Armchair travel may seem like an oxymoron. Doesn’t travel require us to leave the house? And yet, anyone who has lost herself for hours in the descriptive pages of a novel or the absorbing images of a film knows the very real feeling of having explored and experienced a different place or time without ever leaving her seat. No passport, no currency, no security screening required—the luxury of armchair travel is accessible to us all. In Traveling in Place, Bernd Stiegler celebrates this convenient, magical means of transport in all its many forms. Organized into twenty-one “legs”—or short chapters—Traveling in Place begins with a consideration of Xavier de Maistre’s 1794 Voyage autour de ma chambre, an account of the forty-two-day “journey around his room” Maistre undertook as a way to entertain himself while under house arrest. Stiegler is fascinated by the notion of exploring the familiar as though it were completely new and strange. He engages writers as diverse as Roussel, Beckett, Perec, Robbe-Grillet, Cortázar, Kierkegaard, and Borges, all of whom show how the everyday can be brilliantly transformed. Like the best guidebooks, Traveling in Place is more interested in the idea of travel as a state of mind than as a physical activity, and Stiegler reflects on the different ways that traveling at home have manifested themselves in the modern era, from literature and film to the virtual possibilities of the Internet, blogs, and contemporary art. Reminiscent of the pictorial meditations of Sebald, but possessed of the intellectual playfulness of Calvino, Traveling in Place offers an entertaining and creative Baedeker to journeying at home.
This book presents the status quo of the structure, preparation, properties and applications of tetrahedrally bonded amorphous carbon (ta-C) films and compares them with related film systems. Tetrahedrally bonded amorphous carbon films (ta-C) combine some of the outstanding properties of diamond with the versatility of amorphous materials. The book compares experimental results with the predictions of theoretical analyses, condensing them to practicable rules. It is strictly application oriented, emphasizing the exceptional potential of ta-C for tribological coatings of tools and components.
Armchair travel may seem like an oxymoron. Doesn’t travel require us to leave the house? And yet, anyone who has lost herself for hours in the descriptive pages of a novel or the absorbing images of a film knows the very real feeling of having explored and experienced a different place or time without ever leaving her seat. No passport, no currency, no security screening required—the luxury of armchair travel is accessible to us all. In Traveling in Place, Bernd Stiegler celebrates this convenient, magical means of transport in all its many forms. Organized into twenty-one “legs”—or short chapters—Traveling in Place begins with a consideration of Xavier de Maistre’s 1794 Voyage autour de ma chambre, an account of the forty-two-day “journey around his room” Maistre undertook as a way to entertain himself while under house arrest. Stiegler is fascinated by the notion of exploring the familiar as though it were completely new and strange. He engages writers as diverse as Roussel, Beckett, Perec, Robbe-Grillet, Cortázar, Kierkegaard, and Borges, all of whom show how the everyday can be brilliantly transformed. Like the best guidebooks, Traveling in Place is more interested in the idea of travel as a state of mind than as a physical activity, and Stiegler reflects on the different ways that traveling at home have manifested themselves in the modern era, from literature and film to the virtual possibilities of the Internet, blogs, and contemporary art. Reminiscent of the pictorial meditations of Sebald, but possessed of the intellectual playfulness of Calvino, Traveling in Place offers an entertaining and creative Baedeker to journeying at home.
Portraits von Photographen erwartet man zumeist als Bilder, die von ihnen selbst oder von anderen aufgenommen wurden. Bernd Stiegler nimmt sie in Gestalt von Essays in den Blick und lässt dabei schlaglichtartig ein Jahrhundert Photographiegeschichte Revue passieren. Vom Beginn des 20. Jahrhunderts bis zur Gegenwart werden in zehn photographischen Portraits höchst unterschiedliche Erkundungen des Photographischen vorgestellt. Was kann und was soll die Photographie leisten? Was ist die Aufgabe der Photographie? Das sind die leitenden Fragen dieser Essays. Der Bogen reicht u.a. von der Kunstphotographie Alvin Langdon Coburns und der neusachlichen Photographie eines Albert Renger-Patzsch über die russischen Photographen Alexander Rodtschenko und Boris Mikhailov bis hin zur generativen und konkreten Photographie Gottfried Jägers und zeitgenössischen Photographen wie Michael Reisch oder Philipp Goldbach.
In the 19th century, numerous photographers chose the same motifs as Impressionist painters: the forest of Fontainebleau, the cliffs of Étretat or the modern metropolis of Paris. They, too, studied the changing light, seasons and weather conditions. From its inception, photographers pursued artistic ambitions, as evidenced by their experimentation with composition and perspective, by means of various technical procedures. Until the First World War, the relationship between photography and painting was characterized both by competition and mutual influence. The exhibition and catalogue examine these interactions and illuminate the development of the new medium from the 1850s to its establishment as an autonomous art form around 1900"-- Provided by publisher.
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