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Postcolonial urbanism : Southeast Asian cities and global processes
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ISBN: 0415932505 0415932491 Year: 2003 Publisher: London Routledge


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Comedy and cultural critique in American film
Author:
ISBN: 9780748643073 9780748698042 9780748677801 9780748677825 9780748677818 0748677801 1299584888 9781299584884 0748677828 0748643079 0748689079 9780748689071 0748698043 Year: 2013 Publisher: Edinburgh : Edinburgh University Press,

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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.


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Comedy and Cultural Critique in American Film
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ISBN: 9780748677801 9780748643073 Year: 2022 Publisher: Edinburgh Edinburgh University Press

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Keywords

Art


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Baudrillard now : current perspectives in baudrillard studies
Authors: ---
ISBN: 9780745647074 0745647073 9780745647081 0745647081 Year: 2009 Publisher: Cambridge ; Malden Polity

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Technocrats of the imagination : art, technology, and the military-industrial avant-garde
Authors: ---
ISBN: 9781478005957 1478005955 9781478006602 1478006609 147800732X 9781478007326 Year: 2020 Publisher: Durham : Duke University Press Books,

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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"--


Book
Virilio and visual culture
Authors: ---
ISBN: 9780748654444 9780748654468 0748654461 9780748654475 074865447X 0748654453 9780748654451 9781299105775 1299105777 0748654445 9780748654482 0748654488 Year: 2013 Publisher: Edinburgh : Edinburgh University Press,

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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


Book
Modernist avant-garde aesthetics and contemporary military technology : technicities of perception
Authors: ---
ISBN: 0748672605 074867988X 1282620614 9786612620614 0748663304 9780748672608 9780748663309 9780748679881 9781282620612 9780748639885 0748639888 9780748643196 0748643192 Year: 2010 Publisher: Edinburgh : Edinburgh University Press,

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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


Book
Cold war legacies : systems, theory, aesthetics
Authors: ---
ISBN: 9781474409490 1474409490 9781474409506 1474409504 9781474409483 1474409482 1474432247 1474426956 Year: 2016 Publisher: Edinburgh : Edinburgh University Press,

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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 Features
  • Makes connections between Cold War material and conceptual technologies, as they relate to the arts, society and culture
  • Draws on theorists such as Paul Virilio, Jacques Derrida, Luce Irigaray, Friedrich Kittler, Jean Baudrillard, Michel Foucault, Michel Serres, Bernard Stiegler, Peter Sloterdijk and Carl Schmitt
  • The contributors include leading humanities and critical military studies scholars, and practising artists, writers, curators and broadcasters
Contributors

John 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.


Book
Technocrats of the Imagination : Art, Technology, and the Military-Industrial Avant-Garde
Authors: ---
ISBN: 1478090057 Year: 2020 Publisher: Durham : Duke University Press,

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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"--


Book
Seeing degree zero : Barthes / Burgin and political aesthetics
Authors: ---
ISBN: 9781474431422 1474431429 Year: 2019 Publisher: Edinburgh : Edinburgh University Press,

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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.

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