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Memory matters. It matters because memory brings the past into the
present, and opens it up to the future. But it also matters
literally, because memory is mediated materially. Materiality is
the stuff of memory. Meaningful objects that we love (or hate)
function not only as aide-memoire but are integral to memory.
Drawing on previous scholarship on the interrelation of memory and
materiality, this book applies recent theories of new materialism
to explore the material dimension of memory in art and popular
culture. The book's underlying premise is twofold: on the one hand,
memory is performed, mediated, and stored through the material
world that surrounds us; on the other hand, inanimate objects and
things also have agency on their own, which affects practices of
memory, as well as forgetting. Chapter 1 of this book is freely
available as a downloadable Open Access PDF under a Creative
Commons Attribution-Non Commercial-No Derivatives 3.0 license.
https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter1.pdf
Chapter 4 of this book is freely available as a downloadable Open
Access PDF under a Creative Commons Attribution-Non Commercial-No
Derivatives 3.0 license.
https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter4.pdf
Chapter 5 of this book is freely available as a downloadable Open
Access PDF under a Creative Commons Attribution-Non Commercial-No
Derivatives 3.0 license.
https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter5.pdf
Memory matters. It matters because memory brings the past into the
present, and opens it up to the future. But it also matters
literally, because memory is mediated materially. Materiality is
the stuff of memory. Meaningful objects that we love (or hate)
function not only as aide-memoire but are integral to memory.
Drawing on previous scholarship on the interrelation of memory and
materiality, this book applies recent theories of new materialism
to explore the material dimension of memory in art and popular
culture. The book's underlying premise is twofold: on the one hand,
memory is performed, mediated, and stored through the material
world that surrounds us; on the other hand, inanimate objects and
things also have agency on their own, which affects practices of
memory, as well as forgetting. Chapter 1 of this book is freely
available as a downloadable Open Access PDF under a Creative
Commons Attribution-Non Commercial-No Derivatives 3.0 license.
https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter1.pdf
Chapter 4 of this book is freely available as a downloadable Open
Access PDF under a Creative Commons Attribution-Non Commercial-No
Derivatives 3.0 license.
https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter4.pdf
Chapter 5 of this book is freely available as a downloadable Open
Access PDF under a Creative Commons Attribution-Non Commercial-No
Derivatives 3.0 license.
https://s3-us-west-2.amazonaws.com/tandfbis/rt-files/docs/Open+Access+Chapters/9781138203235_oachapter5.pdf
While the so-called material turn in the humanities and the social
sciences has inspired a vibrant discourse on objects, things, and
the concept of materiality in general, less attention has been paid
to materials, particularly in cultural studies scholarship. With
each of its chapters taking a particular material as its point of
departure, this volume offers a palette of fresh approaches to
materials within the realm of cultural studies. The contributors
call for a materials-based perspective on culture, which has become
all the more pertinent in times of climate change, energy crisis,
conflict, migration, and the lingering coronavirus pandemic.
This book examines the role of memory in animation, as well as the
ways in which the medium of animation can function as a technology
of remembering and forgetting. By doing so, it establishes a
platform for the cross-fertilization between the burgeoning fields
of animation studies and memory studies. By analyzing a wide range
of different animation types, from stop motion to computer
animation, and from cell animated cartoons to painted animation,
this book explores the ways in which animation can function as a
representational medium. The five parts of the book discuss the
interrelation of animation and memory through the lens of
materiality, corporeality, animation techniques, the city, and
animated documentaries. These discussions raise a number of
questions: how do animation films bring forth personal and
collective pasts? What is the role of found footage, objects, and
sound in the material and affective dimensions of animation? How
does animation serve political ends? The essays in this volume
offer answers to these questions through a wide variety of case
studies and contexts. The book will appeal to both a broad academic
and a more general readership with an interest in animation
studies, memory studies, cultural studies, comparative visual arts,
and media studies. Chapter "Introduction" is available open access
under a Creative Commons Attribution 4.0 International License via
link.springer.com.
From user-generated images of streets to professional architectural
renderings, and from digital maps and drone footages to
representations of invisible digital ecologies, this collection of
essays analyses the emergent practices of visualizing the street.
Today, advancements in digital technologies of the image have given
rise to the production and dissemination of imagery of streets and
urban realities in multiple forms. The ubiquitous presence of
digital visualizations has in turn created new forms of urban
practice and modes of spatial encounter. Everyone who carries a
smartphone not only plays an increasingly significant role in the
production, editing and circulation of images of the street, but
also relies on those images to experience urban worlds and to
navigate in them. Such entangled forms of image-making and
image-sharing have constructed new imaginaries of the street and
have had a significant impact on the ways in which contemporary and
future streets are understood, imagined, documented, navigated,
mediated and visualized. Visualizing the Street investigates the
social and cultural significance of these new developments at the
intersection of visual culture and urban space. The
interdisciplinary essays provide new concepts, theories and
research methods that combine close analyses of street images and
imaginaries with the study of the practices of their production and
circulation. The book covers a wide range of visible and invisible
geographies - From Hong Kong's streets to Rio's favelas, from
Sydney's suburbs to London's street markets, and from Damascus'
war-torn streets to Istanbul's sidewalks - and engages with
multiple ways in which visualizations of the street function to
document street protests and urban change, to build imaginaries of
urban communities and alternate worlds, and to help navigate
streetscapes.
This book examines the role of memory in animation, as well as the
ways in which the medium of animation can function as a technology
of remembering and forgetting. By doing so, it establishes a
platform for the cross-fertilization between the burgeoning fields
of animation studies and memory studies. By analyzing a wide range
of different animation types, from stop motion to computer
animation, and from cell animated cartoons to painted animation,
this book explores the ways in which animation can function as a
representational medium. The five parts of the book discuss the
interrelation of animation and memory through the lens of
materiality, corporeality, animation techniques, the city, and
animated documentaries. These discussions raise a number of
questions: how do animation films bring forth personal and
collective pasts? What is the role of found footage, objects, and
sound in the material and affective dimensions of animation? How
does animation serve political ends? The essays in this volume
offer answers to these questions through a wide variety of case
studies and contexts. The book will appeal to both a broad academic
and a more general readership with an interest in animation
studies, memory studies, cultural studies, comparative visual arts,
and media studies. Chapter "Introduction" is available open access
under a Creative Commons Attribution 4.0 International License via
link.springer.com.
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