AbstractThe 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the “dogmatic” (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics.
Similar books and articles
Visual Representation and Science: Editors' Introduction.Ari Gross & Eleanor Louson - 2012 - Spontaneous Generations 6 (1):1-7.
Categorizing Visual Argumentation Processes: Visual commonplaces in civic culture.Maceio Ilon Lauer - unknown
The Power of the Image: Vaclav Havel's Visual Poetry.P. Steiner - 2007 - Estetika: The Central European Journal of Aestetics; Until 2008: Estetika (Aesthetics) 44 (1-4).
Humane images: visual rhetoric in depictions of atypical genital anatomy and sex differentiation.Shelley Wall - 2010 - Medical Humanities 36 (2):80-83.
Mental images: Always present, never there.Fred W. Mast - 2005 - Behavioral and Brain Sciences 28 (6):769-770.
On the Modes of Poetry in the Fictions during Tang Dynasty.Ji-yin Cui - 2010 - Nankai University (Philosophy and Social Sciences) 1:82-89.
Varieties of visual representation.John Dilworth - 2002 - Canadian Journal of Philosophy 32 (2):183-206.
Motion, space, and mental imagery.Romi Nijhawan & Beena Khurana - 2002 - Behavioral and Brain Sciences 25 (2):203-204.
Seeing Reasons: Visual Argumentation in Advertisements. [REVIEW]Christina Slade - 2003 - Argumentation 17 (2):145-160.
Egocentric Spatial Representation in Action and Perception.Robert Briscoe - 2009 - Philosophy and Phenomenological Research 79 (2):423-460.
Generic assumptions shared by visual perception and imagery.Qasim Zaidi & A. Fuzz Griffiths - 2002 - Behavioral and Brain Sciences 25 (2):215-216.
Added to PP
Historical graph of downloads