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The essays in Invisibility in Visual and Material Culture
contribute pioneering and revelatory insights into the phenomenon
of invisibility, forging new and multi-disciplinary approaches at
the intersection of aesthetics, technology, representation and
politics. Importantly, they acknowledge the complex interaction
between invisibility and its opposite, visibility, arguing that the
one cannot be fully grasped without the other. Considering these
entanglements across different media forms, the chapters reveal
that the invisible affects many cultural domains, from digital
communication and operative images to the activism of social
movements, as well as to identity, race, gender and class issues.
Whether the subject is comic books, photographic provocations,
biometric and brainwave sensing technologies, letters, or a
cinematic diary, the analyses in this book engage critically and
theoretically with the topic of invisibility and thus represent the
first scholarly study to identify its importance for the field of
visual culture.
The first book of its kind, Gestures of Seeing in Film, Video and
Drawing engages broadly with the often too neglected yet
significant questions of gesture in visual culture. In our
turbulent mediasphere where images - as lenses bearing on their own
circumstances - are constantly mobilized to enact symbolic forms of
warfare and where they get entangled in all kinds of cultural
conflicts and controversies, a turn to the gestural life of images
seems to promise a particularly pertinent avenue of intellectual
inquiry. The complex gestures of the artwork remain an
under-explored theoretical topos in contemporary visual culture
studies. In visual art, the gestural appears to be that which
intervenes between form and content, materiality and meaning. But
as a conceptual force it also impinges upon the very process of
seeing itself. As a critical and heuristic trope, the gestural
galvanizes many of the most pertinent areas of inquiry in
contemporary debates and scholarship in visual culture and related
disciplines: ethics (images and their values and affects),
aesthetics (from visual essentialism to transesthetics and
synesthesia), ecology (iconoclastic gestures and spaces of
conflict), and epistemology (questions of the archive, memory and
documentation). Offering fresh perspectives on many of these areas,
Gestures of Seeing in Film, Video and Drawing will be intensely
awaited by readers from and across several disciplines, such as
anthropology, linguistics, performance, theater, film and visual
studies.
The first book of its kind, Gestures of Seeing in Film, Video and
Drawing engages broadly with the often too neglected yet
significant questions of gesture in visual culture. In our
turbulent mediasphere where images - as lenses bearing on their own
circumstances - are constantly mobilized to enact symbolic forms of
warfare and where they get entangled in all kinds of cultural
conflicts and controversies, a turn to the gestural life of images
seems to promise a particularly pertinent avenue of intellectual
inquiry. The complex gestures of the artwork remain an
under-explored theoretical topos in contemporary visual culture
studies. In visual art, the gestural appears to be that which
intervenes between form and content, materiality and meaning. But
as a conceptual force it also impinges upon the very process of
seeing itself. As a critical and heuristic trope, the gestural
galvanizes many of the most pertinent areas of inquiry in
contemporary debates and scholarship in visual culture and related
disciplines: ethics (images and their values and affects),
aesthetics (from visual essentialism to transesthetics and
synesthesia), ecology (iconoclastic gestures and spaces of
conflict), and epistemology (questions of the archive, memory and
documentation). Offering fresh perspectives on many of these areas,
Gestures of Seeing in Film, Video and Drawing will be intensely
awaited by readers from and across several disciplines, such as
anthropology, linguistics, performance, theater, film and visual
studies.
The essays in Invisibility in Visual and Material Culture
contribute pioneering and revelatory insights into the phenomenon
of invisibility, forging new and multi-disciplinary approaches at
the intersection of aesthetics, technology, representation and
politics. Importantly, they acknowledge the complex interaction
between invisibility and its opposite, visibility, arguing that the
one cannot be fully grasped without the other. Considering these
entanglements across different media forms, the chapters reveal
that the invisible affects many cultural domains, from digital
communication and operative images to the activism of social
movements, as well as to identity, race, gender and class issues.
Whether the subject is comic books, photographic provocations,
biometric and brainwave sensing technologies, letters, or a
cinematic diary, the analyses in this book engage critically and
theoretically with the topic of invisibility and thus represent the
first scholarly study to identify its importance for the field of
visual culture.
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