By Traer Scott
Even if fierce, cuddly, startling, mysterious, or a few indefinable mix of all the above, nocturnal animals by no means fail to fascinate. In Nocturne: Creatures of the evening, celebrated animal photographer Traer Scott takes the viewer on a trip via evening within the animal state, revealing a few of nature's so much elusive creatures. Bats, sizeable cats, flying squirrels, tarantula, owls, kangaroo mice, substantial moths, sloth, numerous species of snakes, and a Madagascar hissing cockroach are just the various animals illuminated in those lushly distinctive pictures. Seventy-five full-color pictures of 40 various species are followed by way of knowledgeable yet available descriptions of every animal's conduct and habitats, and an advent presents own perception into how Scott captures her impressive photographs. Nocturne is a compelling view of the hardly obvious darkness dwellers who populate the evening.
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Additional resources for Nocturne: Creatures of the Night
In this way he means to make the reader party to the machinations of his mind rather than the (retroactively imposed) evolution of a career. Thus Twain’s autobiography professes to be more about the process of remembering than about the events of his life. Two decades before Walter Benjamin wrote his historical theses, Mark Twain had already conceived a form of historiography in “flashlight glimpses” of memory, which he explicitly links to photographic flashes. Twain’s autobiography, like Benjamin’s, adopts a nonlinear, fragmentary form to reflect this concept.
But there are structural and philosophical consequences involved in mixing memory and photography, as well. Mark Twain relates that “of the multitudinous photographs [his] mind [had taken] of people,” only one clear one of his mother remains. As he tells it, his mother’s life was made of up of “flashlight glimpses” in his memory, in this context a direct reference to photographic flashes (Twain 1924, 1 :1 15). This image is remarkably similar to that employed by Walter Benjamin when he creates a figure for “the true picture of the past,” which “can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again” (Benjamin 1969, 255).
Evidence of the urge to imagine photography as memory and vice versa exists already in 1859, when Oliver Wendell Holmes, in an early burst of enthusiasm over the new technology, proclaimed photography “the mirror with a memory” (Holmes 1859). In the early twentieth century, George Santayana argued for an essential similarity between mental images and photographic ones, the signal difference being the relative permanence of the photograph: “The eye has only one retina, the brain a limited capacity for storage; but the camera can receive any number of plates, and the new need never blur nor crowd out the old” (Santayana 198 1 , 259).