Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol's Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature. Analyzing four categories of static film--furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image--Remes maps the interrelations between movement, stillness, and duration and their complication of cinema's conventional function and effects. Arguing all films unfold in time, he suggests duration is more fundamental to cinema than motion, initiating fresh inquiries into film's manipulation of temporality, from rigidly structured works to those with more ambiguous and open-ended frameworks. Remes's discussion integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and will appeal to students of film theory, experimental cinema, intermedia studies, and aesthetics.
Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol's Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature. Analyzing four categories of static film--furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image--Remes maps the interrelations between movement, stillness, and duration and their complication of cinema's conventional function and effects. Arguing all films unfold in time, he suggests duration is more fundamental to cinema than motion, initiating fresh inquiries into film's manipulation of temporality, from rigidly structured works to those with more ambiguous and open-ended frameworks. Remes's discussion integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and will appeal to students of film theory, experimental cinema, intermedia studies, and aesthetics.
Master the tools of design thinking using Neuroprosthetics: Principles and Applications. Developed from successfully tested material used in an undergraduate and graduate level course taught to biomedical engineering and neuroscience students, this book focuses on the use of direct neural sensing and stimulation as a therapeutic intervention for complex disorders of the brain. It covers the theory and applications behind neuroprosthetics and explores how neuroprosthetic design thinking can enhance value for users of a direct neural interface. The book explains the fundamentals of design thinking, introduces essential concepts from neuroscience and engineering illustrating the major components of neuroprosthetics, and presents practical applications. In addition to describing the approach of design thinking (based on facts about the user’s needs, desires, habits, attitudes, and experiences with neuroprosthetics), it also examines how effectively "human centered" neuroprosthetics can address people’s needs and interactions in their daily lives. Identifying concepts and features of devices that work well with users of a direct neural interface, this book: Outlines the signal sensing capabilities and trade-offs for common electrode designs, and determines the most appropriate electrode for any neuroprosthetic application Specifies neurosurgical techniques and how electronics should be tailored to capture neural signals Provides an understanding of the mechanisms of neural–electrode performance and information contained in neural signals Provides understanding of neural decoding in neuroprosthetic applications Describes the strategies that can be used to promote long-term therapeutic interventions for humans through the use of neuroprosthetics The first true primary text for undergraduate and graduate students in departments of neuroscience and bioengineering that covers the theory and applications behind this science, Neuroprosthetics: Principles and Applications provides the fundamental knowledge needed to understand how electrodes translate neural activity into signals that are useable by machines and enables readers to master the tools of design thinking and apply them to any neuroprosthetic application.
This pre-eminent work has developed over six editions in response to man's attempts to climb higher and higher unaided, and to spend more time at altitude for both work and recreation. Building on this established reputation, the new and highly experienced authors provide a fully revised and updated text that will help doctors continue to improve the health and safety of all people who visit, live or work in the cold, thin air of high mountains. The sixth edition remains invaluable for any doctor accompanying an expedition or advising patients on a visit to altitude, those specialising in illness and accidents in high places, and for physicians and physiologists who study our dependence on oxygen and the adaptation of the body to altitude.
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