The Panorama and the Everyday
In the large circular paintings that Robert Barker exhibited in his Panorama in Leicester Square, notably his painting of London (1795), viewers encountered a distended present in which the everyday, a stratum of experience that, as Maurice Blanchot notes, is “never see[n] a first time but is only see[n] again,” comes eventually to view. The “panoramic” experience registers a period-bound phenomenology in which the everyday becomes visible and thinkable for essentially the first time.
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