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A puffing smoking sea monster suddenly appears near the shoreline
of the Andaman Islands in the Bay of Bengal in the eighteenth
century, and a group of natives out fishing "appeared all at once
to be struck dumb, their wondering gaze fixed in one direction, and
on the sole object." This particular sea monster was the British
steam vessel Pluto
A puffing smoking sea monster suddenly appears near the shoreline
of the Andaman Islands in the Bay of Bengal in the eighteenth
century, and a group of natives out fishing "appeared all at once
to be struck dumb, their wondering gaze fixed in one direction, and
on the sole object." This particular sea monster was the British
steam vessel Pluto
Vertov, Snow, Farocki: Machine Vision and the Posthuman begins with
a comprehensive and original anthropological analysis of Vertov's
film The Man With a Movie Camera. Tomas then explores the film's
various aspects and contributions to media history and practice
through detailed discussions of selected case studies. The first
concerns the way Snow's La Region Centrale and De La extend and/or
develop important theoretical and technical aspects of Vertov's
original film, in particular those aspects that have made the film
so important in the history of cinema. The linkage between Vertov's
film and the works discussed in the case studies also serve to
illustrate the historical and theoretical significance of a
comparative approach of this kind, and illustrate the pertinence of
adopting a 'relational approach' to the history of media and its
contemporary practice, an approach that is no longer focused
exclusively on the technical question of the new in contemporary
media practices but, in contrast, situates a work and measures its
originality in historical, intermedia, and ultimately political
terms.
A powerful elixir of hope and determination, Zapantera Negra
provides a galvanizing presentation of interviews, militant
artwork, and original documents from two movements' struggle for
dignity and liberation. When Emory Douglas, former Minister of
Culture of the Black Panther Party, accepted an invitation from the
art collective EDELO and Rigo 23 to meet with autonomous Indigenous
and Zapatista communities in Chiapas, Mexico, they explored the
role of revolutionary art in times of distress. Zapantera Negra is
the result of their encounter. It unites the bold aesthetics,
revolutionary dreams, and dignified declarations of two leading
movements that redefine emancipatory politics in the twentieth and
twenty-first century. The artists of the Black Panthers and the
Zapatistas were born into a centuries-long struggle against racial
capitalism and colonialism, state repression and international war
and plunder. Not only did these two movements offer the world an
enduring image of freedom and dignified rebellion, they did so with
rebellious style, putting culture and aesthetics at the forefront
of political life.
Vertov, Snow, Farocki: Machine Vision and the Posthuman begins with
a comprehensive and original anthropological analysis of Vertov's
film The Man With a Movie Camera. Tomas then explores the film's
various aspects and contributions to media history and practice
through detailed discussions of selected case studies. The first
concerns the way Snow's La Region Centrale and De La extend and/or
develop important theoretical and technical aspects of Vertov's
original film, in particular those aspects that have made the film
so important in the history of cinema. The linkage between Vertov's
film and the works discussed in the case studies also serve to
illustrate the historical and theoretical significance of a
comparative approach of this kind, and illustrate the pertinence of
adopting a 'relational approach' to the history of media and its
contemporary practice, an approach that is no longer focused
exclusively on the technical question of the new in contemporary
media practices but, in contrast, situates a work and measures its
originality in historical, intermedia, and ultimately political
terms.
Beyond the Image Machine: A History of Visual Technologies is an
eloquent and stimulating argument for an alternative history of
scientific and technological imaging systems. It explores the ways
in which the technological medium through which a piece of visual
art is rendered contributes significantly to the experience of the
human looking at it. Through a series of studies of individual art
works, David Tomas gives a fascinating and wholly original account
of the relationship between visual technology and human sensory
perception. Illustrated throughout, the book draws on a range of
hitherto marginalised examples from the world of visual
representation. In examining these art works and, it draws upon the
work of such key theorists as Latour, de Certeau, Mc Luhan and
Barthes. Beyond the Image Machine is an original and contribution
to the study of visual culture and the technologies that mediate
it. It is a book that changes the terms of the debate and redefines
the discipline. Anyone studying, teaching or researching in this
area will find it a rich source of ideas and inspiration.
In art theory, as in cultural life generally, there has a long
been tension between theory and artistic practice. The desire to
resolve these tensions has been a principal impulse shaping
artistic work and criticism over the last century. The last decade
has seen the emergence of a broad, interdisciplinary body of
theoretical work with a distinctive relationship to artistic
practice, providing a common reference in artworks to the
principles and vocabularies of theory.
The sixteen essays in this collection were originally presented
at an international conference entitled Art as Theory / Theory and
Art, ' held at the University of Ottawa in late 1991. The
contributors - critics, curators, and practising artists from
Canada, the United States, Europe, and Australia, look at the
current relationships between theory and practice in the fields of
art, communication, and cultural studies from a wide range of
viewpoints. Areas of interest include the institutionalization of
theory, theories of vision, gender theory and feminist positions,
and theory in a post-colonial context. This volume answers some
important new questions about the points of intersection between
theory and visual art.
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