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Journal Article
Cultural Politics (1 July 2011) 7 (2): 165–188.
Published: 01 July 2011
... Real. Following this discussion at the level of the narrative, we discuss the film in the context of what Deleuze conceptualized as “time-images.” Our point here is that with the The Hurt Locker we are within “the cinema of the seer,” within a nihilistic portrayal of nihilism from inside, on the basis...
Journal Article
Cultural Politics (1 November 2014) 10 (3): 404–414.
Published: 01 November 2014
... archives for images. In addition to being shot into space, the resulting collection of one hundred images has been the subject of exhibitions, a book, a website, and a series of performances, conversations, and other events. The Last Pictures —like previous time-capsule projects, space messages, and...
Journal Article
Cultural Politics (1 November 2014) 10 (3): 333–353.
Published: 01 November 2014
... explaining them, the basic argument of these texts is quite simple. Deleuze argues that prewar cinemas were largely dominated by “movement-images,” while postwar cinemas produced “time-images.” Deleuze’s terminology refers to a proposed change in cinema aesthetics. Movement-images rely on a classical schema...
Journal Article
Cultural Politics (1 July 2018) 14 (2): 153–173.
Published: 01 July 2018
.... The process of cybernetization initiated around 1900—and the process of computerization since 1950 in particular—culminating in the becoming-environmental of computation, is to be understood as a time of environmentalization, that forces us into the new power/knowledge complex of Environmentality...
Journal Article
Cultural Politics (1 July 2015) 11 (2): 210–221.
Published: 01 July 2015
... future. On the horizon where there is no distance, the screen, the negative abyss, comes back into focus: the screen is the surface that is absolutely self-identical, is absolutely without depth, but at the same time creates the image of endless depth and the bottomless abyss. Fast forwarding into...
Journal Article
Cultural Politics (1 November 2016) 12 (3): 293–309.
Published: 01 November 2016
... climatic conditions. One critical obstacle encountered, especially in the development of color printing, was improper registration: as individual sheets were passed multiple times through a printer, if temperature and humidity changed, the inks would be overlaid imperfectly. The image would vary from the...
Journal Article
Cultural Politics (1 March 2017) 13 (1): 81–100.
Published: 01 March 2017
.... The authors focus on the linguistic contours of graphical representation and display by providing a brief media archaeology of contemporary Internet language, upsetting its separation into generational stages, and therefore a linear progression of its history. At the same time, the authors argue that...
Journal Article
Cultural Politics (1 July 2016) 12 (2): 190–201.
Published: 01 July 2016
... photographic images archived from media photography. Over time, the archive is refined. By the end, the images are solely composed of protest crowds. There is something about them alone—some other kind of energy—that keeps the brush in motion, which makes the marks. Ukraine. Egypt. Yemen. Occupy. The ink...
Journal Article
Cultural Politics (1 July 2009) 5 (2): 229–236.
Published: 01 July 2009
... painting signaled a shift away from my previous work, the moment in which I began to track politically influenced, man-made marks etched on the surface of the earth. At the time, I was reading Manuel De Landa's A Thousand Years of Nonlinear History (1997) , which compares the development of history...
Journal Article
Cultural Politics (1 March 2005) 1 (1): 119–134.
Published: 01 March 2005
... domain where they are copied, recycled and remixed for different purposes, media images are open to a variety of appropriations, uses and recontextualizations. I tend to let my printouts sit for a while in folders. As time goes by their original context becomes difficult to remember and impossible to...
Journal Article
Cultural Politics (1 March 2008) 4 (1): 25–46.
Published: 01 March 2008
... realm. The capacity of fine art (unique but not exclusive) to expose the systems and forces of cultural conditions and ideological production remains vital. At the same time, in our time, we recognize, cynically but necessarily, the extent to which fine art is also, always, a symbolic expression of the...
Journal Article
Cultural Politics (1 November 2017) 13 (3): 281–283.
Published: 01 November 2017
... being abandoned, biography superseded by its performances. As individuals ceased to add up to societies, so the kinds of behaviors logged on and tracked by social media no longer sum up as individuals. The beautiful and poignant dream of a timeless time in Denis Villeneuve’s Arrival (2016) is...
Journal Article
Cultural Politics (1 July 2015) 11 (2): 201–209.
Published: 01 July 2015
... image in the screen wars between representation and presentation. The “squared horizon” captures the end of war as strategy, propaganda, and maneuver in time and space (Virilio calls this “deferred time”) and its replacement by a high-definition transmission of virtual war that is configured...
Journal Article
Cultural Politics (1 March 2006) 2 (1): 115–126.
Published: 01 March 2006
... emergence of a new modality of spectacle. It is characterized by a shift toward real-time engagements and continuous, heightened states of alertness and preparedness, in such a way as to generate a state of extreme readiness for both conflict and libidinous consumption. It blends combat and commodity, and...
Journal Article
Cultural Politics (1 July 2015) 11 (2): 222–233.
Published: 01 July 2015
... adopted by surrealist and avant-garde filmmakers in interwar and postwar Europe. But there is a further dimension at work here. The images and imagery encountered on a daily basis during a time of war in the press, on billboards, and so on play a crucial role in shaping public perception, assuring...
Journal Article
Cultural Politics (1 November 2006) 2 (3): 391–394.
Published: 01 November 2006
... a crisis in time brought about by real-time media interactivity. Communication technologies make it possible to invent a history and expel the banalities of the present. But submission to new technics of the spectacle also produces problems for power that not even the US military and political elite...
Journal Article
Cultural Politics (1 March 2014) 10 (1): 21–39.
Published: 01 March 2014
... Fink does, on the concept of an all-encompassing Space and Time to suggest the natural synchrony of the world. The video call for submissions begins, for instance, with an image of the globe, and the online archive also takes the form of a 3-D composite globe (visitors can click on any photograph to...
Journal Article
Cultural Politics (1 March 2019) 15 (1): 15–28.
Published: 01 March 2019
...) put it, “Images are embedded in the social world and are only comprehensible when that embedding is taken into account.” This article is influenced by this tradition, returning to its core structural method of picking apart the cultural politics of a media image while at the same time parlaying more...
Journal Article
Cultural Politics (1 July 2010) 6 (2): 207–228.
Published: 01 July 2010
...Ian James This paper examines Bernard Stiegler's thinking about technics as developed in the first two volumes of his Technics and Time trilogy. It does so against the backdrop of Francis Fukuyama's highly influential thinking about technologically driven historical progress in The End of History...
Journal Article
Cultural Politics (1 November 2008) 4 (3): 330–336.
Published: 01 November 2008
... copied greeting cards and family snapshots but his preferred idiom was the pastoral landscape, images of simpler times with variations on covered bridges, water mills, and family farms. He painted, at Winston Churchill’s suggestion, to relax. But the unrelaxed spectator happily looks for the buried cargo...