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Considers the ephemeral nature of the cinematic experience as we now apprehend it, and examines the ways in which technological advances in film and moving image production have changed this experience over the course of the last thirty-odd years.
While agreeing that the "digitization" of the cinema is inevitable, and even a necessary adjustment to the economic realities of end-of-the-millennium cinema production, Dixon argues that it represents a fundamental representational shift in the relationship between the spectator and the image-production apparatus of the cinematograph. More than ever all visual input is merely raw material which is then subjected to digital "polishing" and "tweaking" until it attains a sheen of artificial splendor that is utterly removed from the photographic reproduction of the object and/or person originally photographed.
Delving into how institutions of justice, as well as public expressions of justice, such as rage and grief, are played out in the media, Smith helps us understand how this represents a shift away from historical community displays of punishment towards a media sanitised public engagement with the implementation of control and justice.
From the Gothic to the contemporary, glass has transformed the structural, formal and philosophical principles of artchitecture. In The Glass State, Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1988 as part of Francois Mitterand's program of Grands Projets. The Grands Projets provide a rare opportunity to study a finite set of buidings constructed of similar materials, in the same time period, in a specific urban landscape, and with related ideological missions.
The Eye's Mind significantly alters our understanding of modernist literature by showing how changing visual discourses, techniques, and technologies affected the novels of that period. In readings that bring philosophies of vision into dialogue with photography and film as well as the methods of observation used by the social sciences, Karen Jacobs identifies distinctly modernist kinds of observers and visual relationships. This important reconception of modernism draws upon American, British, and French literary and extra-literary materials from the period 1900-1955. These texts share a sense of crisis about vision's capacity for violence and its inability to deliver reliable knowledge. Jacobs looks closely at the ways in which historical understandings of race and gender inflected visual relations in the modernist novel. She shows how modernist writers, increasingly aware of the body behind the neutral lens of the observer, used diverse strategies to displace embodiment onto those "others" historically perceived as cultural bodies in order to reimagine for themselves or their characters a "purified" gaze. The Eye's Mind addresses works by such high modernists as Vladimir Nabokov, Virginia Woolf, and (more distantly) Ralph Ellison and Maurice Blanchot, as well as those by Henry James, Zora Neale Hurston, and Nathanael West which have been tentatively placed in the modernist canon although they forgo the full-blown experimental techniques often seen as synonymous with literary modernism. Jacobs reframes fundamental debates about modernist aesthetic practices by demonstrating how much those practices are indebted to the changing visual cultures of the twentieth century.
"The book provides a compact theoretical account of the hidden functioning logic of the ideal of transparency. Transparency as a concept has become hugely popular in legal discourse and beyond. The book argues that there are underlying optical, conceptual, and social reasons why transparency makes sense to us: it promises immediate seeing and understanding. That is why it can form a powerful metaphor of controllability: in the state, for example, the governed are able to monitor the inner workings of the governor through transparency practices. The modern push for transparency is premised on the notion that the truth about governance is key to its legitimacy, and transparency can provide legitimacy through access to truth. The book argues that this premise is false. Instead of accessing legitimacy by providing truth, transparency is labelled by either-or logic, which is referred to as 'the truth-legitimacy trade-off' in the book: transparency can provide either truth or legitimacy. Through this argument, the book questions the neutrality promise vested in transparency and claims that transparency is primarily a tool for creating appearances. The book consists of nine chapters divided into three parts: The Opacity of Transparency, The Promise of Transparency, and The Reality of Transparency. It combines legal and policy themes and research with interdisciplinary inputs, such as social philosophy and cultural and media studies, contributing to the growing literature on critical transparency studies"--
This Volume 1 of a two-volume work is the first textbook to offer a practical yet comprehensive approach to clinical ophthalmology in wild and exotic invertebrates, fishes, amphibia, reptiles, and birds. A phylogenetic approach is used to introduce the ecology and importance of vision across all creatures great and small before focusing on both the diverse aspects of comparative anatomy and clinical management of ocular disease from one species group to the next. Edited by three of the most esteemed authorities in exotic animal ophthalmology, this two-volume work is separated into non-mammalian species (Volume 1: Invertebrates, Fishes, Amphibians, Reptiles, and Birds) and Mammals (Volume 2: Mammals). Wild and Exotic Animal Ophthalmology, Volumes 1 and 2 is an essential collection for veterinary ophthalmologists and other veterinary practitioners working with wild and exotic animals.
Translation is living through a period of revolutionary upheaval. The effects of digital technology and the internet on translation are continuous, widespread and profound. From automatic online translation services to the rise of crowdsourced translation and the proliferation of translation Apps for smartphones, the translation revolution is everywhere. The implications for human languages, cultures and society of this revolution are radical and far-reaching. In the Information Age that is the Translation Age, new ways of talking and thinking about translation which take full account of the dramatic changes in the digital sphere are urgently required. Michael Cronin examines the role of translation with regard to the debates around emerging digital technologies and analyses their social, cultural and political consequences, guiding readers through the beginnings of translation's engagement with technology, and through to the key issues that exist today. With links to many areas of study, Translation in the Digital Age is a vital read for students of modern languages, translation studies, cultural studies and applied linguistics.
Rosalind Galt offers innovative readings of some of the most popular and influential European films of the 1990s, including Emir Kusturica's 'Underground', Lars Von Trier's 'Zentropa', and Giuseppe Tornatore's 'Cinema Paradiso'.