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911.375.227 <59> --- Urbanization --- -Cities and towns --- -Globalization --- Global cities --- Globalisation --- Internationalization --- International relations --- Anti-globalization movement --- Municipalities --- Towns --- Urban areas --- Urban systems --- Human settlements --- Sociology, Urban --- Cities and towns, Movement to --- Urban development --- Cities and towns --- Social history --- Sociology, Rural --- Urban policy --- Rural-urban migration --- Stadsregio. Urbanisatie--Zuid-Oost Azië.Indochina --- Globalization. --- 911.375.227 <59> Stadsregio. Urbanisatie--Zuid-Oost Azië.Indochina --- Globalization
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This book uses large scale social and cultural trends and major world events to analyse the American comedy film. This is a historical and conceptual study discussing the comedy narrative, comic traditions, and role of visual culture. The important innovators of American film comedy and the role of visual technology within cultural politic are discussed, as well as theorists such as Freud, Baudrillard, and Derrida.
Philosophy and psychology of culture --- Film --- United States --- Comedy films --- History and criticism. --- United States of America
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Philosophy, French --- Baudrillard, Jean, --- Criticism and interpretation.
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"TECHNOCRATS OF THE IMAGINATION traces the rise of collaborative art and technology labs in the U.S. from WWII to the present. Ryan Bishop and John Beck reveal the intertwined histories of the avant-garde art movement and the military-industrial complex, showing how radical pedagogical practices traveled from Germany's Bauhaus movement to the U.S. art world and interacted with government-funded military research and development in university laboratories. During the 1960s both media labs and studio labs leaned heavily on methods of interdisciplinary collaboration and the power of American modernity to model new modes of social organization. The book's chapters take up MIT's Center for Art, Science, and Technology, Bell Labs's E.A.T. (Experiments in Art and Technology) Salon, and Los Angeles Museum of Art's Art + Technology Program. Their interconnected history illuminates how much of contemporary media culture and aesthetics depends on the historical relationship between military, corporate, and university actors. In light of revived interest in Black Mountain College and other 1960s art and technology labs, this book draws important connections between the contemporary art world and the militarized lab model of research that has dominated the sciences since the 1950s. The authors situate the rise of collaborative art and technology projects in the 1960s within John Dewey's ideology of scientific democracy, showing how leading thinkers from the Bauhaus movement in Germany immigrated to the U.S. and brought with them a Deweyan model for collaborative and interdisciplinary art and technology research. Over the course of the decade, the U.S. government increased funding to scientific research at university and private laboratories. Beck and Bishop investigate how various art and technology projects incorporated the collaborative and innovative interdisciplinarity of the avant-garde art movement with the corporate funding structure driven by the U.S. government's military and technoscientific interests. Finally, the authors consider the legacy of 1960s art and technology projects. During the 1970s and 80s, defense R&D funding was less motivated by a Cold War corporate state, and was instead restructured according to an entrepreneurial and neoliberal model. At the same time, funding in the art world also became increasingly financialized and globalized. Today's art and technology work happens collaboratively not because of an intellectual commitment to interdisciplinarity, but because of the precarity of the contemporary labor market. This book will interest students and scholars in art history and theory, media studies, history of technology, American studies, cultural studies, and critical university studies"--
Technology and the arts --- Arts --- Military-industrial complex --- #SBIB:39A3 --- #SBIB:39A5 --- #SBIB:316.7C120 --- 316.7 --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Arts and technology --- 316.7 Cultuursociologie --(algemeen) --- Cultuursociologie --(algemeen) --- History --- Experimental methods --- Antropologie: geschiedenis, theorie, wetenschap (incl. grondleggers van de antropologie als wetenschap) --- Kunst, habitat, materiële cultuur en ontspanning --- Cultuursociologie: algemene en theoretische werken --- Experimental methods. --- Technologie et arts --- Complexes militaro-industriels --- Histoire --- Méthodes expérimentales --- Arts, Primitive --- Art --- Criticism & Theory
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This collection of 13 original writings, including a newly translated piece by Virilio himself, is the first genuine appraisal of Virilio's contribution to contemporary art, photography, film, television and more. Paul Virilio is one of the leading and most challenging critics of art and technology of the present period. Re-conceptualising the most enduring philosophical conventions on everything from technology and photography to literature, anthropology, cultural, and media studies through his own original theories and arguments, Virilio's work has produced substantial debate, compelling rea
Art and society. --- Culture. --- Visual communication. --- Graphic communication --- Imaginal communication --- Pictorial communication --- Communication --- Cultural sociology --- Culture --- Sociology of culture --- Civilization --- Popular culture --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Virilio, Paul --- Criticism and interpretation.
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This book analyses the operation of current state-of-the-art military technology and the experimental art, music and writing of the late nineteenth and early twentieth century. Modernist aesthetics renders clearer the operations of the vast surveillance and killing machines of the twentieth and twenty-first centuries. A basic aim of visual technologies is to collapse the sphere of perception with that of the perceived object. Modernist aesthetics, working the same terrain, shows that there always remains an irreducible element of time and space. Military technology tends towards the impossible
Technology and the arts. --- Aesthetics, Modern. --- Military art and science --- Fighting --- Military power --- Military science --- Warfare --- Warfare, Primitive --- Naval art and science --- War --- Modern aesthetics --- Arts and technology --- Arts --- Technological innovations.
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Connects Cold War material and conceptual technologies to 21st century arts, society and culture.
From futures research, pattern recognition algorithms, nuclear waste disposal and surveillance technologies, to smart weapons systems, contemporary fiction and art, this book shows that we live in a world imagined and engineered during the Cold War.
Key FeaturesJohn Beck is Professor of Modern Literature and Director of the Institute for Modern and Contemporary Culture at the University of Westminster, London.
Ryan Bishop is Professor of Global Arts and Politics, Director of Research and Co-Director of the Winchester Centre for Global Futures in Art Design & Media at the Winchester School of Art, University of Southampton.
Ele Carpenter is a curator and writer, and senior lecturer in MFA Curating and convenor of the Nuclear Culture Research Group at Goldsmiths, University of London.
Fabienne Collignon is Lecturer in Contemporary Literature at the University of Sheffield.
Mark Coté is Lecturer in Digital Culture and Society at King's College London.
Daniel Grausam is Lecturer in the Department of English at Durham University.
Ken Hollings is a writer and broadcaster, visiting tutor at the Royal College of Art and Associate Lecturer at Central Saint Martins School of Art and Design.
Adrian Mackenzie is Professor of Technological Cultures at Lancaster University.
Jussi Parikka is a media theorist and writer, and Professor of Technological Culture and Aesthetics at Winchester School of Art, University of Southampton.
John W. P. Phillips is Associate Professor in the Department of English at the National University of Singapore.
Adam Piette is Professor of English at the University of Sheffield.
James Purdon is Lecturer in Modern and Contemporary Literature at the University of St Andrews.
Aura Satz is an artist and Moving Image Tutor at the Royal College of Art.
Neal White is an artist and Professor of Media Art at the Faculty of Media and Communication, Bournemouth University.
Cold War --- Influence. --- Civilization --- History --- Barbarism --- Civilisation --- Auxiliary sciences of history --- Culture --- World Decade for Cultural Development, 1988-1997 --- Cold War (1945-1989) --- 1900-1999
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"TECHNOCRATS OF THE IMAGINATION traces the rise of collaborative art and technology labs in the U.S. from WWII to the present. Ryan Bishop and John Beck reveal the intertwined histories of the avant-garde art movement and the military-industrial complex, showing how radical pedagogical practices traveled from Germany's Bauhaus movement to the U.S. art world and interacted with government-funded military research and development in university laboratories. During the 1960s both media labs and studio labs leaned heavily on methods of interdisciplinary collaboration and the power of American modernity to model new modes of social organization. The book's chapters take up MIT's Center for Art, Science, and Technology, Bell Labs's E.A.T. (Experiments in Art and Technology) Salon, and Los Angeles Museum of Art's Art + Technology Program. Their interconnected history illuminates how much of contemporary media culture and aesthetics depends on the historical relationship between military, corporate, and university actors. In light of revived interest in Black Mountain College and other 1960s art and technology labs, this book draws important connections between the contemporary art world and the militarized lab model of research that has dominated the sciences since the 1950s. The authors situate the rise of collaborative art and technology projects in the 1960s within John Dewey's ideology of scientific democracy, showing how leading thinkers from the Bauhaus movement in Germany immigrated to the U.S. and brought with them a Deweyan model for collaborative and interdisciplinary art and technology research. Over the course of the decade, the U.S. government increased funding to scientific research at university and private laboratories. Beck and Bishop investigate how various art and technology projects incorporated the collaborative and innovative interdisciplinarity of the avant-garde art movement with the corporate funding structure driven by the U.S. government's military and technoscientific interests. Finally, the authors consider the legacy of 1960s art and technology projects. During the 1970s and 80s, defense R&D funding was less motivated by a Cold War corporate state, and was instead restructured according to an entrepreneurial and neoliberal model. At the same time, funding in the art world also became increasingly financialized and globalized. Today's art and technology work happens collaboratively not because of an intellectual commitment to interdisciplinarity, but because of the precarity of the contemporary labor market. This book will interest students and scholars in art history and theory, media studies, history of technology, American studies, cultural studies, and critical university studies"--
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Examines the critical concept ‘zero degree’ through the work of Roland Barthes and Victor Burgin. In the fields of literature and the visual arts, 'zero degree' represents a neutral aesthetic situated in response to, and outside of, the dominant cultural order. Taking Roland Barthes’ 1953 book Writing Degree Zero as just one starting point, this volume examines the historical, theoretical and visual impact of the term and draws directly upon the editors’ ongoing collaboration with artist and writer Victor Burgin. The book is composed of key chapters by the editors and Burgin, a series of collaborative texts with Burgin and four commissioned essays concerned with the relationship between Barthes and Burgin in the context of the spectatorship of art. It includes an in-depth dialogue regarding Burgin’s long-term reading of Barthes and a lengthy image-text, offering critical exploration of the Image (in echo of earlier theories of the Text). Also included are translations of two projections works by Burgin, Belledonne and Prairie, which work alongside and inform the collected essays. Overall, the book provides a combined reading of both Barthes and Burgin, which in turn leads to new considerations of visual culture, the spectatorship of art and the political aesthetic. Seeing Degree Zero: Barthes/Burgin and Political Aesthetics is part of a two volume set, alongside Barthes/Burgin,. The two books represent the editors’ long-term collaboration with artist and writer Victor Burgin. Read together, the books set out the preparatory work for an exhibition, as well as detailed critical reflections and extended research, cutting across art practice, critical theory and the politics of aesthetics.
Semiotics and art. --- Sémiotique et art --- Barthes, Roland --- Burgin, Victor --- Influence.
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