Product Description

The world as we know it today began in California in the late 1800s, and Eadweard Muybridge had a lot to do with it. This striking assertion is at the heart of Rebecca Solnit’s new book, which weaves together biography, history, and fascinating insights into art and technology to create a boldly original portrait of America on the threshold of modernity. The story of Muybridge—who in 1872 succeeded in capturing high-speed motion photographically—becomes a lens for a larger story about the acceleration and industrialization of everyday life. Solnit shows how the peculiar freedoms and opportunities of post–Civil War California led directly to the two industries—Hollywood and Silicon Valley—that have most powerfully defined contemporary society.

Product Details

• Amazon Sales Rank: #94894 in Books
• Published on: 2004-03-02
• Released on: 2004-03-02
• Original language: English
• Number of items: 1
• Binding: Paperback
• 320 pages

From Publishers Weekly
In the 1870s, at a racetrack built by railroad baron Leland Stanford, Eadweard Muybridge invented high-speed photography. With his camera, he cut time into fractions of a second and laid it out in slices. Never before had human eyes seen a trotting horse distinctly, and the photographs astounded horsemen and artists, especially when Muybridge set the film in motion and the horse reeled fluidly across the screen. Today it is difficult to understand the pictures' impact, but 2001 NBCC finalist Solnit (As Eve Said to the Serpent) vividly recreates the wonder that greeted those primitive movies. Although she points her lens at Muybridge, her true subject is the perceptual revolution of the 19th century when the railroad, the telegraph and the camera transformed the experience of space and time. English-born Muybridge launched his career in 1867 with scenes of Yosemite and San Francisco. He soon began the experiments with "instantaneous" photography that led to the famous motion studies. Except for its most dramatic moments-the murder of his wife's lover, a suit against Stanford-the photographer's life remains obscure. Insistent on writing a biography nonetheless, Solnit pads the book with an account of workers' strikes, an aside on Victorian geology and other irrelevant details. Left to speculate about Muybridge's inspirations, she attributes much to a head injury resulting from a stagecoach accident. Her claims about Stanford and Muybridge as the progenitors of Silicon Valley and Hollywood are equally unsubstantiated. If the book fails as biography, however, it succeeds as a critical essay on Muybridge's art and a reflection on the meaning of space and time. B&w photos.
Copyright 2002 Reed Business Information, Inc.

From Booklist
*Starred Review* Cultural historian Solnit, an original and penetrating thinker with a gift for inventive metaphors and syntactical grace whose previous books include Wanderlust (2000), brings her fascination with the American West, photography, and technology's impact on the environment and culture to the story of the man who made motion pictures possible, photographer Eadweard Muybridge. An Englishman turned California bookseller, superb landscape photographer, inventor, murderer (he killed his wife's lover), and pioneer in stop-action photography and the study of animals, including humans, in motion, Muybridge is fascinating and significant, as is his turbulent milieu. Solnit recounts Muybridge's strange life and immensely influential work within the context of the tragic war against Native Americans, and ties his achievements to the world-changing repercussions of photography and the railroads in particular, and industrialization in general. Her exhilarating argument leads her to declare that California, home of Hollywood and Silicon Valley, is the true capital of modernism, and to claim that we haven't even begun to come to terms with its legacy: our estrangement from nature and utter immersion in the mesmerizing "river of shadows," the endless stream of images generated via film, video, and computer. Masterly and creative, Solnit's far-roaming synthesis is as unsettling as it is compelling. Donna Seaman
Copyright © American Library Association. All rights reserved

Review
"One finds it hard to remember what things looked like before this book appeared in the world." -- The New York Times Book Review

Customer Reviews

The Father of the Moving Image
Everyone knows about the inventions of such men as Edison and Marconi, the sorts of inventions that truly brought us to the modern age. It sounds like a stretch to claim that the man who definitively answered the question of whether a trotting horse ever completely leaves the ground also changed the world. However, Rebecca Solnit has written an original biography of the photographer Eadweard Muybridge, _River of Shadows: Eadweard Muybridge and the Technological Wild West_ (Viking) which centers on how Muybridge, by splitting motion into split-second bits, changed the nature of our perception of time and space in a way that brought us inevitably to Hollywood and to Silicon Valley. She writes, "Muybridge was a doorway, a pivot between that old world and ours, and to follow him is to follow the choices that got us here." As biography, the book is inevitably thin. Muybridge kept no journals and there are few letters, and details about his remarkable life are hard to come by; the basics, of course, are here. Solnit says, "Most of what is known about Muybridge makes him seem a hollow conduit for his work, with only a few vain remarks to personalize the prodigal accomplishments." Rather than biography, as a series of essays on the importance of his work, the book is original and fun.

Muybridge's life and work are inextricably bound with the brand-new state of California, but he was born in 1830 over a family shop in England, in Kingston-upon-Thames. He lit out for San Francisco, where he worked as a bookseller. He made a name for himself in photography, however, which was a relatively new and demanding art. He was among the first to photograph the wilderness of Yosemite, using huge plates for images that are still dramatic. Muybridge stepped into fame with a commission from Leland Stanford, one of the famous robber barons who had made his fortune on the railways. Stanford had a hobby of raising race horses and he wanted to do it all as scientifically as possible. Some horsemen maintained that trotting horses always had at least one foot on the ground, while Stanford maintained that the horse became airborne in each stride; neither side had any way to demonstrate its position, for although one could stare at trotting horses eternally, the motion was simply too fast to make out. There is a legend that Stanford had a big bet on the issue, but Stanford was not a betting man, only one who wanted to raise and race horses scientifically. Muybridge had already had a commission to photograph Stanford's house and properties, and was asked to consider the problem of the trotting horse. Muybridge was instrumental in technological breakthroughs to make the famous series of photos happen, involving film and shutter speed, as well as the development of a way to trigger a set of cameras at just the right time. Solving the technology was only a minor part of his contribution; he went on to run the photographs together so that they became a loop of action, the forebear of the movies. Muybridge's work was so startling that it was denounced .... and cartoon parodies were printed showing a horse's legs in "authentic" wildly impossible positions. His subsequent studies of other animals and humans in motion are still in print, still a vital resource for artists.

Solnit has used the life of Muybridge to gather information on widely dispersed subjects that she ties into the biography with wonderful facility. Wyatt Earp, Mary Pickford, and Thomas Edison are all here. There are digressions about the invention of the time zones, the resettlement and slaughter of the Indians, Hewlitt-Packard, and much more. Solnit's wide-ranging account makes it feasible that Muybridge was the father of the moving image, and that from his work descends the age of images in film, television, and internet.

Imagining the 19th century
Rebecca Solnit achieves two things in this book. First, she gives us a vivid portrait of a pioneer photographer, despite the paucity of biographical detail available to her, and spells out the significance of his achievement. Secondly, she evokes the perceptual universe of the 19th century. Solnit encourages us to imagine what it must have been like to see for the first time that which is too fast for the eye to discern (such as the pattern of water droplets in Muybridge's motion studies); or to travel for the first time at a speed that removes the traveller from her surroundings (train travel); or to receive news of an event as it happens (the telegraphic announcement of the transcontinental railroad link).

A suggestion for Ms Solnit (or her publisher/agent): how about taking on a history of noise? Between Edison's mechanical reproduction of sound, the internal combustion engine and industry, I'd wager that our age is just as different acoustically from the early 19th century as it is visually.

Annihilation of time and other concepts
Rebecca Solnit has created a provocative masterpiece! This is not a simple biography about one of the great innovators of the field of photography. It is a richly, intellectually layered work that explores the big ideas of time and our relationship to it; the fusion of politics, science and industry in the 19th century; and links today's Silicon West to what we call the Wild West of our past. She possesses exceptional writing skills. This is book well worth reading by those seeking inspiration to invent the future, or for those who wish insight into the concept of progress.