LCC Photography Research Show
This research hub based at London College of Communication (LCC) brings together practitioners and theorists to explore and promote photography as a mode of imaginary thought and its relation to a collective imaginary.
Specifically, we are interested in the increasingly complex research methodologies that underpin fine art photography as a form of knowledge with its own epistemology. Particular emphasis will be given to photographic works that explicitly engage with contemporary thought; theories that engage with contemporary photography; as well as photographic images and philosophies of the image that contribute to how the imaginary is invested in photographic production and the ‘as if’ condition of the photographic image.
The Photography and the Contemporary Imaginary Research Hub builds on LCC’s international reputation for conceptual photography and is organized by Dr Wiebke Leister and Paul Tebbs.
The Photography and the Contemporary Imaginary Research Hub is pleased to announce the second LCC Photography Research Show
Private View: Thursday 27 March 2014, 18.00-20.00 Nursery Gallery, London College of Communication, Elephant & Castle
Jananne Al-Ani . Beverley Carruthers . Robin Silas Christian . Edward Dimsdale . Matthew Hawkins . Claire Hooper . Tom Hunter . Mark Ingham . Melanie King . Wiebke Leister . Dallas Seitz . Sophy Rickett . Tansy Spinks . Monica Takvam . Esther Teichmann . Val Williams .
The Photography and the Contemporary Imaginary Research Hub builds on LCC’s international reputation for conceptual photography. This event is organized by Beverley Carruthers and Wiebke Leister and supported by UAL Communities of Practice funding.
Nov. 23, 1889
San Francisco Gin Joint Hears the World’s First Jukebox
1889: The first jukebox is installed at the Palais Royale Saloon in San Francisco. It becomes an overnight sensation, and its popularity spreads around the world.
That first jukebox was constructed by the Pacific Phonograph Company. Four stethoscope-like tubes were attached to an Edison Class M electric phonograph fitted inside an oak cabinet. The tubes operated individually, each being activated by the insertion of a coin, meaning that four different listeners could be plugged in to the same song simultaneously.
Towels were supplied to patrons so they could wipe off the end of the tube after each listening.
The success of the jukebox eventually spelled the end of the player piano, then the most common way of pounding out popular music to a line of thirsty barflies.
The machine was originally called the “nickel-in-the-slot player” by Louis Glass, the entrepreneur who installed it at the Palais Royale. (A nickel then had the buying power of $1.08 today.) It came to be known as the jukebox only later, although the origin of the word remains a bit vague. It may derive from “juke house,” a slang reference to bawdy house, where music was not unknown.