From the Gestell to the Reprogestell: Notes on the Technological Continuum.

This article casts a retrospective glance at the technological continuum from which the art history slide lecture springs. The article focuses specifically on the copy apparatuses widely used to make transparencies for art-historical consumption, circa 1930 to the early 2000s. The ways in which these once prevalent technologies developed to frame and disseminate visual materials by means of light was instrumental in shaping the widespread illusion of epistemological transparency in the world's art history classrooms. In reference to the work of Martin Heidegger (1889–1976) on technological determinism, the author provides a chronology of slide reproduction technologies in which artworks ultimately appear as self-luminous technological 'images', or simulated entities that speak as if beyond history. [ABSTRACT FROM AUTHOR]