Fragmentation of the Photographic Image in the Digital Age [Kõva köide]

  • Formaat: Hardback, 230 pages, kõrgus x laius: 248x171 mm, kaal: 620 g, 22 Illustrations, color; 20 Illustrations, black and white
  • Sari: Routledge History of Photography
  • Ilmumisaeg: 10-Oct-2019
  • Kirjastus: Routledge
  • ISBN-10: 113849349X
  • ISBN-13: 9781138493490
  • Formaat: Hardback, 230 pages, kõrgus x laius: 248x171 mm, kaal: 620 g, 22 Illustrations, color; 20 Illustrations, black and white
  • Sari: Routledge History of Photography
  • Ilmumisaeg: 10-Oct-2019
  • Kirjastus: Routledge
  • ISBN-10: 113849349X
  • ISBN-13: 9781138493490

Fragmentation of the Photographic Image in the Digital Age challenges orthodoxies of photographic theory and practice. Beyond understanding the image as a static representation of reality, it shows photography as a linchpin of dynamic developments in augmented intelligence, neuroscience, critical theory and cybernetic cultures. Through essays by leading philosophers, political theorists, software artists, media researchers, curators, and experimental programmers, photography emerges not as a mimetic or a recording device but simultaneously as a new type of critical discipline and a new art form that stands at the crossroads of visual art, contemporary philosophy and digital technologies.

Chapter One: The New Paradigm - Daniel Rubinstein; Part I: From Pictorial Practices to Algorithmic Capitalism,
Chapter Two: Images Without Worlds - Claire Colebrook;
Chapter Three: Undoing Imperial Modernity - Ariella Azoulay;
Chapter Four: Between Topography and Topology - Susan Trangmar;
Chapter Five: Creating London's Image - Pat Naldi;
Chapter Six: Drone Alliances - Sarah Tuck; Psrt II: The Image Between Representation and Automation,
Chapter Seven: From Photographic Representation to the 'Photographic Genotype' - Yael Eylat Van Essen;
Chapter Eight: Graven Images: Photography after Heidegger, Lyotard and Deleuze - Daniel Rubinstein;
Chapter Nine: Refuse to Let the Syntaxes of (a) History Direct Our Futures - Rosa Menkman;
Chapter Ten: Atoms and Worms (Ontologies of Fragments) - Jamie Brassett;
Chapter Eleven: Photographic Futures - Armen Avanessian and Anke Hennig; Part III: The Materialism of Networked Intelligence,
Chapter Twelve: Empathy and Gesture: Aby Warburg in La cappella Sassetti - Andrew Benjamin;
Chapter Thirteen: Post-Photographic Frenzy - Joseph Nechvatal;
Chapter Fourteen: The Defragmenting Image: Stories in Cinematic Time-Travel - John O Maoilearca;
Chapter Fifteen: Introduction to Natural Language Processing - Anamarija Ami Podrebarac;
Chapter Sixteen: The Photograph of Thought - Johnny Golding
Daniel Rubinstein is Reader in Philosophy and the Image at Central Saint Martins, London, where he leads the MA program in Contemporary Photography: Practices and Philosophies.

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