MARC Record from harvard_bibliographic_metadata

LEADER: 03888cam a2200517 i 4500
001 013801845-6
005 20131107100319.0
008 130605s2013 nyu b 001 0 eng
010 $a 2013020322
020 $a9781441169150 (hardback : alk. paper)
020 $a1441169156 (hardback : alk. paper)
020 $z9781441172273 (e-pub)
020 $z9781441163936 (e-pdf)
035 0 $aocn842877356
040 $aDLC$beng$erda$cDLC$dBTCTA$dOCLCO$dBDX$dMUU$dYDXCP$dCIA$dCHVBK
042 $apcc
050 00 $aPN1995.9.E96$bT64 2013
082 00 $a791.43/611$223
100 1 $aTomas, David.
245 10 $aVertov, Snow, Farocki :$bmachine vision and the posthuman /$cDavid Tomas.
264 1 $aNew York :$bBloomsbury,$c2013.
300 $a293 pages :$billustrations ;$c24 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
504 $aIncludes bibliographical references (pages 281-286) and index.
505 0 $aIntroduction -- Threshold. when a ritual process speaks of machine vision and cyborg prototypes: a film document, circa 1929 -- Manufacturing vision and the posthuman circa 1929: Kino-eye, The man with a movie camera, and the perceptual reconstruction of social identity -- Enigma of the central region. A microhistory of machine vision and posthuman consciousness, circa 1969-1972 -- La région centrale: basic cultural, technical and formal filiations -- Toward a cosmic rite of passage: external and internal locations and a play of authorship -- La région centrale: liminality, knowledge production, pedagogy -- La région centrale: from cosmic to posthuman rite of passage -- De La (1969-71): authorship, automation and the posthuman -- A comparative schematic analysis of the automated narrative and its mechanical logic in Vertov's The man with a movie camera (1929) and Michael Snow's De La (1969-1972) -- The public deployment of machine vision and the programmed materialization of the posthuman in collective social space, two early twenty-first century video documents -- A posthuman future in the age of the algorithm: Farocki's documentation of the operational image and its culture of surveillance.
520 8 $aVertov, Snow, Farocki: Machine Vision and the Posthuman' begins with a comprehensive and original anthropological analysis of Vertov's film The Man With a Movie Camera. Tomas then explores the film's various aspects and contributions to media history and practice through detailed discussions of selected case studies. The first concerns the way Snow's La Region Centrale and De La extend and/or develops important theoretical and technical aspects of Vertov's original film, in particular those aspects that have made the film so important in the history of cinema. The linkage between Vertov's film and the works discussed in the case studies will also serve to illustrate the historical and theoretical significance of a comparative approach of this kind, and illustrate the pertinence of adopting a 'relational approach' to the history of media.
650 0 $aExperimental films$xHistory and criticism.
650 0 $aVideo installations (Art)$xHistory and criticism.
650 0 $aFilm installations (Art)$xHistory and criticism.
600 10 $aVertov, Dziga,$d1896-1954$xCriticism and interpretation.
630 00 $aChelovek s kinoapparatom (Motion picture)
600 10 $aSnow, Michael,$d1929-$xCriticism and interpretation.
600 10 $aFarocki, Harun$xCriticism and interpretation.
600 17 $aVertov, Dziga,$d1896-1954.$2gnd
600 17 $aSnow, Michael,$d1929-$2gnd
600 17 $aFarocki, Harun,$d1944-$2gnd
630 07 $aČelovek s kinoapparatom.$2gnd
650 7 $aExperimentalfilm.$2gnd
650 7 $aVideo-Installation.$2gnd
650 7 $aKünstlicher Mensch.$2gnd
899 $a415_565404
988 $a20131012
049 $aHLSS
906 $0DLC