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The mass media make it possible for fame to be enhanced and transformed posthumously. What does it mean to fans when a celebrity dies, and how can death change the way that celebrities are perceived and celebrated? How do we mourn and remember? What can different forms of communication reveal about the role of media in our lives? Through a provocative look at the lives and legacy of popular musicians from Elvis to Tupac and from Louis Prima to John Lennon, Afterlife as Afterimage analyzes the process of posthumous fame to give us new insights into the consequences of mediation, and it illuminates the complex nature of fandom, community formation, and identity construction.
Ivan Albright's (1897-1983) rejection of the idealized figure and exposure of the frailty of the human form pushed his work to the edge of contemporaneous practices of art in North America and into the realm of medical illustration, disturbing both the critics and the public. Albright's representation of the metaphysical through the flesh on the canvas was definitively derived from his experience as a medical draftsman in World War I. His use of the skin of his subjects to speak to the trauma and the inevitable death of the human body can be seen throughout his oeuvre, beginning with his drawings in his medical sketchbooks completed during the war. To assist in his metaphysical and spiritual goals for the viewer of his works, Albright developed a painting tool, his color wands. Either through motion or prolonged staring, he hoped the afterimage colors on the canvas would activate the viewer's "subconscious." Spurred on by the growing public awareness of the changing scientific vision at the turn of the century, Albright equipped himself with the ability to reveal larger truths about our world, and worked to uncover the mystery that is color.
This book is an earnest attempt to say something about the modern dilemma. The author's alternatively hilarious and poignant text is an attempt to open the door to answering these questions. Nowhere is it overtly preachy because it opens up new intellectual possibilities for the reader to ponder and complete on their own rather than providing the reader with a top-down instruction manual as to how to live their life. And while our commodity-obsessed culture tends to naturalize its flaws, he points out that there are indeed still possibilities out there beyond a world where buying stuff seems to be the only worthwhile human endeavor. This work attempts to persuade the reader to consider the meaning of the reality he or she is tasked with viewing daily. Is it a solipsistic nightmare or total bliss, neither or both? Will, it ever ends, and how?
A Dictionary of Hallucinations is designed to serve as a reference manual for neuroscientists, psychiatrists, psychiatric residents, psychologists, neurologists, historians of psychiatry, general practitioners, and academics dealing professionally with concepts of hallucinations and other sensory deceptions.
The untimely deaths of Amy Winehouse (2011) and Whitney Houston (2012), and the ’resurrection’ of Tupac Shakur for a performance at the Coachella music festival in April 2012, have focused the media spotlight on the relationship between popular music, fame and death. If the phrase ’sex, drugs and rock’n’roll’ ever qualified a lifestyle, it has left many casualties in its wake, and with the ranks of dead musicians growing over time, so the types of death involved and the reactions to them have diversified. Conversely, as many artists who fronted the rock’n’roll revolution of the 1950s and 1960s continue to age, the idea of dying young and leaving a beautiful corpse (which gave rise, for instance, to the myth of the ’27 Club’) no longer carries the same resonance that it once might have done. This edited collection explores the reception of dead rock stars, ’rock’ being taken in the widest sense as the artists discussed belong to the genres of rock’n’roll (Elvis Presley), disco (Donna Summer), pop and pop-rock (Michael Jackson, Whitney Houston, Amy Winehouse), punk and post-punk (GG Allin, Ian Curtis), rap (Tupac Shakur), folk (the Dutchman André Hazes) and ’world’ music (Fela Kuti). When music artists die, their fellow musicians, producers, fans and the media react differently, and this book brings together their intertwining modalities of reception. The commercial impact of death on record sales, copyrights, and print media is considered, and the different justifications by living artists for being involved with the dead, through covers, sampling and tributes. The cultural representation of dead singers is investigated through obituaries, biographies and biopics, observing that posthumous fame provides coping mechanisms for fans, and consumers of popular culture more generally, to deal with the knowledge of their own mortality. Examining the contrasting ways in which male and female dead singers are portrayed in the media, the book
In this fascinating book, Steve Skiena and Charles Ward bring quantitative analysis to bear on ranking and comparing historical reputations by aggregating the traces of millions of opinions, just as Google ranks webpages. They present rankings of more than one thousand of history's most significant people in science, politics, entertainment, and all areas of human endeavor.
The first book-length study of one of the most essential elements of hip-hop: musical borrowing
The Sound Studies Reader is a groundbreaking anthology blending recent work that self-consciously describes itself as 'sound studies' with earlier and lesser known scholarship on sound.
The poet Charles Baudelaire (1821–1867) has been labeled the very icon of modernity, the scribe of the modern city, and an observer of an emerging capitalist culture. Seeing Double reconsiders this iconic literary figure and his fraught relationship with the nineteenth-century world by examining the way in which he viewed the increasing dominance of modern life. In doing so, it revises some of our most common assumptions about the unresolved tensions that emerged in Baudelaire’s writing during a time of political and social upheaval. Françoise Meltzer argues that Baudelaire did not simply describe the contradictions of modernity; instead, his work embodied and recorded them, leaving them unresolved and often less than comprehensible. Baudelaire’s penchant for looking simultaneously backward to an idealized past and forward to an anxious future, while suspending the tension between them, is part of what Meltzer calls his “double vision”—a way of seeing that produces encounters that are doomed to fail, poems that can’t advance, and communications that always seem to falter. In looking again at the poet and his work, Seeing Double helps to us to understand the prodigious transformations at stake in the writing of modern life.
This interdisciplinary collection focuses on recent adaptations, both experimental and popular, that put hybridity, transtextuality, and transmediality at play. It reframes adaptation in terms of the transmedia concept of "world-building," which accurately captures the complexity and multidirectionality of contemporary scattered and ubiquitous practices of adaptation. The Editors argue that the process of moving stories or their elements across different media platforms and repurposing them for new uses results in the production of hybrid transtextualities. The book demonstrate how hybrid textualities augment narrative and literary forms as goals of their world-building, finding unexpected sites of cross-pollination, expansion, and appropriation in spoken-word and dance performance, (auto)biographical comics, advertising, Chinese Kun opera, and popular song lyrics. This yoking of hybridity and transmediality yields not only diversified and often commercialized aesthetic forms but also enables the emergence a unique cultural space in-between, a mezzaterra capable of addressing current political issues and mobilizing broader audiences