Digital, video and new media arts Books

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Book SynopsisThis lavishly illustrated book provides a hands-on, step-by-step introduction to the intriguing mathematics of symmetry. Instead of breaking up patterns into blocks--a sort of potato-stamp method--Frank Farris offers a completely new waveform approach that enables you to create an endless variety of rosettes, friezes, and wallpaper patterns: dazzliTrade ReviewHonorable Mention for the 2016 PROSE Award in Mathematics, Association of American Publishers "[A] beautifully illustrated guide to fusing mathematical and artistic creativity to generate fascinating and visually appealing designs."--Evelyn Lamb, Scientific American "[A] beautiful book... [Creating Symmetry] is a thoughtful, innovative and interesting piece of work, discussing material that the author is obviously very enthusiastic about; such enthusiasm is, as is often the case, contagious."--Mark Hunacek, MAA Reviews "This is a marvelous book that brings groups, and along the way many other mathematical concepts, to the reader in an unconventional way."--Adhemar Bultheel, European Mathematical Society Bulletin "Mathematics students thus get a visually rich path into group theory that compellingly informs even first steps with ideas usually deemed advanced. Braver art students will find motivation and the means to learn some mathematics they can put right to use."--D. V. Feldman, Choice "[A] delightful showcase of artistic applications of complex wave functions... This attractive book will appeal to and inspire a broad range of practitioners including complex analysts, mathematical artists, and advanced undergraduates."--Heidi Burgiel, College Mathematics JournalTable of ContentsPreface vii 1 Going in Circles 1 2 Complex Numbers and Rotations 5 3 Symmetry of the Mystery Curve 11 4 Mathematical Structures and Symmetry: Groups, Vector Spaces, and More 17 5 Fourier Series: Superpositions of Waves 24 6 Beyond Curves: Plane Functions 34 7 Rosettes as Plane Functions 40 8 Frieze Functions (from Rosettes!) 50 9 Making Waves 60 10 PlaneWave Packets for 3-Fold Symmetry 66 11 Waves, Mirrors, and 3-Fold Symmetry 74 12 Wallpaper Groups and 3-Fold Symmetry 81 13 ForbiddenWallpaper Symmetry: 5-Fold Rotation 88 14 Beyond 3-Fold Symmetry: Lattices, Dual Lattices, andWaves 93 15 Wallpaper with a Square Lattice 97 16 Wallpaper with a Rhombic Lattice 104 17 Wallpaper with a Generic Lattice 109 18 Wallpaper with a Rectangular Lattice 112 19 Color-ReversingWallpaper Functions 120 20 Color-Turning Wallpaper Functions 131 21 The Point Group and Counting the 17 141 22 Local Symmetry in Wallpaper and Rings of Integers 157 23 More about Friezes 168 24 Polyhedral Symmetry (in the Plane?) 172 25 HyperbolicWallpaper 189 26 Morphing Friezes and Mathematical Art 200 27 Epilog 206 A Cell Diagrams for the 17 Wallpaper Groups 209 B Recipes forWallpaper Functions 211 C The 46 Color-ReversingWallpaper Types 215 Bibliography 227 Index 229

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Book SynopsisIn Making Things and Drawing Boundaries, critical theory and cultural practice meet creativity, collaboration, and experimentation with physical materials as never before. Foregrounding the interdisciplinary character of experimental methods and hands-on research, this collection asks what it means to “make” things in the humanities. How is humanities research manifested in hand and on screen alongside the essay and monograph? And, importantly, how does experimentation with physical materials correspond with social justice and responsibility? Comprising almost forty chapters from ninety practitioners across twenty disciplines, Making Things and Drawing Boundaries speaks directly and extensively to how humanities research engages a growing interest in “maker” culture, however “making” may be defined.Contributors: Erin R. Anderson; Joanne Bernardi; Yana Boeva; Jeremy Boggs; Duncan A. Buell; Amy Burek; Trisha N. Campbell; Debbie Chachra; Beth Compton; Heidi Rae Cooley; Nora Dimmock; Devon Elliott; Bill Endres; Katherine Faull; Alexander Flamenco; Emily Alden Foster; Sarah Fox; Chelsea A. M. Gardner; Susan Garfinkel; Lee Hannigan; Sara Hendren; Ryan Hunt; John Hunter; Diane Jakacki; Janelle Jenstad; Edward Jones-Imhotep; Julie Thompson Klein; Aaron D. Knochel; J. K. Purdom Lindblad; Kim Martin; Gwynaeth McIntyre; Aurelio Meza; Shezan Muhammedi; Angel David Nieves; Marcel O’Gorman; Amy Papaelias; Matt Ratto; Isaac Record; Jennifer Reed; Gabby Resch; Jennifer Roberts-Smith; Melissa Rogers; Daniela K. Rosner; Stan Ruecker; Roxanne Shirazi; James Smithies; P. P. Sneha; Lisa M. Snyder; Kaitlyn Solberg; Dan Southwick; David Staley; Elaine Sullivan; Joseph Takeda; Ezra Teboul; William J. Turkel; Lisa Tweten.Trade Review"Sayers is to be commended for giving space to queer and feminist makers, who are often overlooked in favor of discussions on technological innovations. The essays on the interplay of craft and circuitry highlight how academic institutions need to look beyond monograph and journal publication as keystones to academic careers. This is required reading for those interested in digital humanities and in the intersection of maker culture and academics."—CHOICETable of ContentsContentsIntroduction: “I Don’t Know All the Circuitry”Jentery SayersPart I. Making and the Humanities1. The Boundary Work of Making in Digital HumanitiesJulie Thompson Klein2. On the “Maker Turn” in the HumanitiesDavid Staley3. Vibrant Lives presents The Living Net4. A Literacy of Building: Making in the Digital HumanitiesBill Endres5. MashBOT6. Making Humanities in the Digital: Embodiment and Framing in Bichitra and Indiancine.maP. P. SnehaPart II. Made by Whom? For Whom?7. Making the RA Matter: Pedagogy, Interface, and PracticesJanelle Jenstad and Joseph Takeda8. Reproducing the Academy: Librarians and the Question of Service in the Digital HumanitiesRoxanne Shirazi9. Looks Like We Made It, But Are We Sustaining Digital Scholarship?Chelsea A. M. Gardner, Gwynaeth McIntyre, Kaitlyn Solberg, and Lisa Tweten10. Full Stack DH: Building a Virtual Research Environment on a Raspberry PiJames Smithies11. Mic Jammer12. The Making of a Digital Humanities Neo-LudditeMarcel O’Gorman13. Made: Technology on Affluent Leisure Time14. Reifying the Maker as HumanistJohn Hunter, Katherine Faull, and Diane Jakacki15. All Technology Is Assistive: Six Design Rules on DisabilitySara HendrenPart III. Making as Inquiry16. Thinking as Handwork: Critical Making with Humanistic ConcernsGabby Resch, Dan Southwick, Isaac Record, and Matt Ratto17. Bibliocircuitry and the Design of the Alien Everyday, 2012–201318. Doing History by Reverse Engineering Electronic DevicesYana Boeva, Devon Elliott, Edward Jones-Imhotep, Shezan Muhammedi, and William J. Turkel19. Electronic Music Hardware and Open Design Methodologies for Postoptimal ObjectsEzra Teboul20. Glitch Console21. Creative Curating: The Digital Archive as ArgumentJoanne Bernardi and Nora Dimmock22. Reading Series Matter: Performing the SpokenWeb ProjectAlexander Flamenco, Lee Hannigan, and Aurelio Meza23. Loss Sets24. Dialogic Objects in the Age of 3D Printing: The Case of the Lincoln Life MaskSusan GarfinkelPart IV. Making Spaces and Interfaces25. Feminist Hackerspaces: Hacking Culture, Not Devices (the zine!)Amy Burek, Emily Alden Foster, Sarah Fox, and Daniela K. Rosner26. Fashioning Circuits, 2011–Present27. Making Queer Feminisms Matter: A Transdisciplinary Makerspace for the Rest of UsMelissa Rogers28. Movable Party29. Disrupting Dichotomies: Mobilizing Digital Humanities with the MakerBusKim Martin, Beth Compton, and Ryan Hunt30. Designs for Foraging: Fruit Are Heavy, 2015–201631. Experience Design for the Humanities: Activating Multiple InterpretationsStan Ruecker and Jennifer Roberts-Smith32. AIDS Quilt Touch: Virtual Quilt Browser33. Building Humanities Software That Matters: The Case of Ward One Mobile AppHeidi Rae Cooley and Duncan A. Buell34. Placeable: A Social Practice for Place-Based Learning and Co-design ParadigmsAaron D. Knochel and Amy Papaelias35. Making the Model: Scholarship and Rhetoric in 3D Historical ReconstructionsElaine Sullivan, Angel David Nieves, and Lisa M. SnyderPart V. Making, Justice, Ethics36. Beyond MakingDebbie Chachra37. Making It MatterJeremy Boggs, Jennifer Reed, and J. K. Purdom Lindblad38. Ethics in the MakingErin R. Anderson and Trisha N. CampbellAcknowledgmentsContributors

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Book SynopsisIn Poetic Operations artist and theorist micha cárdenas considers contemporary digital media, artwork, and poetry in order to articulate trans of color strategies for safety and survival. Drawing on decolonial theory, women of color feminism, media theory, and queer of color critique, cárdenas develops a method she calls algorithmic analysis. Understanding algorithms as sets of instructions designed to perform specific tasks (like a recipe), she breaks them into their component parts, called operations. By focusing on these operations, cárdenas identifies how trans and gender-non-conforming artists, especially artists of color, rewrite algorithms to counter violence and develop strategies for liberation. In her analyses of Giuseppe Campuzano''s holographic art, Esdras Parra''s and Kai Cheng Thom''s poetry, Mattie Brice''s digital games, Janelle Monáe''s music videos, and her own artistic practice, cárdenas shows how algorithmic analysis provideTrade Review“In this beautifully written book, micha cárdenas directs us to look at how the algorithm, as analytic and praxis, holds the possibility of trans of color survival. Deftly moving across numerous geographies, texts, and fields of inquiry, Poetic Operations is a bold contribution to trans of color studies.” -- C. Riley Snorton, author of * Black on Both Sides: A Racial History of Trans Identity *“micha cárdenas’s powerful new work extends intersectionality as a mode for understanding the relationships between race, class, gender identity, sexual orientation, disability, and other axes of power, oppression, and resistance. Doing important theoretical and analytical work in its analysis of trans of color media arts practice, Poetic Operations will be useful for those working in media studies, digital studies, trans studies, and art history, as well as anyone interested in interrogating power.” -- Sasha Costanza-Chock, author of * Design Justice: Community-Led Practices to Build the Worlds We Need *"Poetic Operations is arguably the first major academic work to deal with the subject matter in such detail. How cárdenas uses the term will likely become the standard by which other engagements with the term are measured.” -- Sofie Vlaad * Journal of Critical Race Inquiry *“Importantly, this book models theory developed from and for trans of color existence and models how scholars must critically reflect on how our theories have ramifications for people’s lives. . . . Poetic Operations provides methods for analysis and design that invite exciting and innovative projects that engage in decolonial trans of color survival and celebration.” -- Shano (Hongyuan) Liang and Michael Anthony DeAnda * Lateral *“cárdenas explores digital media, speculative design and technology, performance and visual arts, coding, activism, theory, games, and poetry across the geographies of the Americas and beyond, along with a deep self-reflective engagement with her own practice-based projects. . . . Centering Black, Indigenous, Latinx trans and travesti voices, PoeticOperations offers critical approaches to deploy digital technologies for decolonial futures.” -- Nishant Upadhyay * American Quarterly *"Poetic Operations is a clear, well-written, and creative first- and third-person account of trans of color existence in written, digital, and performed avenues of praxis. Ultimately, cárdenas provides a useful model of algorithms, exposing this tool as a survival method used by trans people for centuries and how it continues to prevent violence and provide safety and security for contemporary communities everywhere." -- Riana Slyter * Women's Studies in Communication *Table of ContentsAcknowledgments ix Introduction. Algorithmic Analysis 1 1. Trans of Color Poetics 26 2. The Decolonial Cut 43 3. The Shift 72 4. The Experience of Shifting 96 5. The Stitch 129 Conclusion. Visionary Trans of Color Futures 167 Notes 179 Bibliography 203 Index 213

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Book SynopsisA behind-the-scenes look at Respawn Entertainment's hugely-anticipated Star Wars videogame.

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Book SynopsisIn the 1990s, Shirin Neshat’s startling black-and-white videos of Iranian women won enormous praise for their poetic reflections on post-revolutionary life in her native country. Writing in the New Yorker, Peter Schjeldahl called her multi-screen video meditations on the culture of the chador in Islamic Iran “the first undoubtable masterpieces of video installation.” Over the next twenty-five years Neshat’s work has continued its passionate engagement with ancient and recent Iranian history, extending its reach to the universal experience of living in exile and the human impact of political revolution. This book connects Neshat’s early video and photographic works—including haunting films such as Rapture, 1999 and Tooba, 2002—to her current projects which focus on the relation of home to exile and dreams such as The Home of My Eyes, 2015, and a new, never-before-seen project, Land of Dreams, 2019. It includes numerous stills from her series, Dreamers, in which she documents the lives of outsiders and exiles in the United States. This volume also includes essays by prominent Iranian cultural figures as well as an interview with the artist. Neshat has always been a voice for those whose individual freedoms are under attack. With this monograph, her audience will gain a deeper understanding of Neshat’s own emotional, psychological, and political identities, and how they have helped her create compassionate portraits of the fraught and delicate spaces between attachment and alienation.

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Book SynopsisQuentin Tarantino is one of the leading filmmakers of the 90s, known for his unique scenes, exquisite soundtracks, violence and coarse language. Tarantino pays tributes in each of his films and creates unique situations in which the grotesque becomes amusing. This book is a tribute to Quentin Tarantino and the whole universe he has created. Here, you will see different fan art works by 31 international artists, authentic masterpieces, accompanied by phrases and anecdotes from the world of this fantastic filmmaker.

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Book SynopsisTable of ContentsAcknowledgments Introduction. “An Invention without a Future” 1. The Avant-Garde(s) The Futurist Cinema (Italy, 1916) F.T. Marinetti, Bruno Corra, et al. Lenin Decree (USSR, 1919) Vladimir Ilyich Lenin The ABCs of Cinema (France, 1917–1921) Blaise Cendrars WE: Variant of a Manifesto (USSR, 1922) Dziga Vertov The Method of Making Workers’ Films (USSR, 1925) Sergei Eisenstein Constructivism in the Cinema (USSR, 1928) Alexei Gan Preface: Un chien Andalou (France, 1928) Luis Buñuel Manifesto of the Surrealists Concerning L’Age d’or (France, 193) The Surrealist Group Manifesto on “Que Viva Mexico” (USA, 1933) The Editors of Experimental Film Spirit of Truth (France, 1933) Le Corbusier An Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934) László Moholy-Nagy Light*Form*Movement*Sound (USA, 1935) Mary Ellen Bute Prolegomena for All Future Cinema (France, 1952) Guy Debord No More Flat Feet! (France, 1952) Lettriste International The Lettristes Disavow the Insulters of Chaplin (France, 1952) Jean-Isidore Isou, Maurice Lemaître, and Gabriel Pomerand The Only Dynamic Art (USA, 1953) Jim Davis A Statement of Principles (USA, 1961) Maya Deren The First Statement of the New American Cinema Group (USA, 1961) New American Cinema Group Foundation for the Invention and Creation of Absurd Movies (USA, 1962) Ron Rice From Metaphors on Vision (USA, 1963) Stan Brakhage Kuchar 8mm Film Manifesto (USA, 1964) George Kuchar Film Andepandan [Independents] Manifesto (Japan, 1964) Takahiko Iimura, Koichiro Ishizaki, et al. Discontinuous Films (Canada, 1967) Keewatin Dewdney Hand-Made Films Manifesto (Australia, 1968) Ubu Films, Thoms Cinema Manifesto (Australia, 1971) Arthur Cantrill and Corinne Cantrill For a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971) Hollis Frampton Elements of the Void (Greece, 1972) Gregory Markopoulos Small Gauge Manifesto (USA, 198) JoAnn Elam and Chuck Kleinhans Cinema of Transgression Manifesto (USA, 1985) Nick Zedd Modern, All Too Modern (USA, 1988) Keith Sanborn Open Letter to the Experimental Film Congress: Let’s Set the Record Straight (Canada, 1989) Peggy Ahwesh, Caroline Avery, et al. Anti-1 Years of Cinema Manifesto (USA, 1996) Jonas Mekas The Decalogue (Czech Republic, 1999) Jan Švankmajer Your Film Farm Manifesto on Process Cinema (Canada, 212) Philip Hoffman 2. National and Transnational Cinemas From “The Glass Eye” (Italy, 1933) Leo Longanesi The Archers’ Manifesto (UK, 1942) Michael Powell and Emeric Pressburger What Is Wrong with Indian Films? (India, 1948) Satyajit Ray Buñuel the Poet (Mexico, 1951) Octavio Paz French Cinema Is Over (France, 1952) Serge Berna, Guy Debord, et al. Some Ideas on the Cinema (Italy, 1953) Cesare Zavattini A Certain Tendency in French Cinema (France, 1954) François Truffaut Salamanca Manifesto & Conclusions of the Congress of Salamanca (Spain, 1955) Juan Antonio Bardem Free Cinema Manifestos (UK, 1956–1959) Committee for Free Cinema The Oberhausen Manifesto (West Germany, 1962) Alexander Kluge, Edgar Reitz, et al. Untitled [Oberhausen 1965] (West Germany, 1965) Jean-Marie Straub, Rodolf Thome, Dirk Alvermann, et al. The Mannheim Declaration (West Germany, 1967) Joseph von Sternberg, Alexander Kluge, et al. Sitges Manifesto (Spain, 1967) Manuel Revuelta, Antonio Artero, Joachin Jordà, and Julián Marcos How to Make a Canadian Film (Canada, 1967) Guy Glover How to Not Make a Canadian Film (Canada, 1967) Claude Jutra From “The Estates General of the French Cinema, May 1968” (France, 1968) Thierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz Manifesto of the New Cinema Movement (India, 1968) Arun Kaul and Mrinal Sen What Is to Be Done? (France, 197) Jean-Luc Godard The Winnipeg Manifesto (Canada, 1974) Denys Arcand, Colin Low, Don Shebib, et al. Hamburg Declaration of German Filmmakers (West Germany, 1979) Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, et al. Manifesto I (Denmark, 1984) Lars von Trier Manifesto II (Denmark, 1987) Lars von Trier Manifesto III: I Confess! (Denmark, 199) Lars von Trier The Cinema We Need (Canada, 1985) R. Bruce Elder Pathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985) Ola Balogun Manifesto of 1988 (German Democratic Republic, 1988) Young DEFA Filmmakers In Praise of a Poor Cinema (Scotland, 1993) Colin McArthur Dogme ’95 Manifesto and Vow of Chastity (Denmark, 1995) Lars von Trier and Thomas Vinterberg I Sinema Manifesto (Indonesia, 1999) Dimas Djayadinigrat, Enison Sinaro, et al. 3. Third Cinemas, Colonialism, Decolonization, and Postcolonialism Manifesto of the New Cinema Group (Mexico, 1961) El grupo nuevo cine Cinema and Underdevelopment (Argentina, 1962) Fernando Birri The Aesthetics of Hunger (Brazil, 1965) Glauber Rocha For an Imperfect Cinema (Cuba, 1969) Julio García Espinosa Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969) Fernando Solanas and Octavio Getino Film Makers and the Popular Government Political Manifesto (Chile, 197) Comité de cine de la unidad popular Consciousness of a Need (Uruguay, 197) Mario Handler Militant Cinema: An Internal Category of Third Cinema (Argentina, 1971) Octavio Getino and Fernando Solanas For Colombia 1971: Militancy and Cinema (Colombia, 1971) Carlos Alvarez The Cinema: Another Face of Colonised Québec (Canada, 1971) Association professionnelle des cinéastes du Québec 8 Millimeters versus 8 Millions (Mexico, 1972) Jaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, et al. Manifesto of the Palestinian Cinema Group (Palestine, 1973) Palestinian Cinema Group Resolutions of the Third World Filmmakers Meeting (Algeria, 1973) Fernando Birri, Ousmane Sembene, Jorge Silva, et al. The Luz e Ação Manifesto (Brazil, 1973) Carlos Diegues, Glauber Rocha, et al. Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976) Jorge Sanjinés Manifesto of the National Front of Cinematographers (Mexico, 1975) Paul Leduc, Jorge Fons, et al. The Algiers Charter on African Cinema (Algeria, 1975) FEPACI (Fédération panafricaine des cinéastes) Declaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979) Nicaraguan Institute of Cinema What Is the Cinema for Us? (Mauritania, 1979) Med Hondo Niamey Manifesto of African Filmmakers (Niger, 1982) FEPACI (Fédération panafricaine des cinéastes) Black Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983) John Akomfrah From Birth Certificate of the International School of Cinema and Television in San Antonio de Los Baños, Cuba, Nicknamed the School of Three Worlds (Cuba, 1986) Fernando Birri FeCAViP Manifesto (France, 199) Federation of Caribbean Audiovisual Professionals Final Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 199) SADCC (South African Development Coordination Conference) Pocha Manifesto #1 (USA, 1994) Sandra Peña-Sarmiento Poor Cinema Manifesto (Cuba, 24) Humberto Solás Jollywood Manifesto (Haiti, 28) Ciné Institute The Toronto Declaration: No Celebration of Occupation (Canada, 29) John Greyson, Naomi Klein, et al. 4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos Woman’s Place in Photoplay Production (USA, 1914) Alice Guy-Blaché Hands Off Love (France, 1927) Maxime Alexandre, Louis Aragon, et al. The Perfect Filmic Appositeness of Maria Montez (USA, 1962) Jack Smith On Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967) Yoko Ono Statement (USA, 1969) Kenneth Anger Wet Dream Film Festival Manifesto (The Netherlands, 197) S.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity) Women’s Cinema as Counter-Cinema (UK, 1973) Claire Johnston Manifesto for a Non-sexist Cinema (Canada, 1974) FECIP (Fédération européenne du cinéma progressiste) Womanifesto (USA, 1975) Feminists in the Media Visual Pleasure and Narrative Cinema (UK, 1975) Laura Mulvey An Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977) Vilgot Sjöman For the Self-Expression of the Arab Woman (France, 1978) Heiny Srour, Salma Baccar, and Magda Wassef Manifesto of the Women Filmmakers (West Germany, 1979) Verband der Filmarbeiterinnen Wimmin’s Fire Brigade Communiqué (Canada, 1982) Wimmin’s Fire Brigade Thoughts on Women’s Cinema: Eating Words, Voicing Struggles (USA, 1986) Yvonne Rainer The Post Porn Modernist Manifesto (USA, 1989) Annie Sprinkle, Veronica Vera, et al. Statement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991) FEPACI (Fédération panafricaine des cinéastes) Puzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998) Vibeke Windeløv, Lene Børglum, et al. Cinema with Tits (Spain, 1998) Icíar Bollaín My Porn Manifesto (France, 22) Ovidie No More Mr. Nice Gay: A Manifesto (USA, 29) Todd Verow Barefoot Filmmaking Manifesto (UK, 29) Sally Potter Dirty Diaries Manifesto (Sweden, 29) Mia Engberg 5. Militating Hollywood Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 193) Motion Picture Producers and Distributors of America Red Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935) William Randolph Hearst Statement of Principles (USA, 1944) Motion Picture Alliance for the Preservation of American Ideals Screen Guide for Americans (USA, 1947) Ayn Rand White Elephant Art vs. Termite Art (USA, 1962) Manny Farber Super Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972) Kuumba Workshop The World Is Changing: Some Thoughts on Our Business (USA, 1991) Jeffrey Katzenberg Full Frontal Manifesto (USA, 21) Steven Soderbergh 6. The Creative Treatment of Actuality Towards a Social Cinema (France, 193) Jean Vigo From “First Principles of Documentary” (UK, 1932) John Grierson Manifesto on the Documentary Film (UK, 1933) Oswell Blakeston Declaration of the Group of Thirty (France, 1953) Jean Painlevé, Jacques-Yves Cousteau, Alain Resnais, et al. Initial Statement of the Newsreel (USA, 1967) New York Newsreel Nowsreel, or the Potentialities of a Political Cinema (USA, 197) Robert Kramer, New York Newsreel Documentary Filmmakers Make Their Case (Poland, 1971) Bohdan Kosinski, Krzysztof Kieslowski, and Tomasz Zygadlo The Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989) Kidlat Tahimik, Stephen Teo, et al. Minnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999) Werner Herzog Defocus Manifesto (Denmark, 2) Lars von Trier Kill the Documentary as We Know It (USA, 22) Jill Godmilow Ethnographic Cinema (EC): A Manifesto{ths}/{ths}A Provocation (USA, 23) Jay Ruby Reality Cinema Manifesto (Russia, 25) Vitaly Manskiy Documentary Manifesto (USA, 28) Albert Maysles China Independent Film Festival Manifesto: Shamans * Animals (People’s Republic of China, 211) By several documentary filmmakers who participated and also who did not participate in the festival 7. States, Dictatorships, the Comintern, and Theocracies Capture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925) Willi Münzenberg The Legion of Decency Pledge (USA, 1938) Archbishop John McNicholas Creative Film (Germany, 1935) Joseph Goebbels Vigilanti Cura: On Motion Pictures (Vatican City, 1936) Pope Pius XI Four Cardinal Points of A Revolução de Maio (Portugal, 1937) António Lopes Ribeiro From On the Art of Cinema (North Korea, 1973) Kim Jong-il 8. Archives, Museums, Festivals, and Cinematheques A New Source of History: The Creation of a Depository for Historical Cinematography (Poland/France, 1898) Boleslaw Matuszewski The Film Prayer (USA, c. 192) A. P. Hollis The Film Society (UK, 1925) Iris Barry Filmliga Manifesto (The Netherlands, 1927) Joris Ivens, Henrik Scholte, Men’no Ter Bbaak, et al. Statement of Purposes (USA, 1948) Amos Vogel, Cinema 16 The Importance of Film Archives (UK, 1948) Ernest Lindgren A Plea for a Canadian Film Archive (Canada, 1949) Hye Bossin Open Letter to Film-Makers of the World (USA, 1966) Jonas Mekas A Declaration from the Committee for the Defense of La Cinémathèque française (France, 1968) Committee for the Defense of La Cinémathèque française Filmmakers versus the Museum of Modern Art (USA, 1969) Hollis Frampton, Ken Jacobs, and Michael Snow Anthology Film Archives Manifesto (USA, 197) P. Adams Sitney Toward an Ethnographic Film Archive (USA, 1971) Alan Lomax Brooklyn Babylon Cinema Manifesto (USA, 1998) Scott Miller Berry and Stephen Kent Jusick Don’t Throw Film Away: The FIAF 7th Anniversary Manifesto (France, 28) Hisashi Okajima and La fédération internationale des archives du film Manifesto Working Group The Lindgren Manifesto: The Film Curator of the Future (Italy, 21) Paolo Cherchi Usai Film Festival Form: A Manifesto (UK, 212) Mark Cousins 9. Sounds and Silence A Statement on Sound (USSR, 1928) Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov A Rejection of the Talkies (USA, 1931) Charlie Chaplin A Dialogue on Sound: A Manifesto (UK, 1934) Basil Wright and B. Vivian Braun Amalfi Manifesto (Italy, 1967) Michelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, et al. 10. The Digital Revolution Culture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966) Stan VanDerBeek The Digital Revolution and the Future Cinema (Iran, 2) Samira Makhmalbaf The Pluginmanifesto (UK, 21) Ana Kronschnabl Digital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 23) Khavn de la Cruz 11. Aesthetics and the Futures of the Cinema The Birth of the Sixth Art (France, 1911) Ricciotto Canudo Memo from Walt Disney to Don Graham (USA, 1935) Walt Disney The Birth of a New Avant Garde: La caméra-stylo (France, 1948) Alexandre Astruc From Preface to Film (UK, 1954) Raymond Williams The Snakeskin (Sweden, 1965) Ingmar Bergman Manifesto (Italy, 1965) Roberto Rossellini, Bernardo Bertolucci, Tinto Brass, et al. Manifesto on the Release of La Chinoise (France, 1967) Jean-Luc Godard Direct Action Cinema Manifesto (USA, 1985) Rob Nilsson Remodernist Film Manifesto (USA, 28) Jesse Richards The Age of Amateur Cinema Will Return (People’s Republic of China, 21) Jia Zhangke Appendix. What Is a Manifesto Film? Notes Acknowledgments of Permissions Index

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Book SynopsisThe long-awaited monumental monograph on the work of David Claerbout. In a conversation with Jonathan Pouthier, curator of the cinema programme of the Musée National d’Art Moderne, Centre Pompidou (Paris, France), video artist David Claerbout reflects for the first time in depth on his work of the past decade in relation to current discussions about photography, film and the virtual. The Silence of the Lens offers a unique insight into the creative process behind such recent video works as The Close, Aircraft (F.A.L.), Wildfire (meditation on fire), The Confetti Piece and The Pure Necessity. The publication coincides with the Venice Biennale 2022 and solo exhibitions in various cities including Munich, Berlin, Budapest and New York. Text in English and French.

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Book SynopsisLucy Reynolds is Senior Lecturer at the Centre for Research and Education in Arts and Media, University of Westminster, UK. She is the Editor of the Moving Image Review & Art Journal (MIRAJ), and a curator and artist. Her work has been published in Afterall, MIRAJ, Screen and Screendance. Her particular interests are questions of the moving image, feminism, political space and collective practice.Trade ReviewWomen Artists, Feminism and the Moving Image offers up a fascinating addition to theories that inform feminist film criticism as it applies to video art. Laura Mulvey, the éminence grise of feminist film studies, provides a preface, and for the collection itself Reynolds brought together essays, interviews, and even a lengthy poem. The contributors are diverse as well, including scholars, film curators, journalists, and artists. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *This book productively brings together research happening across the History of Art, Film Studies, Visual Culture and Fine Art Practice and asserts the importance of practices that have too long remained peripheral. Each of the essays offers fresh, new perspectives, providing an excellent introduction to the recent developments in the study of moving image art. -- Amy Tobin, Curator of Exhibitions, Events and Research at Kettle’s Yard and Director of Studies in History of Art, Newnham College, University of Cambridge, UKTable of ContentsForeword, Laura Mulvey (Birbeck, University of London, UK) Introduction: Raising Voices, Lucy Reynolds (University of Westminster, UK) Introduction: Certain Measures, Lis Rhodes (Artist and filmmaker, UK) Part One: Acknowledgements In Conversation: MORE: Pauline Boudry/Renate Lorenz with Irene Revell 1. In a tiny realm of her own: Lotte Reiniger’s light work, Elinor Cleghorn (Independent scholar, UK) 2. Returning to Riddles, Catherine Grant (Goldsmiths, University of London, UK) 3. 'Being a together woman is a bitch': 'An African American woman's film' genealogy of Julie Dash's Four Women (1975), So Mayer (Freelance writer, UK) 4. Film Esperienza. The work of Marinella Pirelli, Lucia Aspesi (Pirelli HangarBicocca, Italy) 5. Prescient intersectionality: Women, moving image and identity politics in 1980s Britain, Rachel Garfield (University of Reading, UK) Part Two: Engagements and Negotiations In Conversation: Maria Palacios Cruz interviews Basma Alsharif 6. 'Overexposed, like an X-ray': The politics of corporeal vulnerability in Sandra Lahire's experimental cinema, Maud Jacquin (Art historian and curator, France & USA) 7. 'Look at Mother Nature on the run in the 1970s': Penelope Spheeris's I Don't Know, Erika Balsom (King's College London, UK) 8. Aesthetics of potentiality: Nguyen Trinh Thi’s Essay films, May Adadol Ingawanji (University of Westminster, UK) 9. The art of maximal ventriloquy: Femininity as labour in the films of Rachel MacLean, Sarah Neely (University of Stirling, UK) & Sarah Smith (Glasgow School of Art, UK) Part Three: Situations and Receptions In Conversation: Club des Femmes, Helena Reckitt: An Interview on International Women's Day 2017 10. Strategies of exposure and concealment in moving image art by women; a cross-generational account, Cate Elwes (Video artist and curator, UK) 11. Choreographing women's work: Multitaskers, smartphone users and virtuoso performers, Maeve Connolly (Dun Laoghaire Institute of Art, Design and Technology, Ireland) 12. Female solidarity as uncommodified value: Lucy Beech's Cannibals and Rehana Zaman's Some Women, Other Women and all the Bittermen, Maria Walsh (Chelsea College of the Arts, University Arts London, UK) 13. Can we still talk about women artists? Melissa Gronlund (The National, USA) Bibliography Index

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Book SynopsisThe advent of new screening practices and viewing habits in the twenty-first century has spurred debate over what it means to be a “cinephile.” Sarah Keller places these competing visions in historical and theoretical perspective, tracing how the love of movies intertwines with anxieties over the content and impermanence of cinematic images.Trade ReviewAnxious Cinephilia is a remarkably balanced and inclusive take on our affection for images and related apprehensions. -- Jeff Heinzl * Spectrum Culture *Anxious Cinephilia gives us the most far-reaching theorization of cinephilia yet. This exploration of desire and anxiety as twin impulses unearths novel connections across film cultures, affective states, and moments of technological change, from early cinema to cinematic spectacle in the digital era. Keller produces a fascinating remapping of the shifting relationship between the spectator and the beloved object and refashions cinephilia for our anxious times. -- Belén Vidal, author of Heritage Film: Nation, Genre, and RepresentationThis quietly incendiary book makes a crucial intervention in the study of cinephilia by showing how the love of cinema has always been intertwined with anxiety. In embracing an expansive and historicized sense of cinephilia, it stands as an important corrective to previous scholarship that has far too often privileged French postwar auteurist film culture. A brilliant and ambitious work that will help spark a thousand cinema conversations. -- Girish Shambu, author of The New CinephiliaIf the x-axis of cinephile is love, then the y-axis—as Sarah Keller convincingly shows—is anxiety, fear, worry. With an acute sensitivity to the historical, phenomenological, technological, and generic ways in which this love/anxiety gets triggered, Keller provocatively deepens our understanding of the powerful, mysterious, multifaceted phenomenon we call cinephilia—and, importantly, she convincingly shows that cinephilia is not just a thing of the past but is still very much with us. Every cinephile will read this book with layers of emotional recognition. -- Christian Keathley, author of Cinephilia and History, or The Wind in the TreesAnxious Cinephilia is a meta-textual job well-done. * Senses of Cinema *Anxious Cinephilia provides a great departure point for readers to formulate their own cinephilic inquiries. * Cineaste *Table of ContentsAcknowledgmentsIntroduction1. Ardor and Anxiety: The History of Cinephilia2. Enchanting Images3. Cinephilia and Technology: Anxieties and Obsolescence4. The Exquisite ApocalypseConclusion: Anxious Times, Anxious CinemaNotesSelected BibliographyIndex

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Book Synopsis

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Book SynopsisAll twelve volumes in a beautifully produced box set, perfect for Wizarding World fans everywhere.Harry Potter: Film Vault compiles the filmmaking secrets and visionary artistry behind the Harry Potter films into twelve deluxe collectible volumes. Intricately designed and packed with concept art and unit photography from the Warner Bros. archive, each volume in the series gives fans striking insights about bringing the Wizarding World to the big screen. 

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Book SynopsisThe new edition of an introduction to computer programming within the context of the visual arts, using the open-source programming language Processing; thoroughly updated throughout. The visual arts are rapidly changing as media moves into the web, mobile devices, and architecture. When designers and artists learn the basics of writing software, they develop a new form of literacy that enables them to create new media for the present, and to imagine future media that are beyond the capacities of current software tools. This book introduces this new literacy by teaching computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. Written by Processing's cofounders, the book offers a definitive reference for students an

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Book SynopsisThe Video Art of Sylvia Safdie brings into focus the complete video oeuvre of a pioneering Canadian artist. Tracing the development of Safdie''s work and its implications for the future of media art, this volume provides a stunning perspective on her videos and sets a new standard for the presentation of video art in book form. Safdie''s principal video works are presented in the form of more than 200 images, selected and arranged to suggest the content, rhythm, and movement of the videos themselves. Alongside the rich illustrations, the book explores Safdie''s video art through a thoughtful introduction to the artist and two insightful critical essays. Eric Lewis relates her videos to her works in other media, considers how she poses key questions in the philosophy of art, and addresses issues concerning Jewish art and identity. He discusses the complex relationship between Safdie''s video images and the improvised music she often employs as soundtracks. An essay by music scholar and

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Book Synopsis Discover all the artistic universes fantasy illustrator Aleksi Briclot has developed in this massive monograph. There’s no way you haven’t seen his art, whether it was while watching a movie, reading a comic-book, or playing a card or a video game! Aleksi Briclot visually develops universes, stories, and characters for the greatest entertainment companies, like Wizards of the Coast, Ubisoft, Image Comics, Dark Horse, Capcom, and Marvel Studios. It is now time for this extraordinary artist to have a monograph dedicated completely to his own art. In Multiverse: The Art of Aleksi Briclot, you will find all of the artistic universes Aleksi has developed throughout his career and is continuing to expand. The 272-page art book contains all of Aleksi’s most iconic pieces of artwork, as well as his personal comments, anecdotes, and a very complete interview. This collector’s piece is presented in a sophisticated and elegant pac

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Book SynopsisSecret Citadel showcases Graeme Patterson''s spectacular and intricate multimedia installation, exploring the trials and tribulations of male friendship through a four-part sculptural/video installation and an experimental stop-motion animated narrative. Here, guided by subtle gestures and intense interactions, an anthropomorphic bison and cougar create a bond that spans all stages of maturity, playful creativity bringing them together and violent awkwardness tearing them apart.Secret Citadel prÃsente l''installation multimÃdia spectaculaire bien connue de Graeme Patterson. L''oeuvre explore les vicissitudes d''une amitià masculine, en quatre tableaux vidÃosculpturaux appuyÃs par une narration expÃrimentale sous forme d''animation image par image. Alternant gestes subtils et interactions intenses, un bison et un cougar anthropomorphes, rapprochÃs par une espiÃglerie crÃative, se lient d''une amitià qui rÃsiste jusqu''à la maturitÃ, avant d''Ãtre sÃparÃs par une brusque maladresse.

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Book SynopsisDiscover the filmmaking secrets of the goblins, hardworking house-elves, Dementors, and so much more.The Harry Potter films are packed with creatures by turns fascinating and fearsome, from the goblins of Gringotts to the Dementors of Azkaban. With detailed profiles of each creature that include concept art and behind-the-scenes photography, this volume gives fans an in-depth look at Dark creatures, such as the Basilisk that resides in the Chamber of Secrets, as well as house-elves and other working creatures. Harry Potter: Film Vault compiles the filmmaking secrets and visionary artistry behind the Harry Potter films into a series of twelve deluxe collectible volumes. Intricately designed and packed with concept art and unit photography from the Warner Bros. archive, each volume in the series gives fans striking insights about bringing the Wizarding World to the big screen.  Included in each book is a collectible art print, making this series a must-have for all Harry Potter fans and collectors everywhere.

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Book SynopsisA thought-provoking art book exploring changing landscapes through the pioneering work of Canadian photographer Sylvia Grace Borda. Sylvia Grace Borda made a substantial debut into new media and photo art when she launched Every Bus Stop in Surrey, BC. With this piece, Borda reclaimed California coastal conceptual photo strategies from the 1960s and used them to document a large Canadian city by its own transit system. This marked her entry into international recognition. Since then, Borda has undertaken epic projects to re-imagine urban spaces, from the "New Towns" of East Kilbride and Glenrothes in Scotland to modernist faith buildings in Northern Ireland. In this dazzling new monograph, Sylvias exceptional body of work is examined and placed in both a regional and international context. Specifically, her practice developed in Surrey is examined in relation to art history, the Vancouver School of Art, digital media, community engagement, and projects concluded in Scotland, Northern Ireland, and Finland. Featuring essays by renowned curators, artists, and scholars -- each presenting specific perspectives on how Bordas diverse arts practice has shifted and expanded the mediums of art, photography, and social awareness -- Sylvia Grace Borda: Shifting Perspectives constructs a conversation between the remembrance of place and current narratives in art history.

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Book SynopsisTar Wars offers a critical inside look at how leading image-makers negotiate escalating tensions between continuous economic growth mandated by a globalized economic system and its unsustainable environmental costs. As place branding assumes paramount importance in an increasingly global, visual, and ecologically conscious society, an international battle unfolds over Alberta’s bituminous sands. This battle pits independent documentary filmmakers against professional communicators employed by government and the oil industry. Tar Wars engages scholars and students in communications, film, environmental studies, social psychology, PR, media and cultural studies, and petrocultures. This book also speaks to decision makers, activists, and citizens exploring intersections of energy, environment, culture, politics, economy, media and power.Trade Review"Alberta for generations was famous for mountains, rodeos, Mormonism, football, Ukrainian culture, meatpacking and Social Credit. Say 'Alberta' today and any focus group replies, 'oil'. That’s no accident, writes Prof. Geo Takach of Royal Roads University. From the 1947 oil strike at Leduc Number One, 'resource extraction became heroic'. Alberta’s very identity was intertwined with oil sands production, for better and worse. Tar Wars documents this modern cultural phenomenon... [and] ... covers all angles. … The search is compelling and clever." -- Holly Doan * Blacklock's Reporter *"In his extensively researched and politically provocative new book, Tar Wars, award-winning author Geo Takach...offers attentive citizens, policy wonks and communications pros a solid 'case study in environmental communication.'" -- Rob Norris * Alberta Views *"... [Takach's] purpose: to depolarize and ultimately enable debate of the bit-sands and their role in defining Alberta... Tar Wars highlights two points that are seldom part of the discussion. The first is that while the antagonistic 'Alberta is energy' approach originated with industry and political leaders, the polarizing rhetoric does not represent the views of all or even the majority of Alberta residents. The second is that polarized debate limits meaningful dialogue and political engagement... Underlying is Takach’s message that we must refuse to fall into easy stereotypes of any region, including the one we live in." [Full review at https://bcbooklook.com/2017/09/29/174-lights-camera-action-debate/] -- Nichole Dusyk * BC BookLook *"This book is relevant to scholars in communication studies, specifically those with a focus on environmental communication and activism, as well as those in strategic communication, specifically PR, marketing, and branding, and obviously those in the fields of journalism and film." [Full review at https://cjc-online.ca/index.php/journal/article/view/3673/3885] -- Gordon Alley-Young * Canadian Journal of Communication Vol 44 *Table of ContentsAcknowledgements xi 1 | The Problem of the Sands 1 2 | Four Foundational Principles 17 3 | Images and Frames of Alberta 29 4 | Positioning and Contesting Alberta 43 5 | Visually Redefining Alberta 127 6 | Implications 149 Notes 167 References 193 Index 225

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Book SynopsisFilm is the art form of our times. It has formed the background of our lives, informed visual arts practices, and formed our culture’s stories, its memory.Moments of Perception is a landmark book. The first history of twentieth and early-twenty-first-century Canadian experimental filmmaking, it maps avant-garde film across the country from the 1950s to the present day, including its contradictions and complexities.Experimental film is political in its very existence, critical of the status quo by definition. In Canada, some of the country’s best-known artists took up the moving image as a form of artistic expression, allowing them to explore explicitly political themes. Mike Hoolboom’s exposure of the horror of AIDS, Josephine Massarella’s concern for the environment, and Joyce Wieland’s satiric look at US patriotism are just a few examples of work that contributed to social movements and provided a means to explore issues of race and gender and 2SLGBTQ+ and Indigenous identities.Featuring a major essay on the history of the movement by Michael Zryd and profiles of key filmmakers by Stephen Broomer and editors Jim Shedden and Barbara Sternberg, Moments of Perception offers a fresh perspective on the ever-evolving history of Canada’s experimental film and moving image media arts.Trade Review“Moments of Perception is the ideal guide for the curious and adventurous spectator.” -- Andrew Burke * Winnipeg Free Press *“Moments of Perception works as history, analysis and homage to those creators past and present who have tried to utilize tools beyond Grierson’s hammer and mirror: the camera as a painter’s canvas, a magic wand or a kaleidoscope.” -- Adam Nayman * The Star *

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Book SynopsisExclusive Memory: A Perceptual History of the Future is a compendium of descriptive, speculative prose and text-images by the Governor General’s Award-winning artist, Tom Sherman. Its contents sweep across five decades, describing radically different periods and environments — from Sherman’s early experiments in Toronto in the 1970s to his recent explorations of text and image in Nova Scotia’s South Shore. At the core of this volume is “The Faraday Cage,” a text that delivers a vivid cascade of images of the art scene in Toronto at the onset of the video era in the early 1970s. This opening chapter expands into a series of essays in which Sherman pictures a vast horizon of contexts: urban, rural, social, political, economic, and in some cases, simply a beach along the coast of the Atlantic Ocean. His ongoing and rigorous investigation into the intersections of art, technology, and life itself is grounded in the converging terrains of mediaspheres and landscapes. And then, in a quick shift of perspective enter Peggy Gale and Caroline Seck Langill, who charge the book with wide-sweeping conversations about Sherman’s practice: his use of written language and dynamic, critically engaged “pictures,” the expansive reach of his text-based visual works, and the distinctive character of his voice. The result is a provocative retrospective in book form that both demonstrates and expands upon Tom Sherman’s clear, forward-looking vision.

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Book SynopsisThis limited edition artist’s book brings together digital collages and manipulated photographs by painter James White based on the celebrated and hugely influential series 'Evidence' by Mike Mandel and Larry Sultan. In 'Evidence', Sultan and Mandel drew on the archives of more than a hundred US government agencies, finding surreal narrative suggestions in deadpan images that were intended as functional documents, upending and interrogating the documentary natures they espoused. The book has been a continual reference for the grayscale photographic paintings for which James White has become known. In this volume, White pays tribute to Sultan and Mandel’s project by further undermining the evidentiary nature of the photographic medium through a process of intervention and painterly gesture which disrupts and reconstitutes the images’ mercurial surfaces. Published as a limited edition of 1000 signed copies.

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Book SynopsisOne of Pakistan’s most notable contemporary artists, Bani Abidi creates videos and multimedia works that interweave autobiographical fiction with socio-political commentary and satire. Her practice explores the sobering realities of the political conditions, bureaucracy, and urban infrastructure in Asia, exposing the absurdities emerging from the dysfunctionalities of everyday life. The Artist Who is the first monograph to look at the work of this Berlin-based Pakistani artist. Envisioned as an artist project, the publication explores notions of humor, playfulness and experimentation by engaging with forms of writing, design, printing, and assembly. Containing a documentation of artworks created over two decades as well as archival material and a rich selection of texts, it represents the wide range of relationships Abidi has fostered during this period.

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Book SynopsisTraditional criticism on German post-war cinema tends to define rubble films as simplistic texts of low artistic quality which serve to reaffirm the spectator's image of him or herself as "a good German" during "bad times". Yet this study asserts that some rubble films are actually informed by a type of visual and narrative Romantic discourse which aims at provoking a "critical discussion" on German national identity and its reconstruction in the aftermath of the Third Reich. Considering the lack of previous analyses with regard to the key aspects of Romantic visual style, narration and literary motifs in rubble films, this study points to a major gap in research.

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Book SynopsisHow is performativity shaped by digital technologies - and how do performative practices reflect and alter techno-social formations? "Performing the Digital" explores, maps and theorizes the conditions and effects of performativity in digital cultures. Bringing together scholars from performance studies, media theory, sociology and organization studies as well as practitioners of performance, the contributions engage with the implications of digital media and its networked infrastructures for modulations of affect and the body, for performing cities, protest, organization and markets, and for the performativity of critique.With contributions by Marie-Luise Angerer, Timon Beyes, Scott deLahunta and Florian Jenett, Margarete Jahrmann, Susan Kozel, Ann-Christina Lange, Oliver Leistert, Martina Leeker, Jon McKenzie, Sigrid Merx, Melanie Mohren and Bernhard Herbordt, Imanuel Schipper and Jens Schröter.

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Book SynopsisAcoustic signals, voice, sound, articulation, music and spatial networking are dispositifs of radiophonic transmission which have brought forth a great number of artistic practices. Up to and into the digital present radio has been and is employed and explored as an apparatus-based structure as well as an expanded model for performance and perception. This volume investigates a broad range of aesthetic experiments with the broadcasting technology of radio, and the use of radio as a means of disseminating artistic concepts. With exemplary case studies, its contributions link conceptual, recipient-response-related, and sociocultural issues to matters of relevance to radio art's mediation.

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Book SynopsisBetween 2014 and 2017, the artistic research project "TransCoding - From 'Highbrow Art' to Participatory Culture" encouraged creative participation in multimedia art via social media. Based on the artworks that emerged from the project, Barbara Lüneburg investigates authorship, authority, motivational factors, and aesthetics in participatory art created with the help of web 2.0 technology. The interdisciplinary approach includes perspectives from sociology, cultural and media studies, and offers an exclusive view and analysis from the inside through the method of artistic research. In addition, the study documents selected community projects and the creation processes of the artworks Slices of Life and Read me.

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Book SynopsisThe relationship between economy, finance and society has become opaque. Quantum leaps in complexity and scale have turned this deeply interdependent web of relations into an area of incomprehensible abstraction. And while the economization of life has come under widespread critique, inquiry into the political potential of representational praxis is more crucial than ever. This volume explores ethical, aesthetic and ideological dimensions of economic representation, redressing essential questions: What are the roles of mass and new media? How do the arts contribute to critical discourse on the global techno-economic complex? Collectively, the contributions bring theoretical debate and artistic intervention into a rich exchange that includes but also exceeds the conventions of academic scholarship.

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Book SynopsisThis volume is a response to the growing need for new methodological approaches to the rapidly changing landscape of new forms of performative practices. The authors address a host of contemporary phenomena situated at the crossroads between science and fiction which employ various media and merge live participation with mediated hybrid experiences at both affective and cognitive level. All essays collected here move across disciplinary divisions in order to provide an account of these new tendencies, thus providing food for thought for a wide readership ranging from performative studies to the social sciences, philosophy and cultural studies.

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Book SynopsisThrough a genealogy of photosensitive elements in media devices and artworks, this book investigates three dichotomies that impoverish debates and proposals in media art: material/immaterial, organic/machinic, and theory/practice. It combines historical and analytical approaches, through new materialism, media archaeology, cultural techniques and second-order cybernetics. Known media stories are reframed from an alternative perspective, elucidating photosensitivity as a metonymy to provide guidelines to art students, artists, curators and theoreticians - especially those who are committed to critical views of scientific and technological knowledge in aesthetic experimentations.

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Book SynopsisWhat is the subject of video? Charlotte Klink traces the development of electromagnetism in the pursuit of "Electric Seeing" that emerged in the 19th century as well as its curious relation to psychoanalysis and the contemporary discovery of the structure of the human psyche. In doing so, she exposes how this development laid the foundation of what we know today as "video". This comprehensive theory of video entails a discussion of the technological, historical, and etymological roots, the media-theoretical concepts of medium and index, the philosophical and art-theoretical environment in which video emerged in the 1960s, the psychoanalytic concept of the phantasm, and artworks by artists such as Yael Bartana and Hito Steyerl.

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Book Synopsis

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