First time director Antonio Campos's downbeat tale of teenage alienation in which a public school pupil confronts death in the digital age. High school loner Robert (Ezra Miller) spends his spare time surfing the net for hardcore pornography and random clips of unrelated items that appeal to him. Given a digital video camera to record footage for an audiovisual class, Robert happens to be present when two popular girl students accidentally die from a drugs overdose. With the school in mourning, Robert is given the job of producing the school's official memorial video. But as he becomes immersed in his task, he soon finds himself becoming even more alienated from those around him.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

The ongoing paradigm change in regard to the use of energy, its efficient usage and the consumption of resources is giving rise to new light systems and lighting appliances. This development might also lead to the use of light as a building material in its own right, comparable to traditional building materials, making it possible to create light space productions something that did not seem feasible up to now due to the high cost of energy and of light systems. The goal of this book is to develop temporary light spaces that re-interpret the existing urban environment on a seasonal basis or over a cycle of several years. As a result, the city will literally appear in a new light. Strollers in the city streets will experience their familiar environment in a new way. Illuminated planes interlacing with planes made by linear fields of light beams will create immaterial material space experiences: still lifes of light within which one can move about and light choreographies that move barely noticeably, creating still lifes in motion. Current research aims at exploring, imagining and inventing stand-alone spatial structures of light, adding on to and transforming existing spaces, creating a new spatial awareness that may enable people to experience urban space in a different way. Similar to the process of architectural design, where haptic built volumes create interspaces, the light spaces that are presently being designed make these interspaces visible and allow urban dwellers to experience unexpected spatial constellations. The discourse in this book starts with essays introducing aspects of light spaces, including the following: Christian Bartenbach on the perception of light as something that creates space; Niels Gutschow on the ritual dimension of light, an element in the history of creation; Samuel Widmer on light in near-death experiences; Aldous Huxley on light as the messenger from a world we perceive on an unconscious level; Jun'ichiro Tanizaki on the world of the shadow and Tadashi Endo on movement as a relation between time and space in Butoh, the Japanese dance of darkness. The discourse concludes with documents on light spaces by Wolfgang Rang collected over a period of 30 years showing how these light spaces were regarded in the writings of con-temporaries, including Max Bacher on the dawn of a new era; Hans-Peter Schwarz on the deconstruction of space by light; Jurgen Hasse on light as a discourse fragment of public space; Manuel Cuadra on red luminescence; and Antonio de Campos on shadow as an expression of light.

Marco Antonio Campos's work can be considered a response to the dialogic poetry that arose in Latin America beginning in the 1950s. The latter is characterized by radical disregard for solipsism, opposition to capitalism and neo-colonialism, opening up to popular culture, democratization of language, and formal experimentation. By contrast, in Campos's poems, like in many by his contemporaries, morality is given priority over politics, feeling over reason, plain style over experimentation. In his case, a displacement from time history and biography toward space city and home is carried out, and poetry becomes chronicle. Yet this reaction is normal, intrinsic to the evolution of Latin American poetry, self-aware and adamant in its refusal to stagnate. Accordingly, Campos's work is no less conscious of the other, no less socially participative or aesthetically restless than that of his immediate predecessors. As Roger Munier suggests, in the end, each of Campos's books debates "his relentlessly questioned identity," but in a different way that ultimately continues to be dialogic and to require an active reader.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.