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Image Photograph

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ISBN: 9780988234079 Year: Pages: 310 DOI: 10.21983/P3.0106.1.00 Language: English
Publisher: punctum books
Subject: Arts in general
Added to DOAB on : 2019-06-12 09:24:38
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We no longer live in the society of the spectacle, passively seeing the world. Now we perform our very own spectacle in a society that demands it at every turn. We’ve become advertisements of ourselves, our own PR agents, continually putting on a performance and measuring it hour by hour. This is no longer the society of the spectacle but the society of performance. All events have become a pretense to create the image, to orchestrate an image of images that is us. We believe the image confers on us a kind of immortality: just as the artist believes her works collected by a major museum will do the same, we believe the network will forever host the archive we build everyday. The image that is us lives in the circulation of the network. Though a file, though virtual and malleable, made out of bits and instantly accessible to anyone who wants to find it around the world, this image that lives only lives on screen, as virtual as it might be, is a material fact. In its impression, its reception, its archivability, its remixability, the electronic image is today’s photograph

[Given, If, Then]: A Reading in Three Parts

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ISBN: 9780692298374 Year: Pages: 116 DOI: 10.21983/P3.0090.1.00 Language: English
Publisher: punctum books
Subject: Philosophy
Added to DOAB on : 2019-06-12 09:24:40
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[Given, If, Then] attempts to conceive a possibility of reading, through a set of readings: reading being understood as the relation to an Other that occurs prior to any semantic or formal identification, and, therefore, prior to any attempt at assimilating, or appropriating, what is being read to the one who reads. As such, it is an encounter with an indeterminable Other, an Other who is other than other — an unconditional relation, and thus a relation to no fixed object of relation. The first reading by Jeremy Fernando, “Blind Reading,” unfolds through an attempt to speak of reading as an event. Untheorisable in itself, it is a positing of reading as reading, through reading, where texts are read as a test site for reading itself. As such, it is a meditation on the finitude and exteriority in literature, philosophy, and knowledge; where blindness is both the condition and limit of reading itself. Folded into, or in between, this (re)reading are a selection of photographs from Jennifer Hope Davy’s image archive. They are on the one hand simply a selection of ‘impartial pictures’ taken, and on the other hand that which allow for something singular and, therefore, always other to dis/appear — crossing that borderless realm between ‘some’ and ‘some-thing.’ Eventually, there is a writing on images on writings by Julia Hölzl. A responding to the impossible response, a re-iteration, a re-reading of what could not have been written, a re-writing of what could not have been read; these poems, if one were to name them such, name them as such, answer (to) the impossibility of answering: answer to no call.

Thomas Annan of Glasgow: Pioneer of the Documentary Photograph

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ISBN: 9781783741298 9781783741281 Year: Pages: 192 DOI: 10.11647/OBP.0057 Language: English
Publisher: Open Book Publishers
Subject: Performing Arts
Added to DOAB on : 2015-06-10 13:31:46
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In the wake of Glasgow’s transformation in the nineteenth-century into an industrial powerhouse — the "Second City of the Empire" — a substantial part of the old town of Adam Smith degenerated into an overcrowded and disease-ridden slum. The Old Closes and Streets of Glasgow, Thomas Annan’s photographic record of this central section of the city prior to its demolition in accordance with the City of Glasgow Improvements Act of 1866, is widely recognized as a classic of nineteenth-century documentary photography. Annan’s achievement as a photographer of paintings, portraits and landscapes is less widely known. Thomas Annan of Glasgow: Pioneer of the Documentary Photograph offers a handy, comprehensive and copiously illustrated overview of the full range of the photographer’s work. The book opens with a brief account of the immediate context of Annan’s career as a photographer: the astonishing florescence of photography in Victorian Scotland. Successive chapters deal with each of the main fields of his activity, touching along the way on issues such as the nineteenth-century debate over the status of photography — a mechanical practice or an artistic one? — and the still ongoing controversies surrounding the documentary photograph in particular. While the text itself is intended for the general reader, extensive endnotes amplify particular themes and offer guidance to readers interested in pursuing them further.

Lapidari 3: Images, Part II

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ISBN: 9780692363423 Year: Pages: 336 DOI: 10.21983/P3.0092.1.00 Language: English
Publisher: punctum books
Subject: Architecture
Added to DOAB on : 2019-06-12 09:24:39
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In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward. These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact. The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi.

Lapidari 2: Images, Part I

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ISBN: 9780692350492 Year: Pages: 336 DOI: 10.21983/P3.0091.1.00 Language: English
Publisher: punctum books
Subject: Architecture
Added to DOAB on : 2019-06-12 09:24:39
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In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward. These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact. The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi.

Digital Light

Authors: --- ---
Book Series: Fibreculture Books ISBN: 9781785420009 9781785420085 Year: Pages: 224 DOI: 10.26530/OAPEN_548050 Language: English
Publisher: Open Humanities Press
Subject: Media and communication
Added to DOAB on : 2015-06-04 11:01:10
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Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media.

While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database.

Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu.

Framing French Culture

Authors: --- ---
ISBN: 9781922064875 Year: Pages: 291 DOI: 10.20851/framing-french Language: English
Publisher: University of Adelaide Press
Subject: Social Sciences --- Languages and Literatures --- Performing Arts
Added to DOAB on : 2015-09-08 04:26:04
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Throughout this book, the concept of framing is used to look at art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.

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