Discorrelated Images


Book Description

In Discorrelated Images Shane Denson examines how computer-generated digital images displace and transform the traditional spatial and temporal relationships that viewers had with conventional analog forms of cinema. Denson analyzes works ranging from the Transformers series and Blade Runner 2049 to videogames and multimedia installations to show how what he calls discorrelated images—images that do not correlate with the abilities and limits of human perception—produce new subjectivities, affects, and potentials for perception and action. Denson's theorization suggests that new media theory and its focus on technological development must now be inseparable from film and cinema theory. There's more at stake in understanding discorrelated images, Denson contends, than just a reshaping of cinema, the development of new technical imaging processes, and the evolution of film and media studies: discorrelated images herald a transformation of subjectivity itself and are essential to our ability to comprehend nonhuman agency.




Discorrelated Images


Book Description

In Discorrelated Images Shane Denson examines how computer-generated digital images displace and transform the traditional spatial and temporal relationships that viewers had with conventional analog forms of cinema. Denson analyzes works ranging from the Transformers series and Blade Runner 2049 to videogames and multimedia installations to show how what he calls discorrelated images—images that do not correlate with the abilities and limits of human perception—produce new subjectivities, affects, and potentials for perception and action. Denson's theorization suggests that new media theory and its focus on technological development must now be inseparable from film and cinema theory. There's more at stake in understanding discorrelated images, Denson contends, than just a reshaping of cinema, the development of new technical imaging processes, and the evolution of film and media studies: discorrelated images herald a transformation of subjectivity itself and are essential to our ability to comprehend nonhuman agency.




Post Cinematic Affect


Book Description

Post-Cinematic Affect is about what it feels like to live in the affluent West in the early 21st century. Specifically, it explores the structure of feeling that is emerging today in tandem with new digital technologies, together with economic globalization and the financialization of more and more human activities. The 20th century was the age of film and television; these dominant media shaped and reflected our cultural sensibilities. In the 21st century, new digital media help to shape and reflect new forms of sensibility. Movies (moving image and sound works) continue to be made, but they have adopted new formal strategies, they are viewed under massively changed conditions, and they address their spectators in different ways than was the case in the 20th century. The book traces these changes, focusing on four recent moving-image works: Nick Hooker's music video for Grace Jones' song Corporate Cannibal; Olivier Assayas' movie Boarding Gate, starring Asia Argento; Richard Kelly's movie Southland Tales, featuring Justin Timberlake, Dwayne Johnson, and other pop culture celebrities; and Mark Neveldine and Brian Taylor's Gamer.




Transnational Perspectives on Graphic Narratives


Book Description

Written by leading international scholars, this book surveys transnational dimensions of graphic narratives, covering popular comics and graphic novels from the USA, Asia and Europe.




Postnaturalism


Book Description

»Postnaturalism« offers an original account of human-technological co-evolution and argues that film and media theory, in particular, needs to be re-evaluated from the perspective of our material interfaces with a constantly changing environment. Extrapolating from Frankenstein films and the resonances they establish between a hybrid monster and the spectator hooked into the machinery of the cinema, Shane Denson engages debates in science studies and philosophy of technology to rethink histories of cinema, media, technology, and ultimately of the affective channels of our own embodiment. With a foreword by media theorist Mark B. N. Hansen.




The Cinematic Body


Book Description

A radical approach to film viewing




Basic and Advanced Laboratory Techniques in Histopathology and Cytology


Book Description

The second edition of this well-received book provides detailed information on the basic and advanced laboratory techniques in histopathology and cytology. It offers clear guidance on the principles and techniques of routine and special laboratory techniques. It also covers advanced laboratory techniques such as immunocytochemistry, flow cytometry, liquid-based cytology, polymerase chain reactions, tissue microarray, molecular technology, etc. The book's second edition covers several important recent topics with many new chapters, such as liquid biopsy, artificial neural network, digital pathology, and next-generation sequencing. Each chapter elucidates basic principle, practical methods, troubleshooting, and clinical applications of the technique. It includes multiple colored line drawings, microphotographs, and tables to illustrate each technique. The book is a helpful guide to the post-graduate students and fellows in pathology, practicing pathologists, as well as laboratory technicians, and research students.




Idolizing the Idea


Book Description

Ever since Plato made the case for the primacy of ideas over names, philosophy has tended to elevate the primacy of its ideas over the more common understanding and insights that are circulated in the names drawn upon by the community. Commencing with a critique of Plato’s original philosophical decision, Cristaudo takes up the argument put forward by Thomas Reid that modern philosophy has generally continued along the ‘way of ideas’ to its own detriment. His argument identifies the major paradigmatic developments in modern philosophy commencing from the new metaphysics pioneered by Descartes up until the analytic tradition and the anti-domination philosophies which now dominate social and political thought. Along the way he argues that the paradigmatic shifts and break-downs that have occurred in modern philosophy are due to being beholden to an inadequate sovereign idea, or small cluster of ideas, which contribute to the occlusion of important philosophical questions. In addition to chapters on Descartes, and the analytic tradition and anti-domination philosophies, his critical history of modern philosophy explores the core ideas of Locke, Berkeley, Malebranche, Locke, Hume, Reid, Kant, Fichte, Hegel, Schelling, Marx, Kierkegaard, Schopenhauer, Nietzsche, Husserl and Heidegger. The common thread uniting these disparate philosophies is what Cristaudo calls ‘ideaism’ (sic.). Rather than expanding our reasoning capacity, ‘ideaism’ contributes to philosophers imposing dictatorial principles or models that ultimately occlude and distort our understanding of our participative role within reality. Drawing upon thinkers such as Pascal, Vico, Hamann, Herder, Franz Rosenzweig, Martin Buber and Eugen Rosensock-Huessy Cristaudo advances his argument by drawing upon the importance of encounter, dialogue, and a more philosophical anthropological and open approach to philosophy.




No Caption Needed


Book Description

A gaunt woman stares into the bleakness of the Great Depression. An exuberant sailor plants a kiss on a nurse in the heart of Times Square. A naked Vietnamese girl runs in terror from a napalm attack. An unarmed man stops a tank in Tiananmen Square. These and a handful of other photographs have become icons of public culture: widely recognized, historically significant, emotionally resonant images that are used repeatedly to negotiate civic identity. But why are these images so powerful? How do they remain meaningful across generations? What do they expose--and what goes unsaid? InNo Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. As these iconic images are reproduced and refashioned by governments, commercial advertisers, journalists, grassroots advocates, bloggers, and artists, their alterations throw key features of political experience into sharp relief. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection. Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society.No Caption Neededis a compelling demonstration of photojournalism's vital contribution to public life.




The Process Genre


Book Description

From IKEA assembly guides and “hands and pans” cooking videos on social media to Mister Rogers's classic factory tours, representations of the step-by-step fabrication of objects and food are ubiquitous in popular media. In The Process Genre Salomé Aguilera Skvirsky introduces and theorizes the process genre—a heretofore unacknowledged and untheorized transmedial genre characterized by its representation of chronologically ordered steps in which some form of labor results in a finished product. Originating in the fifteenth century with machine drawings, and now including everything from cookbooks to instructional videos and art cinema, the process genre achieves its most powerful affective and ideological results in film. By visualizing technique and absorbing viewers into the actions of social actors and machines, industrial, educational, ethnographic, and other process films stake out diverse ideological positions on the meaning of labor and on a society's level of technological development. In systematically theorizing a genre familiar to anyone with access to a screen, Skvirsky opens up new possibilities for film theory.