NOTES
- OW Holmes, “The Stereoscope and the Stereograph”, 1859, in Beaumont Newhall (ed.) Photography: Essays and Images, London: Seeker & Warburg, 1980, p 54. On the commodification of memory in the nineteenth century, see R Terdiman, Present Past: Modernity and the Memory Crisis, Ithaca, NY: Cornell University Press, 1993.
- See the extract from S Boym's The Future of Nostalgia published in Harper's Magazine March 2001, pp 18–20.
- See NM West, “Introduction”, Kodak and the Lens of Nostalgia, Charlottesville: University Press of Virginia, 2000, pp 1 -18.
- R Barthes, Camera Lucida: Reflections on Photography, Hill and Wang, 1981, p 91. For general discussions of photography and memory, see E Edwards, “Photographs as Objects of Memory”, in M Kwint, C Breward and J Aynsley (eds.), Material Memories, Oxford: Berg, 1999, pp 221–236, and C Keenan, “On the Relationship between Personal Photographs and Individual Memory”, History of Photography, 22: 1 (Spring 1998), pp 60–64.
- C Tucker, interviewing Roger Angell, “Covering the Bases”, Southwest Airlines Spirit, (May 2001), p 96.
- E Cowie, from “Traumatic Memories of Remembering and Forgetting”, forthcoming.
- Barthes, Camera Lucida, p 80–81.
- CS Peirce, “Logic as Semiotic: The Theory of Signs”, (c. 1897–1910), in J Buchler (ed.), Philosophical Writings of Peirce, New York: Dover, 1955, p 108.
- W Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction”, (1936), in Illuminations, trans. H Zohn, London: Fontana/Collins, 1973, p 224, p 245.
- Barthes, Camera Lucida, p 3.
- R Barthes, Mythologies, trans. A Lavers, London: Paladin, 1973, p 90.
- C Parker, from B Ferguson “Interview with Cornelia Parker”, in J Morgan (ed.), Cornelia Parker, exhibition catalogue, Boston: Institute of Contemporary Art, 2000, p 58.
- D Salcedo, from Doris Salcedo exhibition catalogue, New York: New Museum of Contemporary Art, 1998/ p 19.
- A Ferran, “Longer than Life”, Australian and New Zealand Journal of Art, 1: 1 (2000), p 170.
- Barthes, Mythologies, p 11.
- ibid, p 145.