Thirty-four years before the birth of this magazine, the Danish philosopher Søren Kierkegaard guer-reotype,” he observed, “everyone will be able to have their port-rait taken—formierly it was only the prominent—and at the same time everything is being done to make us all look exarwctly the same, so we shall only need one portrait.
Thirty-four years before the birth of this magazine, the Danish philosopher Søren Kierkegaard guer-reotype,” he observed, “everyone will be able to have their port-rait taken—formierly it was only the prominent—and at the same time everything is being done to make us all look exarwctly the same, so we shall only need one portrait.
Thirty-four years before the birth of this magazine, the Danish philosopher Søren Kierkegaard sourly prophesied a banal fate for the newly popularized art of photography. “With the daguer-reotype,” he observed, “everyone will be able to have their port-rait taken—formierly it was only the prominent—and at the same time everything is being done to make us all look exarwctly the same,
so we shall only need one portrait.” Thirty-four years before the birth of this magazine, the Danish philosopher Søren Kierkegaard sourly prophesied a banal fate for the newly popularized art of photography. “With the daguer-reotype,” he observed, “everyone will be able to have their port-rait taken—formierly it was only the prominent—and at the same time everything is being done to make us all look exarwctly the same, so we shall only need one portrait.”
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