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Immediation II

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ISBN: 9781785420252 9781785420245 Year: Pages: 255 Language: English
Publisher: Open Humanities Press
Subject: Sociology --- Arts in general
Added to DOAB on : 2019-12-20 11:21:03
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Abstract

All “media-tion” stages and distributes real, embodied – that is, immediate, events. The concept of immediation entails that cultural, technical, aesthetic objects, subjects, and events can no longer be abstracted from the ways in which they contribute to and are changed by broader ecologies. Immediation I and II seek to engage the entwined questions of relation, event and ecology from outside already claimed territories, nomenclature and calls to action.

Keywords

Mediation --- immediation

Immediation I

Authors: --- ---
ISBN: 9781785420627 9781785420849 9781785420610 Year: Pages: 333 Language: English
Publisher: Open Humanities Press
Subject: Sociology --- Arts in general
Added to DOAB on : 2019-12-20 11:21:03
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Abstract

All “media-tion” stages and distributes real, embodied – that is, immediate, events. The concept of immediation entails that cultural, technical, aesthetic objects, subjects, and events can no longer be abstracted from the ways in which they contribute to and are changed by broader ecologies. Immediation I and II seek to engage the entwined questions of relation, event and ecology from outside already claimed territories, nomenclature and calls to action.

Keywords

Mediation --- immediation

Tracks from the Crypt

Authors: --- ---
Book Series: Configurations of Film ISBN: 9783957960030 Year: Pages: 48 DOI: 10.14619/0030 Language: English
Publisher: meson press
Subject: Media and communication
Added to DOAB on : 2019-11-15 17:02:26
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David Bowie’s 2015 Blackstar has been understood by critics and fans alike to have a certain valedictory status. For them, perhaps for us, it is a 39-minute and 13-second farewell. A long goodbye. My angle is different. By situating the Bowie/Renck collaboration on “Lazarus” in the context of a meditation on the question once posed by Georg Stanitzek, “Was ist Kommunikation?” I consider the CD and the video as experiments in re-configuration. More specifically, by thinking about the distinctly cinematic iteration of the question of communication (citing here Captain’s “what we have here is … failure to communicate” from Cool Hand Luke) I propose that mediated communication embodies the Ich/Es modality of dialogue disparaged by Martin Buber. What this invites us to consider is whether “Lazarus” in particular isn’t the generation of an audiovisual tombeau from which or out of which communication strains are to be heard. Is it “saying” farewell? Is it “saying” anything? By drawing on Jacques Derrida’s appropriation of the crypt in the work of Abraham and Torok, I propose that “Lazarus” manages (and the feat is neither small nor insignificant) to communicate nothing. In effect, “Lazarus” is the very sound, not of a failure to communicate, but of a “speaking” emptied of what protects it from mediation. Here, Bowie’s gnomic persona assumes a political valence not typically ascribed to it.

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