making its surface seem at once to withdraw from view and to expand into an uncontained atmospheric presence. Hausmann’s careful isolation of the object and his exhaustive recording of the technical variables at play in his photograph are both hallmarks of the test images photographers use to determine how the camera will register a particular view. The otherworldly effect of this image underscores the importance of such working proofs in reconciling our unassisted vision with that of the camera, especially when capturing radiation invisible to the naked eye. The photograph is, as Hausmann noted on its surface, “overexposed” (überbelichtet), the mark, according to most criteria, of a failed test. In the context of Hausmann’s broader artistic and theoretical project, however, a different assessment of the image becomes possible. In negotiating the boundary separating the visible and the invisible, the photograph in fact models the transformation of human perception that Hausmann hoped to achieve through his work. As his writings of the early twentieth century attest, Hausmann was captivated by the idea that much of what we take for granted about the world’s appearance actually originates in our own biologically and culturally determined system of cognition. Together, he argued, art and technology could help propagate a new means of perceiving and understanding the world more sensitive to the actual patterns of its organization. Considered in these terms, Hausmann’s untitled photograph does not merely fail to reveal the facture of a wooden board but instead succeeds in staging the disappearance of solid matter, displaying a new possibility for human eyesight in the perceptual field it thereby clears. Indeed, in the apparent absence of this substance, electromagnetic radiation itself takes on an unexpectedly forceful visual presence. From Vasily Kandinsky’s project of alerting viewers to the “inner resonances” of colors and forms to the lessons concerning dynamism, simultaneity, and interpenetration that the Italian Futurist Umberto Boccioni hoped to impart with his painting and sculpture, ideas of sensory education motivated a great deal of modernist production throughout the early twentieth century. But unlike other models of perceptual reform, Hausmann’s work of the 1930s emphasizes the finite capacity of the human sensorium over its flexibility. Rather than seeking simply Daniel Hackbarth Raoul Hausmann’s Infrared Photography: Energy and Perceptual Education after Dada Raoul Hausmann, undated infrared test image, ca. 1937, photographic negative on glass, 43⁄4 x 31⁄2 in. (12 x 9 cm). Musée départemental d’art contemporain de Rochechouart, France (published under fair use)

中文翻译：

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Raoul Hausmann 的红外摄影：达达之后的能量和感性教育

离子，图像呈现出一个中央的、大致方形的形式，它本身似乎充当了一个照明源，将其较暗的框架覆盖在一层薄纱中。直接写在负片上的大量说明弥补了这种晦涩。简洁地详细介绍了豪斯曼用来制作图像的材料和技术——从他选择的胶片、滤镜和灯到曝光时间和相机与被摄体的距离——它将图像降低到一组敏感度、强度、时间间隔和空间坐标。1 重要的是，它还将明亮的正方形识别为一块木板，肉眼可见，显示出突出的纹理，在这里看不到任何痕迹。使用对红外线敏感的感光乳剂，在波长比可见光更长的电磁波谱范围内，艺术家上演了木板的明显非物质化，使其表面似乎立即从视野中消失并扩展到不受控制的大气中。豪斯曼对物体的仔细隔离和他对照片中起作用的技术变量的详尽记录都是摄影师用来确定相机如何记录特定视图的测试图像的标志。该图像的超凡脱俗效果强调了此类工作证明在协调我们的无辅助视觉与相机视觉方面的重要性，尤其是在捕获肉眼不可见的辐射时。正如豪斯曼在其表面所指出的那样，照片是“曝光过度”（überbelichtet），根据大多数标准，该标志，失败的测试。然而，在豪斯曼更广泛的艺术和理论项目的背景下，对图像的不同评估成为可能。在讨论区分可见和不可见的边界时，这张照片实际上模拟了豪斯曼希望通过他的作品实现的人类感知的转变。正如他在 20 世纪早期的著作所证明的那样，豪斯曼被我们认为理所当然的世界外观的大部分内容实际上起源于我们自己的生物和文化决定的认知系统所吸引。他认为，艺术和技术可以共同帮助传播一种新的感知和理解世界的方式，这种方式对其组织的实际模式更加敏感。从这些方面考虑，豪斯曼的无题照片不仅没有揭示木板的形成，反而成功地呈现了固体物质的消失，在由此清除的感知领域中展示了人类视觉的新可能性。事实上，在这种物质明显不存在的情况下，电磁辐射本身会呈现出意想不到的强烈视觉存在。从瓦西里·康定斯基 (Vasily Kandinsky) 提醒观众注意颜色和形式的“内在共鸣”的项目，到意大利未来主义者翁贝托·波乔尼 (Umberto Boccioni) 希望通过他的绘画和雕塑传达的关于活力、同时性和相互渗透的课程，感官教育的思想激发了很大的动力整个二十世纪初的现代主义生产。但与其他感知改革模型不同的是，豪斯曼在 1930 年代的工作强调了人类感觉系统的有限容量而不是其灵活性。而不是简单地寻找丹尼尔哈克巴特拉乌尔豪斯曼的红外摄影：达达拉乌尔豪斯曼之后的能量和感知教育，未注明日期的红外测试图像，约。1937 年，玻璃底片，43⁄4 x 31⁄2 英寸（12 x 9 厘米）。Musée départemental d'art contemporain de Rochechouart，法国（根据合理使用出版）