Photography in advertising and its effects on society Memory has been and will always be associated with images. Already in 1896 the most important psychologists argued that memory was nothing more than a continuous exchange of images. (Bergson) Later models of memory describe it more as image text; a combination of space and time, of image and word. (Yates) Although the image is certainly not the only component of memory, it is undoubtedly an integral and essential part of the composition of memory. Photography was first used more than 100 years ago in an attempt to preserve life as it existed before the industrial revolution. Over time photography has progressively corrupted memory in various ways, despite its original intention to preserve it. From there, photography evolved to become a pressing threat not only to memory, but also to consciousness. As seen in paintings of battle scenes and portraits of the wealthy Renaissance aristocracy, people have always sought to preserve and document their existence. The creation of photography was simply the logical continuum of human nature's innate desire to preserve the past, as well as a necessary reaction to a world undergoing dramatic and irreversible change. It is no coincidence that photography was born in major industrial cities towards the end of the 19th century. The Industrial Revolution created the social circumstances necessary for photography to be born. The first and most obvious condition is that of technological advancement. Industry advanced and expanded so rapidly that history seemed to recede from the present with unusual rapidity. Up until that time life had not changed much from decade to decade or even from century to century. The popularity of photography during the Industrial Revolution was, in large part, the result of people's desire to slow down the perceived acceleration of history (McQuire). It has been argued that the acceleration of historical time “is leading to the possible industrialization of oblivion” and that “not only will we miss history… we will also long to return to space and times gone by.” (Virilio)The desire to stop time and preserve the way things were are the main reasons why most photography in the late 19th century focused on documenting dying traditions, practices and ways of life... in the middle of the paper. .....advertising." Imagining the Past: Media History and Photography. Ed. Bonnie Brennen, Hanno Hardt. Chicago: University of Illinois Press, 1999. 158-181. Freund, Gisele. Photography and Society. Boston: David R. Godine, 1980. How much information?. May 9, 2002. University of California. Kramer, Edith. “The third hand of the art therapist: reflections on art, art therapy and society in general”. American Journal of Art Therapy February 1986: 71 -86. Liss, Andrea. Trespassing into the Shadows: Memory Photography and the Holocaust. Minnesota: University of Minnesota Press, 1998. McQuire, Scott. London: Sage Publications Multiple Roles of Photography. New York: Distributed Art Publishers, 1998. Schwartz, Donna. “Objective Representation: Photographs as Facts.” Ed. Bonnie Brennen, Hanno Hardt Press, 1999. 158-181. Sontag, Susan. On Photography. New York: Anchor Books Doubleday, 1973. Virilio, Paul. The art of the engine. Minneapolis: University of Minnesota Press, 1995. Yates, Frances. The art of memory. Chicago: University of Chicago Press, 1966.