Search results for ""Author Ryan Bishop""

This book analyses the growth of the American comedy film in relation to world events and cultural trends. 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. Grounded in the theoretical writing of Jean Baudrillard, Paul Virilio, Friedrich Kittler and Jacques Derrida, Ryan Bishop brings a new perspective to comedy in film suggesting that it is central to staging cultural criticism. He discusses themes such as repetition, automation, material systems of information media, the level of address in a communicative act, and the shifting role of the image. Close analysis of two films per chapter illustrate key points. Relevant both to film and cultural studies scholars. It provides an in-depth chronological treatment of the comedy genre in the US.

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This title analysis the growth of American comedy film in relation to world events and cultural trends. 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. You can close analysis of two films to illustrate key points in each chapter. It is relevant both to film and cultural studies. It includes chronological treatment of the subject. Films discussed include Zelig, Duck Soup, Team America and Wag the Dog. It covers the work of Buser Keaton, Charlie Chaplin and Michael Moore.

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The writings of Jean Baudrillard have dramatically altered the face of critical theory and promise to pose challenges well into the 21st century. His work on simulation, media, the status of the image, the system of objects, hyperreality, and information technology continues to influence intellectual work in a diverse set of fields. This volume uniquely provides overviews of Baudrillards career while also simultaneously including examples of current works on and with Baudrillard that engage some of the many and varied ways Baudrillard's work is being addressed, deployed, and critiqued in the present. As such, it offers chapters useful to the novice and the well-versed in critical theory and Baudrillard Studies alike. Contributors to the volume include John Armitage, John Beck, Ryan Bishop, Doug Kellner, John Phillips and Mark Poster. No less controversial today than he was in the past, Baudrillard continues to divide intellectuals and academicians, an issue this volume addresses by re-engaging the writing itself without falling into either simplistic dismissal or solipsistic cheerleading, but rather by taking the fecundity operative in the thought and meeting its consistent challenge. Baudrillard Now provokes sustained interaction with one of philosophy?s most important, provocative and stimulating thinkers.

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The writings of Jean Baudrillard have dramatically altered the face of critical theory and promise to pose challenges well into the 21st century. His work on simulation, media, the status of the image, the system of objects, hyperreality, and information technology continues to influence intellectual work in a diverse set of fields. This volume uniquely provides overviews of Baudrillard's career while also simultaneously including examples of current works on and with Baudrillard that engage some of the many and varied ways Baudrillard's work is being addressed, deployed, and critiqued in the present. As such, it offers chapters useful to the novice and the well-versed in critical theory and Baudrillard Studies alike. Contributors to the volume include John Armitage, John Beck, Ryan Bishop, Doug Kellner, John Phillips and Mark Poster. No less controversial today than he was in the past, Baudrillard continues to divide intellectuals and academicians, an issue this volume addresses by re-engaging the writing itself without falling into either simplistic dismissal or solipsistic cheerleading, but rather by taking the fecundity operative in the thought and meeting its consistent challenge. Baudrillard Now provokes sustained interaction with one of philosophy?s most important, provocative and stimulating thinkers.

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Connects Cold War material and conceptual technologies to 21st century arts, society and cultureFrom 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 FeaturesMakes connections between Cold War material and conceptual technologies, as they relate to the arts, society and cultureDraws on theorists such as Paul Virilio, Jacques Derrida, Luce Irigaray, Friedrich Kittler, Jean Baudrillard, Michel Foucault, Michel Serres, Bernard Stiegler, Peter Sloterdijk and Carl SchmittThe contributors include leading humanities and critical military studies scholars, and practising artists, writers, curators and broadcastersContributorsJohn 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 Cote 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.

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In Technocrats of the Imagination John Beck and Ryan Bishop explore the collaborations between the American avant-garde art world and the military-industrial complex during the 1960s, in which artists worked with scientists and engineers in universities, private labs, and museums. For artists, designers, and educators working with the likes of Bell Labs, the RAND Corporation, and the Los Angeles County Museum of Art, experiments in art and technology presaged not only a new aesthetic but a new utopian social order based on collective experimentation. In examining these projects' promises and pitfalls and how they have inspired a new generation of collaborative labs populated by artists, engineers, and scientists, Beck and Bishop reveal the connections between the contemporary art world and the militarized lab model of research that has dominated the sciences since the 1950s.

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In literature and the visual arts, zero degree represents a neutral aesthetic situated in response to and outside of the dominant cultural order. Starting from Roland Barthes' 1953 book Writing Degree Zero, this volume examines the historical, theoretical and visual aspects of the term in collaboration with artist and writer Victor Burgin.

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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 goal of eliminating this dimension, while modernist aesthetics exploits it. Placing military operations alongside modernist aesthetics reveals the civic sphere suspended between two incompatible desires. Through close readings of the art and writing of Djuna Barnes, Joseph Conrad, Marcel Duchamp, James Joyce, Mina Loy, Stephane Mallarme, the Italian Futurists and H. G. Wells alongside the Apache attack helicopters, Network-Centric Warfare, satellites, decoys, sirens and radios, the chapters address issues such as: targetting, surveillance, visibility and the invisible, broadcast and media, the military body, diasporas, geopolitics and beauty. Key Features: * An important contribution to the increasingly important interdisciplinary field of war studies * Provides original and 'groundbreaking' readings of modernist art, literature, music, poetics and aesthetics * Gives a valuable and provocative reading of the avant-garde * Contributes to a new understanding of both military technics and modernist aesthetics

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In Technocrats of the Imagination John Beck and Ryan Bishop explore the collaborations between the American avant-garde art world and the military-industrial complex during the 1960s, in which artists worked with scientists and engineers in universities, private labs, and museums. For artists, designers, and educators working with the likes of Bell Labs, the RAND Corporation, and the Los Angeles County Museum of Art, experiments in art and technology presaged not only a new aesthetic but a new utopian social order based on collective experimentation. In examining these projects' promises and pitfalls and how they have inspired a new generation of collaborative labs populated by artists, engineers, and scientists, Beck and Bishop reveal the connections between the contemporary art world and the militarized lab model of research that has dominated the sciences since the 1950s.

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This 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 and cultural and media studies through his own original theories and arguments, Virilio's work has produced substantial debate, compelling readers to ask if his criticism is out of touch or out in front of traditional perspectives. This collection of 13 original writings, including a newly translated piece written by Virilio himself, is indispensable reading for all students and researchers into contemporary visual culture. Key features: a wide-ranging treatment of Virilio's key theoretical concepts and themes from across his work on visual culture so far; surveys Virilio's aesthetics and socio-cultural ideas and how they function within his highly politicised approach to visual culture; examines Virilio's thinking from his first works on war and cinema to his latest theoretical conjectures on art, perception and seeing; contributors include Caren Kaplan, University of California at Davis; Ian James, University of Cambridge; Benjamin H. Bratton, University of California, San Diego, and Tania Roy, National University of Singapore.

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In literature and the visual arts, zero degree represents a neutral aesthetic situated in response to and outside of the dominant cultural order. Starting from Roland Barthes' 1953 book Writing Degree Zero, this volume examines the historical, theoretical and visual aspects of the term in collaboration with artist and writer Victor Burgin.

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The influence of Roland Barthes on Burgin’s work is well documented. Equally, Burgin’s prominence as an artist and theorist concerned with text and image offers a productive dialogue with Barthes’ work. Victor Burgin has long been considered both theorist and practitioner, while Barthes is more known as a theorist and writer. In bringing to the fore Barthes’s practice of painting and drawing, Barthes/Burgin prompts a new critical consideration of Barthes/Burgin, theory/practice, writing/making and criticality/visuality. Barthes/Burgin features two new interviews with Burgin, one concerned with his turn to new digital practices and the other a reflection on his reading of Roland Barthes. Also included are images and texts from the artists and an essay critically examining Barthes’ exercises in drawing and painting.

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Examines the tensions between the aims of military technology and modernist aesthetics in relation to perception. A basic aim of visual technologies is to collapse perception with the perceived object. Modernist aesthetics shows that an irreducible element of time and space always remains. Military technology tends towards the impossible goal of eliminating this dimension; modernist aesthetics exploits it. Placing military operations alongside modernist aesthetics reveals the civic sphere suspended between two incompatible desires. Reading the art and writing of Djuna Barnes, Joseph Conrad, Marcel Duchamp, James Joyce, Mina Loy, Stephane Mallarme, the Italian Futurists and H. G. Wells against Apache attack helicopters, Network-Centric Warfare, satellites, decoys, sirens and radios, this book addresses issues such as targeting, surveillance, visibility and the invisible, broadcast and media, the military body, diasporas, geopolitics and beauty. Key Features * An important contribution to the increasingly important interdisciplinary field of war studies * Original and 'groundbreaking' readings of modernist art, literature, music, poetics and aesthetics * A valuable and provocative new reading of the avant-garde * Contributes to a new understanding of both military technics and modernist aesthetics

Read more less