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*505  $t"A hiding place in waking dreams" : David Octavius Hill, Robert Adamson, and Walter Benjamin's "Little History of Photography" /$rShawn Michelle Smith
*505  $tFreud : the photographic apparatus /$rSarah Kofman
*505  $t"To adopt" : Freud, photography, and the optical unconscious /$rJonathan Fardy
*505  $tThe politics of contemplation /$rZoe Leonard and Elisabeth Lebovici
*505  $tFreud, Saturn, and the power of hypnosis /$rMary Bergstein
*505  $tOn the couch /$rMignon Nixon
*505  $tVision's unseen : on sovereignty, race, and the optical unconscious /$rMark Reinhardt
*505  $tSligo heads /$rKristan Horton
*505  $tDeveloping historical negatives : the colonial photographic archive as optical unconscious /$rGabrielle Moser
*505  $tThe purloined image /$rLaura Wexler
*505  $tThe Vancouver carts : a brief mémoire /$rKelly Wood
*505  $tVietnamese photography and the look of revolution /$rThy Phu
*505  $tShooting in the dark : a note on the photographic imagination /$rSharon Sliwinski
*505  $tSlow /$rTerri Kapsalis
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Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency. In essays that range from examinations of Benjamin's and Sigmund Freud's writings to the work of Kara Walker and Roland Barthes's famous Winter Garden photograph, the contributors explore what photography can teach us about the nature of the unconscious. They attend to side perceptions, develop latent images, discover things hidden in plain sight, focus on the disavowed, and perceive the slow. Of particular note are the ways race and colonialism have informed photography from its beginning. The volume also contains photographic portfolios by Zoe Leonard, Kelly Wood, and Kristan Horton, whose work speaks to the optical unconscious while demonstrating how photographs communicate on their own terms. The essays and portfolios in Photography and the Optical Unconscious create a collective and sustained assessment of Benjamin's influential concept, opening up new avenues for thinking about photography and the human psyche.



Contributors. Mary Bergstein, Jonathan Fardy, Kristan Horton, Terri Kapsalis, Sarah Kofman, Elisabeth Lebovici, Zoe Leonard, Gabrielle Moser, Mignon Nixon, Thy Phu, Mark Reinhardt, Shawn Michelle Smith, Sharon Sliwinski, Laura Wexler, Kelly Wood, Andrés Mario Zervigón

• Acknowledgmentsp. vii
• Introductionp. 1
• Photography's Weimar-Era Proliferation and Walter Benjamin's Optical Unconsciousp. 32
• "A Hiding Place in Waking Dreams": David Octavius Hill, Robert Adamson, and Walter Benjamin's "Little History of Photography"p. 48
• Freud: The Photographic Apparatusp. 75
• "To Adopt": Freud, Photography, and the Optical Unconsciousp. 81
• The Politics of Contemplationp. 93
• Freud, Saturn, and the Power of Hypnosisp. 104
• On the Couchp. 134
• Vision's Unseen: On Sovereignty, Race, and the Optical Unconsciousp. 174
• Sligo Headsp. 223
• Developing Historical Negatives: The Colonial Photographic Archive as Optical Unconsciousp. 229
• The Purloined Imagep. 264
• The Vancouver Carts: A Brief Mémoirep. 281
• Vietnamese Photography and the Look of Revolutionp. 286
• Shooting in the Dark: A Note on the Photographic Imaginationp. 321
• Slowp. 339
• Contributorsp. 363
• Indexp. 367