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Book
xl, 235 pages : illustrations ; 26 cm
Art & Architecture Library (Bowes)
FILMSTUD-252/452-01
Book
xi, 250 pages ; 24 cm
  • Prologue: transforming how we see the world
  • The cognitive nonconscious and the costs of consciousness. Nonconscious cognitions: humans and others
  • Interplays between nonconscious cognition and consciousness
  • The cognitive nonconscious and the new materialisms
  • The costs of consciousness: Tom McCarthy's Remainder and Peter Watts's Blindsight
  • Cognitive assemblages. Cognitive assemblages: technical agency and human interactions
  • Temporality and cognitive assemblages: finance capital, derivatives, and high-frequency trading
  • Intuition, cognitive assemblages, and politico-historico affects: Colson Whitehead's The intuitionist
  • The utopian potential of cognitive assemblages.
N. Katherine Hayles is known for breaking new ground at the intersection of the sciences and the humanities. In Unthought, she once again bridges disciplines by revealing how we think without thinking how we use cognitive processes that are inaccessible to consciousness yet necessary for it to function. Marshalling fresh insights from neuroscience, cognitive science, cognitive biology, and literature, Hayles expands our understanding of cognition and demonstrates that it involves more than consciousness alone. Cognition, as Hayles defines it, is applicable not only to nonconscious processes in humans but to all forms of life, including unicellular organisms and plants. Startlingly, she also shows that cognition operates in the sophisticated information-processing abilities of technical systems: when humans and cognitive technical systems interact, they form "cognitive assemblages" as found in urban traffic control, drones, and the trading algorithms of finance capital, for instance and these assemblages are transforming life on earth. The result is what Hayles calls a "planetary cognitive ecology, " which includes both human and technical actors and which poses urgent questions to humanists and social scientists alike. At a time when scientific and technological advances are bringing far-reaching aspects of cognition into the public eye, Unthought reflects deeply on our contemporary situation and moves us toward a more sustainable and flourishing environment for all beings.
(source: Nielsen Book Data)9780226447889 20180219
Art & Architecture Library (Bowes)
FILMSTUD-252/452-01
Book
xxx, 283 pages ; 23 cm.
  • Introduction / Preface to the Focused English Edition / 1. Introducing "Time-Critical Media Processes" / Part I: Electrotechnical Microtemporalities / 2. Signal Transmission and Delay / 3. Generating Time by Technical Measuring / 4. The Computer as Time-Critical Medium / Part II: Media-Induced Disruptions of the Human Perception of Time / 5. Experiencing Time as Sound: Recorded Voices, Magnetic Tapes / 6. A Close Reading of the Electronic "Time Image" / 7. The Media Timing of Non-Linear Communication / Part III: Re-Thinking "Media Historiography" / 8. The Heterochronic Being-in-Time of Technical Media / 9. Equitempor(e)alities in Media Knowledge / Bibliography / Index.
  • (source: Nielsen Book Data)9781783485710 20180306
Wolfgang Ernst has demonstrated that the knowledge of time-giving ('chrono-poetical') media and their temporal essence enriches the tradition of philosophical inquiry into the nature of 'time'. This book, a translated and abridged edition of Ernst's two major volumes, Chronopoetik and Gleichursprunglichkeit, undertakes this on three levels: a close analysis of time-critical moments within media technologies; descriptions of how media temporalities affect and disrupt the traditional human sense of time; and questioning the traditional position of media time within cultural history. The book brings together two fields of inquiry: the technological analysis of media time processes and the venerable tradition of philosophical inquiry into the nature of time. Ernst argues that the scientific inquiry into the nature of time is enriched by the media-technological context. The book exposes a media theoretical approach to contemporary media culture that derives from the combination of philosophical reflection on the essence of technology and a close analysis of technological devices themselves. Ultimately Ernst addresses a fundamental concern of past, contemporary and future media culture: the position of technology in culture under the focused perspective of its tempor(e)alities.
(source: Nielsen Book Data)9781783485710 20180306
Art & Architecture Library (Bowes)
FILMSTUD-252/452-01

4. Network aesthetics [2016]

Book
xiii, 314 pages : illustrations ; 24 cm
  • Maximal aesthetics : network novels
  • Emergent aesthetics : network films
  • Realist aesthetics : televisual networks
  • Participatory aesthetics : network games
  • Improvisational aesthetics : alternate reality games
  • Coda : after networks (comes ambivalence).
The term network is now applied to everything from the Internet to terrorist-cell systems. But the word s ubiquity has also made it a cliche, a concept at once recognizable yet hard to explain. "Network Aesthetics, " in exploring how popular culture mediates our experience with interconnected life, reveals the network s role as a way for people to construct and manage their world and their view of themselves. Each chapter considers how popular media and artistic forms make sense of decentralized network metaphors and infrastructures. Patrick Jagoda first examines narratives from the 1990s and 2000s, including the novel "Underworld, " the film "Syriana, " and the television series "The Wire, " all of which play with network forms to promote reflection on domestic crisis and imperial decline in contemporary America. Jagoda then looks at digital media that are interactive, nonlinear, and dependent on connected audiences to show how recent approaches, such as those in the videogame "Journey, " open up space for participatory and improvisational thought. Contributing to fields as diverse as literary criticism, digital studies, media theory, and American studies, "Network Aesthetics" brilliantly demonstrates that, in today s world, networks are something that can not only be known, but also felt, inhabited, and, crucially, transformed.".
(source: Nielsen Book Data)9780226346489 20160619
Art & Architecture Library (Bowes)
FILMSTUD-252/452-01
Book
xiv, 265 pages : illustrations ; 24 cm.
  • Acknowledgments 000 Translator's Note 000 Introduction: Cultural techniques, or, The end of the intellectual postwar in German media theory 1. Cacography or Communication? Cultural techniques of sign-signal-distinction 2. Eating Animals-Eating God-Eating Man: Variations on the Last Supper, or, The cultural techniques of communion 3. Parletres: The cultural techniques of anthropological difference 4. Medusas of the western Pacific: The cultural techniques of seafaring 5. Pasajeros a Indias: Registers and biographical writing as cultural techniques of subject constitution (Spain, 16th century) 6. (Not) in Place: The grid, or, cultural techniques of ruling spaces 7. White spots and hearts of darkness: Drafting, projecting and designing as cultural techniques 8. Waterlines: Striated and smooth spaces as techniques of ship design 9. Figures of self-reference: A media genealogy of the trompe-l'Doeil in 17th-century Dutch still life 10. Door Logic, or, The materiality of the symbolic: From cultural techniques to cybernetic machines Notes Bibliography Index.
  • (source: Nielsen Book Data)9780823263769 20160618
This volume designates a shift within posthumanistic media studies that dissolves the concept of media into a network of operations, that reproduce, displace, process and reflect the distinctions that are fundamental for a given culture. It seems that we need to forget our traditional understanding of media to be able to re-define media on another level than the empiricist level of individual or collective uses or the level of cultural semantics or aesthetics. The goal of this book is in consequence to re-locate the concepts of media and culture on a level where the distinctions between object and performance, matter and form, human and non-human, sign and channel, the symbolic and the real, are still in the process of becoming, thus turning ontology into a domain of what is meant by the German word "Kultur". Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting or image-making. The analysis of symbolic or non-symbolic artifacts as cultural techniques emphasizes their ontological status as "inbetweens", which shift from first order to second order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational. The essays in this volume on the production of the sign-signal-distinction in old and new media, on the reproduction of the anthropological difference, on eating, on seafaring, on drafting, registers, the grid, doors, and trompe'oeils as cultural techniques thus address fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic. A book for all those, who are interested in the possibilities of a technical and historical grounding of posthumanist theory, and of a dialogue between new German media theory and American postcybernetic theory discourse.
(source: Nielsen Book Data)9780823263769 20160618
Art & Architecture Library (Bowes)
FILMSTUD-252/452-01
Book
xiv, 307 pages ; 23 cm
  • Prehensity
  • Intensity
  • Potentiality
  • Sensibility.
Even as media in myriad forms increasingly saturate our lives, we nonetheless tend to describe our relationship to it in terms from the twentieth century: we are consumers of media, choosing to engage with it. In Feed-Forward, Mark B. N. Hansen shows just how outmoded that way of thinking is: media is no longer separate from us but has become an inescapable part of our very experience of the world. Engaging deeply with the speculative empiricism of philosopher Alfred North Whitehead, Hansen reveals how new media call into play elements of sensibility that deeply affect human selfhood without in any way belonging to the human. From social media to datamining to new sensor technologies, media in the twenty-first century work largely outside the realm of perceptual consciousness, yet at the same time inflect our every sensation. Understanding that paradox, Hansen shows, offers us a chance to put forward a radically new vision of human becoming, one that enables us to reground the human in a non-anthropocentric view of the world and our experience in it.
(source: Nielsen Book Data)9780226199726 20160618
Art & Architecture Library (Bowes)
FILMSTUD-252/452-01
Book
ix, 342 pages : illustrations ; 23 cm.
  • Prologue: Speculating on sense
  • Introduction: Dreams for our perceptual present
  • Dreams for the perceptual present : temporality, storage, and interactivity in cybernetics
  • Communicative objectivity : design, knowledge, and the interface
  • The measure of reason and the art of visualization : transforming rationality, method, and logic in the social and human sciences
  • The governance of sense: designing information and reconfiguring population circa 1959.
Beautiful Data is both a history of big data and interactivity, and a sophisticated meditation on ideas about vision and cognition in the second half of the twentieth century. Contending that our forms of attention, observation, and truth are contingent and contested, Orit Halpern historicizes the ways that we are trained, and train ourselves, to observe and analyze the world. Tracing the postwar impact of cybernetics and the communication sciences on the social and human sciences, design, arts, and urban planning, she finds a radical shift in attitudes toward recording and displaying information. These changed attitudes produced what she calls communicative objectivity: new forms of observation, rationality, and economy based on the management and analysis of data. Halpern complicates assumptions about the value of data and visualization, arguing that changes in how we manage and train perception, and define reason and intelligence, are also transformations in governmentality. She also challenges the paradoxical belief that we are experiencing a crisis of attention caused by digital media, a crisis that can be resolved only through intensified media consumption.
(source: Nielsen Book Data)9780822357445 20160618
Art & Architecture Library (Bowes)
FILMSTUD-252/452-01
Book
343 pages : illustrations (some color) ; 26 cm
  • How color became code
  • Chromatic visions (400 B.C.-1969)
  • Colors sacred and synthetic
  • Classical and modern color: Plato through Goethe
  • Industrial color: synthetics through day-glo psychedelics
  • Synthetic color in video synthesis
  • Disciplining color: encounters with number and code (1965-1984)
  • Informatic color and aesthetic transformations in early computer art
  • Collaborative computer art and experimental color systems
  • From chromakey to the alpha channel
  • "Transparent" screens for opaque ontology (1984-2007)
  • Digital infrared as algorithmic lifeworld
  • The photoshop cinema
  • Postscript: a new dark age.
These days, we take for granted that our computer screens - and even our phones - will show us images in vibrant full color. Digital color is a fundamental part of how we use our devices, but we never give a thought to how it is produced or how it came about. Chromatic Algorithms reveals the fascinating history behind digital color, tracing it from the work of a few brilliant computer scientists and experimentally minded artists in the late 1960s and early '70s through to its appearance in commercial software in the early 1990s. Mixing philosophy of technology, aesthetics, and media analysis, Carolyn L. Kane shows how revolutionary the earliest computer-generated colors were-built with the massive postwar number-crunching machines, these first examples of "computer art" were so fantastic that artists and computer scientists regarded them as psychedelic, even revolutionary, harbingers of a better future for humans and machines. But, Kane shows, the explosive growth of personal computing and its accompanying need for off-the-shelf software led to standardization and the gradual closing of the experimental field in which computer artists had thrived. Even so, the gap between the bright, bold presence of color on-screen and the increasing abstraction of its underlying code continues to lure artists and designers from a wide range of fields, and Kane draws on their work to pose fascinating questions about the relationships among art, code, science, and media in the twenty-first century.
(source: Nielsen Book Data)9780226002736 20160618
Art & Architecture Library (Bowes)
FILMSTUD-252/452-01