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  1. "Shadow-Lands": The Suffering Image.Gavin Keeney - manuscript
    Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.
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  2. Accidents Made Permanent: Theater and Automatism in Stanley Cavell, Michael Fried, and Matías Piñeiro.Byron Davies - 2020 - Modern Language Notes 135 (5):1283-1314.
    This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...)
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  3. The Post-Human Media Semblance: Predictive Catastrophism.Ekin Erkan - 2020 - Rhizomes: Cultural Studies in Emerging Knowledge 36.
    Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...)
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  4. On Levi R. Bryant’s “Dim Media” by Ekin Erkan.Ekin Erkan - 2019 - MediaCommons 5:1-20.
    A commissioned article about philosopher of ecology Levi Bryant, and his theory of urban space.
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  5. L'immagine-inazione. Lo spazio e il tempo nel passaggio dall'image-mouvement all'image-temps in Gilles Deleuze.Fabio Vergine - 2019 - In Enrico Giannetto (ed.), La memoria del cielo. Catania CT, Italia: pp. 1-18.
    Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...)
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  6. Media and Moral Education: A Philosophy of Critical Engagement.Laura D'Olimpio - 2018 - London, UK: Routledge.
    Media and Moral Education demonstrates that the study of philosophy can be used to enhance critical thinking skills, which are sorely needed in today’s technological age. It addresses the current oversight of the educational environment not keeping pace with rapid advances in technology, despite the fact that educating students to engage critically and compassionately with others via online media is of the utmost importance. -/- D’Olimpio claims that philosophical thinking skills support the adoption of an attitude she calls critical perspectivism, (...)
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  7. Artistic Medium.Wack Daniel - 2017 - Internet Encyclopedia of Philosophy.
    Artistic medium is an art critical concept that first arose in 18th century European discourse about art. Medium analysis has, historically, attempted to identify that out of which works of art and, more generally, art forms are created, in order to better articulate norms or standards by which works of art and art forms can be evaluated. Since the 19th century, medium analysis has emerged in two different forms of art critical and theoretical discourse. Within traditional art forms such as (...)
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  8. Hypertext. Eine Schrift für vernetzte, dynamische Schreibmaschinen (1965).Christian Vater - 2017 - In Christian Vater, Ludger Lieb, Christian Witschel & Michaela Böttner (eds.), 5300 Jahre Schrift. Heidelberg: Wunderhorn. pp. 166-169.
  9. L’avance de l’avenir.Anna Caterina Dalmasso - 2016 - Cités 66 (2):169.
  10. Versuch Über Die Veränderung. Zu Breaking Bad.Thomas Khurana - 2016 - WestEnd. Neue Zeitschrift für Sozialforschung 13 (2):25-52.
    Wie wird man der, der man ist? Die Frage ist zweideutig. Zum einen scheint sie danach zu fragen, wie man durch all das, was einem geschieht und was man tut, schließlich zu jener bestimmten Person wird, die man zu einem gewissen Zeitpunkt ist. Zugleich zielt die Frage darauf, wie man das einholt, was man »ist«, es nicht nur ist, sondern wirklich wird. Die Frage wirft also einerseits das Problem der Verkettung von Taten, Umständen und Wirkungen auf, die das Produkt einer (...)
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  11. The Camera Movement in Relation to Narration in Animated Films: A Practice-Oriented Study.Hadis Malekie & Mohammad Reza Hosnaee - 2016 - Journal of Dramatic Arts and Music 6 (11):81-95.
    As a core element of film language, camera movement plays a crucial role in narrative explanation, character shaping, and theme development in cinema. Although camera movements in animation movies are often implemented to add excitement to shots, their best use is when new narrative is revealed. In this paper we have studied the aspects of narration that can be presented by camera movement in animation. We put our question on whether camera movement can have a role in narration or not; (...)
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  12. Abstrakt - Affektiv - Multimodal. Zur Verarbeitung von Bewegtbildern Im Anschluss an Cassirer, Langer Und Krois.Martina Sauer - 2016 - In Lars Christian Grabbe, Patrick Rupert-Kruse & Norbert M. Schmitz (eds.), Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment. Kiel, Germany: Büchner-Verlag. pp. 46-71.
    Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne K. (...)
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  13. Screening the Psychological Laboratory: Hugo Münsterberg, Psychotechnics, and the Cinema, 1892–1916.Jeremy Blatter - 2015 - Science in Context 28 (1):53-76.
    According to Hugo Münsterberg, the direct application of experimental psychology to the practical problems of education, law, industry, and art belonged by definition to the domain of psychotechnics. Whether in the form of pedagogical prescription, interrogation technique, hiring practice, or aesthetic principle, the psychotechnical method implied bringing the psychological laboratory to bear on everyday life. There were, however, significant pitfalls to leaving behind the putative purity of the early psychological laboratory in pursuit of technological utility. In the Vocation Bureau, for (...)
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  14. Postnaturalism.Shane Denson - 2014 - Bielefeld: Transcript.
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  15. Die Wiederkehr der Dinge.F. Balke, Maria Muhle & Antonia von Schöning (eds.) - 2011 - Kadmos.
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  16. Schon da Und Noch Im Kommen. Zur Zeitlichkeit des Mediums Sinn.Thomas Khurana - 2011 - In Christian Kiening, Alexandra Prica & Benno Wirz (eds.), Wiederkehr und Verheißung. Zürich: Chronos Verlag. pp. 43–64.
    Der Beitrag untersucht (I) die Unterscheidung von Medium und Form und erläutert, inwiefern »Sinn« im Anschluss an Luhmann als Medium verstanden werden kann. Im zweiten Schritt (II) charakterisiert der Beitrag die komplexe Zeitlichkeit des Mediums Sinn. Der dritte Teil (III) weist schließlich exemplarisch und kursorisch auf, wie sich an einzelnen Formen des Mediums Sinn seine zeitliche Medialität manifestiert. Der Punkt, auf den es dabei ankommt, ist nicht einfach die im Medium des Sinns selbstverständlich mögliche Thematisierung der Zeit, sondern die Lesbarkeit, (...)
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  17. Movie-Games and Game-Movies: Towards an Aesthetics of Transmediality.Douglas Brown & Tanya Krzywinska - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge.
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  18. Medialität und Zeichen.Thomas Pruisken - 2007 - Würzburg: Könighausen & Neumann.
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  19. Die Form des Mediums: Niklas Luhmann.Thomas Khurana - 2004 - In David Lauer & Alice Lagaay (eds.), Medientheorien. Eine philosophische Einführung. Frankfurt/New York: Campus. pp. 69–88.
    Schrift, Akustik, Geld, Raum, Sinn, elektronische Kommunikationsmittel, Zeit, Kunst, Macht. Was kann man an Bestimmtheit von einem Begriff erwarten, der angeblich all dies umgreifen soll - dem Begriff des Mediums in Niklas Luhmanns Theorie sozialer Systeme? Die Elemente der Liste scheinen zu verschiedenartig, als dass man sich eine sinnvolle Kategorie vorstellen könnte, die diese Dinge als Exemplare derselben Art vorzustellen in der Lage wäre. Welchen Sinn es machen mag, dass all dies dennoch an unterschiedlichen Stellen in der Theorie Luhmanns als (...)
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