In Poetic Operations artist and theorist micha cardenas considers contemporary digital media, artwork, and poetry in order to articulate trans of color strategies for safety and survival. Drawing on decolonial theory, women of color feminism, media theory, and queer of color critique, cardenas develops a method she calls algorithmic analysis. Understanding algorithms as sets of instructions designed to perform specific tasks (like a recipe), she breaks them into their component parts, called operations. By focusing on these operations, cardenas identifies how trans and gender-non-conforming artists, especially artists of color, rewrite algorithms to counter violence and develop strategies for liberation. In her analyses of Giuseppe Campuzano's holographic art, Esdras Parra's and Kai Cheng Thom's poetry, Mattie Brice's digital games, Janelle Monae's music videos, and her own artistic practice, cardenas shows how algorithmic analysis provides new modes of understanding the complex processes of identity and oppression and the intersection of gender, sexuality, and race.

We live in an era of abundant photography. Is it then counterintuitive to study photographs that disappear or are difficult to discern? Kate Palmer Albers argues that it is precisely this current cultural moment that allows us to recognize what has always been a basic and foundational, yet unseen, condition of photography: its ephemerality. Through a series of case studies spanning the history of photography, The Night Albums takes up the provocations of artists who collectively redefine how we experience visibility. From the protracted hesitancies of photography's origins, to conceptual and performative art that has emerged since the 1960s, to the waves of technological experimentation flourishing today, Albers foregrounds artists who offer fleeting, hidden, conditional, and future modes of visibility. By unveiling how ephemerality shapes the photographic experience, she ultimately proposes an expanded framework for the medium.

The provocative pop artist's on-screen experiments, newly brought to light in this essential reference work In the 1960s, Andy Warhol (1928-1987) produced hundreds of film and video works-short and long, silent and sound, scripted and improvised. This catalogue raisonne of the artist's films, a complement to 2006's Andy Warhol Screen Tests, focuses on works he produced from 1963 to 1965. Detailed cataloguing of each work is combined with orienting and enlightening essays that cover Warhol's influences, source material, working methods, and technical innovations, as well as his engagement with the people he filmed and how they came to life on the screen. In addition, rich entries offer detailed summaries and analysis of more than a hundred individual works. The vigorous illustration program includes countless stills and documentary images to further elucidate the film works, including many that have circulated only rarely. Warhol's dynamic and creative approach to filmmaking redefined the genre, drawing audiences and receiving positive attention along with deep criticism. In 1970, he placed his films in storage for the next 14 years, taking them out of public view and distribution. During that time, critics and audiences could only piece together information about these works from hearsay, verbal accounts, and reviews. Since then, the works have been studied, preserved, and catalogued, culminating in this volume, which illuminates the true significance of Warhol's radical experiments in film and his mastery of the medium. Distributed for the Whitney Museum of American Art

From gaming consoles to smartphones, video games are everywhere today, including those set in historical times and particularly in the ancient world. This volume explores the varied depictions of the ancient world in video games and demonstrates the potential challenges of games for scholars as well as the applications of game engines for educational and academic purposes. With successful series such as "Assassin's Creed" or "Civilization" selling millions of copies, video games rival even television and cinema in their role in shaping younger audiences' perceptions of the past. Yet classical scholarship, though embracing other popular media as areas of research, has so far largely ignored video games as a vehicle of classical reception. This collection of essays fills this gap with a dedicated study of receptions, remediations and representations of Classical Antiquity across all electronic gaming platforms and genres. It presents cutting-edge research in classics and classical receptions, game studies and archaeogaming, adopting different perspectives and combining papers from scholars, gamers, game developers and historical consultants. In doing so, it delivers the first state-of-the-art account of both the wide array of 'ancient' video games, as well as the challenges and rewards of this new and exciting field.

Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father's name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance-sets, lighting, photography, shot breakdowns, editing-and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.