The Rayograph: Man Ray's "Signature" Process / "Рейография" - собственное название процесса

Текст на английском языке, посвящен экспериментам Ман Рэя в области фотографии. Есть несколько специальных терминов, но они будут повторяться многократно.

Chapter I: The Rayograph: Man Ray's «Signature» Process
Confronting Mass Culture
The rayograph, long considered one of Man Ray's most significant achievements, was
crucial to establishing his standing both as a photographer and as a leading figure in the
inter-war avant-garde. Man Ray's biographer Neil Baldwin additionally characterized it
as «the one method of mechanical image-production that was exempt from [Man Ray's]
endless moral twistings and turnings about photographs.»14 As Baldwin observed, Man
Ray continued to produce rayographs long after he had officially abandoned commercial
photography in the mid-1940s.15 But while the rayograph indeed appears to have been a
form through which Man Ray was able to reconcile his conflicted relationship with
photography, I will argue that it remains indelibly marked by his acute awareness of the
medium's ambivalent position between fine art and mass culture. This chapter will both
analyze the features of the rayograph that allowed it to serve as a compromise for Man
Ray—a form of photography exempt from his «endless moral twistings and turnings»—
and trace the fault lines within that compromise.
It is important to state at the outset that my analysis frames the rayograph in a
manner different from traditional accounts. Most fundamentally, I insist on the fact that,
at every level, the rayograph was structured through a deeply ambivalent engagement
with the culture of the mass-produced commodity. In this way, I propose that the terms the myograph served to reconcile are not the typically invoked dichotomy of art as a form
of creative expression versus photography as a form of objective documentation but art
versus photography as a medium of commercial mass culture.