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| Author | : Akira Mizuta Lippit |
| Publisher | : U of Minnesota Press |
| Total Pages | : 221 |
| Release | : 2005 |
| Genre | : Science |
| ISBN | : 0816646104 |
With a taut, poetic style, Lippit produces speculative readings of secret and shadow archives and visual structures or phenomenologies of the inside, charting the materiality of what both can and cannot be seen in the radioactive light of the twentieth century.
| Author | : Akira Mizuta Lippit |
| Publisher | : |
| Total Pages | : 208 |
| Release | : |
| Genre | : |
| ISBN | : 9781452907406 |
Dreams, x-rays, atomic radiation, and “invisible men” are phenomena that are visual in nature but unseen. Atomic Light (Shadow Optics) reveals these hidden interiors of cultural life, the “avisual” as it has emerged in the writings of Jorge Luis Borges and Jacques Derrida, Tanizaki Jun’ichirô and Sigmund Freud, and H. G. Wells and Ralph Ellison, and in the early cinema and the postwar Japanese films of Kobayashi Masaki, Teshigahara Hiroshi, Kore-eda Hirokazu, and Kurosawa Kiyoshi, all under the shadow cast by the atomic bombings of Hiroshima and Nagasaki. Akira Mizuta Lippit focuses on historical moments in which such modes of avisuality came into being—the arrival of cinema, which brought imagination to life; psychoanalysis, which exposed the psyche; the discovery of x-rays, which disclosed the inside of the body; and the “catastrophic light” of Hiroshima and Nagasaki, which instituted an era of atomic discourses. With a taut, poetic style, Lippit produces speculative readings of secret and shadow archives and visual structures or phenomenologies of the inside, charting the materiality of what both can and cannot be seen in the radioactive light of the twentieth century. Akira Mizuta Lippit is professor of cinema, comparative literature, and Japanese culture at the University of Southern California. He is the author of Electric Animal: Toward a Rhetoric of Wildlife (Minnesota, 2000).
| Author | : Akira Lippit |
| Publisher | : Univ of California Press |
| Total Pages | : 202 |
| Release | : 2012-09-30 |
| Genre | : Performing Arts |
| ISBN | : 0520953916 |
What does it mean for film and video to be experimental? In this collection of essays framed by the concept "ex-"—meaning from, outside, and no longer—Akira Mizuta Lippit explores the aesthetic, technical, and theoretical reverberations of avant-garde film and video. Ex-Cinema is a sustained reflection on the ways in which experimental media artists move outside the conventions of mainstream cinema and initiate a dialogue on the meaning of cinema itself.
| Author | : Akira Mizuta Lippit |
| Publisher | : U of Minnesota Press |
| Total Pages | : 91 |
| Release | : 2016-03-30 |
| Genre | : Philosophy |
| ISBN | : 1452952256 |
Cinema without Reflection traces an implicit film theory in Jacques Derrida’s oeuvre, especially in his frequent invocation of the myth of Echo and Narcissus. Derrida’s reflections on the economies of image and sound that reverberate in this story, along with the spectral dialectics of love, mirrors, and poiesis, serve as the basis for a theory of cinema that Derrida perhaps secretly imagined. Following Derrida’s interventions on Echo and Narcissus across his thought on the visual arts, Akira Mizuta Lippit seeks to return to a theory of cinema adrift in Derrida’s philosophy. Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
| Author | : Michael Ware |
| Publisher | : Lulu.com |
| Total Pages | : 350 |
| Release | : 2020 |
| Genre | : Electromagnetic waves |
| ISBN | : 1312929278 |
| Author | : W. J. T. Mitchell |
| Publisher | : Harvard University Press |
| Total Pages | : 247 |
| Release | : 2012-06-13 |
| Genre | : Social Science |
| ISBN | : 9780674059818 |
According to Mitchell, a “color-blind” post-racial world is neither achievable nor desirable. Against claims that race is an outmoded construct, he contends that race is not simply something to be seen but is a fundamental medium through which we experience human otherness. Race also makes racism visible and is thus our best weapon against it.
| Author | : John Beaver |
| Publisher | : Morgan & Claypool Publishers |
| Total Pages | : 176 |
| Release | : 2018-11-26 |
| Genre | : Science |
| ISBN | : 1643273329 |
This book uses art photography as a point of departure for learning about physics, while also using physics as a point of departure for asking fundamental questions about the nature of photography as an art. Although not a how-to manual, the topics center around hands-on applications, most-often illustrated by photographic processes that are inexpensive and easily accessible to students (including a versatile new process developed by the author, and herein first described in print). A central theme is the connection between the physical interaction of light and matter on the one hand, and the artistry of the photographic processes and their results on the other. Geometry and the Nature of Light focuses on the physics of light and the optics of lenses, but also includes extended discussions of topics less commonly covered in a beginning text, including symmetry in art and physics, different physical processes of the scattering of light, photograms (photographic shadow prints) and the nature of shadows, elements of 2-dimensional design, pinhole photography and the view camera. Although written at a beginning undergraduate level, the topics are chosen for their role in a more general discussion of the relation between science and art that is of interest to readers of all backgrounds and levels of expertise.
| Author | : Steve Anker |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2010 |
| Genre | : Experimental films |
| ISBN | : 9780520249110 |
"A superb collection, as exciting, in many ways, as the works it chronicles."--Akira Mizuta Lippit, author of Atomic Light (Shadow Optics)
| Author | : Fulgence Marion |
| Publisher | : |
| Total Pages | : 316 |
| Release | : 1871 |
| Genre | : Physical optics |
| ISBN | : |
| Author | : Akira Mizuta Lippit |
| Publisher | : U of Minnesota Press |
| Total Pages | : 300 |
| Release | : 2000 |
| Genre | : Philosophy |
| ISBN | : 9780816634859 |
Differentiation from animals helped to establish the notion of a human being, but the disappearance of animals now threatens that identity. This is the argument underlying Electric Animal, a probing exploration of the figure of the animal in modern culture. Akira Mizuta Lippit shows us the animal as a crucial figure in the definition of modernity -- essential to developments in the natural sciences and technology, radical transformations in modern philosophy and literature, and the advent of psychoanalysis and the cinema. Moving beyond the dialectical framework that has traditionally bound animal and human being, Electric Animal raises a series of questions regarding the idea of animality in Western thought. Can animals communicate? Do they have consciousness? Are they aware of death? By tracing questions such as these through a wide range of texts by writers ranging from Friedrich Nietzsche to Jacques Derrida, Sigmund Freud to Vicki Heame, Lewis Carroll to Franz Kafka, and Sergei Eisenstein to Gilles Deleuze, Lippit arrives at a remarkable thesis, revealing an extraordinary logical consensus in Western thought: animals do not have language and hence cannot die. The animal has, accordingly, haunted thought as a form of spectral and undead being. Lippit demonstrates how, in the late nineteenth century; this phantasmic concept of animal being reached the proportions of an epistemological crisis, engendering the disciplines and media of psychoanalysis, modern literature, and cinema, among others. Against the prohibitive logic of Western philosophy, these fields opened a space for rethinking animality. Technology, usually thought of in opposition to nature, came to serve as therepository for an unmournable animality -- a kind of vast wildlife museum. A highly original work that charts new territory in current debates over language and mortality, subjectivity and technology, Electric Animal brings to light fundamental questions about the status of representation -- of the animal and of ourselves -- in the age of biomechanical reproduction.
