A groundbreaking study examining major literary treatments of the idea of earthly immortality, throwing into relief fascinating instances of human self-awareness over the past three hundred years.
An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts.
A diverse, enriching volume of media analysis from a pioneering thinker in the field Expanding on Siegfried Zielinski’s groundbreaking inquiry into “deep time” of the media, the essays in Variations on Media Thinking further the eminent media theorist’s unique method of expanded hermeneutics, which means for him interpreting technical artifacts as essential parts of our cultural lives. Covering such topics as the televisualized “Holocaust,” the ubiquity of media today, the Internet, the genealogy of sound art, and history’s first hacker movement, these essays further diversify Zielinski’s insight into the hidden layers of media development, which he first articulated in his pioneering work Deep Time of the Media. Including many previously untranslated and scarce essays, these “written time machines” open new lines of investigation for cultural scholars. From the automata of the Arabic-Islamic Renaissance (800–1200) to the largest and loudest techno-event ever, known as The Symphony of Sirens—which transformed Baku in 1922 into an immense music box of modern noise—Variations on Media Thinking covers Zielinski’s inquiries since 1975. Richly illustrated and full of provocation, brilliant insight, and fascinating research, this volume is perfect for students of media archaeology, philosophy, and technology, as well as any adventurous, rigorous thinkers engaged with culture and media.
De productie, de distributie, en de waarneming van bewegende beelden zijn onderhevig aan een radicale transformatie. Doordat steeds snellere computers en digitale technologie kracht bundelen, ontstaat er een nieuwe vorm van 'audiovisie'. Bijna niets zal hetzelfde blijven. De ooit 'normale' media voor het uitdragen van film - de bioscoop en de televisie - blijken niet meer te zijn dan een intermezzo in de geschiedenis van de audiovisuele media. Dit boek interpreteert de veranderingen niet als cultureel verlies maar als een uitdaging: de nieuwe 'audiovisie' moet anders benaderd worden om strategische interventie mogelijk te maken. 'Audiovisions' ondersteunt deze benadering op historische wijze. Door te kijken naar 100 jaar, van het eind van de negentiende tot aan het eind van de 20ste eeuw, laat het zien waarom de bioscoop en televisie als eindige, culturele vormen gezien moeten worden. Tevens is het boek een pleidooi voor ' blijvend kracht' van studies naar culturele technologie en de technologische cultuur van film. Essayistisch in stijl, is het boek gestructureerd rond verschillende historische fasen. De beelden en bij de tekst zorgen voor supplementaire informatie, contrast, en aanvullend commentaar.
32 high-res stereo-pairs for “crossed-eyes-viewing“ from the architecture of Berlin S3D Photography by Josef Plank & Siegfried Büker Introduction: „Not without reason, we have the ability to see stereo 3D (S3D). She made us better hunters, made us recognize predators earlier and escape from them. Why should not we use this heritage of hunter-gatherer times today at work, in leisure and entertainment, in short, wherever we visually experience the world?“ James Cameron, Director of “AVATAR” The playback possibilities of stereoscopic recordings (S3D-Content) have improved significantly due to developments in eBook software and display technologies in the 20th of the 21st century. With the standard ePub 3 and KF8 (Kindle Format 8) or also called azw3-Format, illustrated books can be published as electronic books in high quality. This is the first published application of a stereoscopic illustrated book, following research of the author. This version of "The architecture of Berlin in a stereoscopic view" is the version for "crossed-eyes-view". This viewing technique is explained below, along with other viewing techniques. The present version was designed in double page layout in DIN A4. On opening the double page, a DIN A3 image in landscape format is displayed, with the image for the right eye on the left side and the image for the left eye on the right side. The resolution of the images is adapted to the height of UHD displays with 2160p and the images are embedded as lossless .png files. This results in cinema quality in picture height of modern 4k digital cinema projectors. Due to the "book format" and the "crossed-eyes-viewing" the width is less than 4k, that is to say 2 x 1527 pixels = 3054 pixels. As color space, sRGB has been chosen so that the colors are reproduced more or less correctly even in consumer displays. The dynamic (contrast) should be more than 10 f-stops ≙ 2 to the 10th or more than 1:1000), if the display used, can meet this relatively simple requirement. These parameters leave the classic printed illustrated book behind. The quoted values call for a publication as an eBook.
The media are now redundant. In an overview of developments spanning the past seventy years, Siegfried Zielinski’s [ . . . After the Media] discusses how the means of technology-based communication assumed a systemic character and how theory, art, and criticism were operative in this process. Media-explicit thinking is contrasted with media-implicit thought. Points of contact with an arts perspective include a reinterpretation of the artist Nam June Paik and an introduction to the work of Jake and Dinos Chapman. The essay ends with two appeals. In an outline of a precise philology of exact things, Zielinski suggests possibilities of how things could proceed after the media. With a vade mecum against psychopathia medialis in the form of a manifesto, the book advocates for a distinction to be made between online existence and offline being.
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