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The collected writings of artist and filmmaker Hollis Frampton, including all the essays from the long-unavailable Circles of Confusion along with rare additional material. As Hollis Frampton's photographs and celebrated experimental films were testing the boundaries of “the camera arts” in the 1960s and 1970s, his provocative and highly literate writings were attempting to establish an intellectually resonant form of discourse for these critically underexplored fields. It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art. This collection of Frampton's writings presents his critical essays (many written for Artforum and October) along with additional material, including lectures, correspondence, interviews, and production notes and scripts. It replaces—and supersedes—the long-unavailable Circles of Confusion, published in 1983. Frampton ranged widely over the visual arts in his writing, and the texts in this collection display his unique approaches to photography, film, and video, as well as the plastic and literary arts. They include critically acclaimed essays on Edward Weston and Eadweard Muybridge as well as appraisals of contemporary photographers; the influential essay, “For a Metahistory of Film,” along with scripts, textual material, and scores for his films; writings on video that constitute a prehistory of the digital arts; a dialogue with Carl Andre (his friend and former Phillips Andover classmate) from the early 1960s; and two inventive, almost unclassifiable pieces that are reminiscent of Borges, Joyce, and Beckett.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
In documenting this transformation in American photography, Disappearing Witness forcefully rethinks the history of photography itself.
Hershberger is the winner of a 2015 Insight Award from the Society for Photographic Education for his work on this book and for his overall contributions to the field! Photographic Theory: An Historical Anthology presents a compendium of readings spanning ancient times to the digital age that are related to the history, nature, and current status of debates in photographic theory. Offers an authoritative and academically up-to-date compendium of the history of photographic theory Represents the only collection to include ancient, Renaissance, and 19th-, 20th-, and 21st-century writings related to the subject Stresses the drama of historical and contemporary debates within theoretical circles Features comprehensive coverage of recent trends in digital photography Fills a much-needed gap in the existing literature
This volume assembles some of the most distinguished scholars in the field of Deleuze studies in order to provide both an accessible introduction to key concepts in Deleuze's thought and to test them in view of the issue of normativity. This includes not only the law, but also the question of norms and values in the broader ethical, political and methodological sense. The volume argues that Deleuze's philosophy rejects the unitary vision of the subject as a self-regulating rationalist entity and replaces it with a process-oriented relational vision of the subject. But what can we do exactly with this alternative nomadic vision? What modes of normativity are available outside the parameters of liberal, self-reflexive individualism on the one hand and the communitarian model on the other? This interdisciplinary volume explores these issues in three directions that mirror Deleuze and Guattari's defense of the parallelism between philosophy, science, and the arts. The volume therefore covers socio-political and legal theory; the epistemological critique of scientific discourse and the cultural, artistic and aesthetic interventions emerging from Deleuze's philosophy.