1.

Record Nr.

UNINA9910456634803321

Titolo

Releasing the image [[electronic resource] ] : from literature to new media / / edited by Jacques Khalip and Robert Mitchell

Pubbl/distr/stampa

Stanford, Calif., : Stanford University Press, 2011

ISBN

0-8047-7911-2

Descrizione fisica

1 online resource (299 p.)

Altri autori (Persone)

KhalipJacques <1975->

MitchellRobert <1969->

Disciplina

121/.68

Soggetti

Image (Philosophy)

Phenomenology

Philosophy, Modern

Electronic books.

Lingua di pubblicazione

Inglese

Formato

Materiale a stampa

Livello bibliografico

Monografia

Note generali

Description based upon print version of record.

Nota di bibliografia

Includes bibliographical references and index.

Nota di contenuto

Introduction : release--(non-)origination--concepts / Robert Mitchell and Jacques Khalip -- "Self-generated" images / Peter Geimer -- CeĢzanne's certainty / Jean-Luc Marion -- Nymphs / Giorgio Agamben -- From fixed to fluid : material-mental images between neural synchronization and computational mediation / Mark B.N. Hansen -- When the ear dreams : Dolby digital and the imagination of sound / Vivian Sobchack -- Imaging sound in new media art : Asia acoustics, distributed / Timothy Murray -- Three theses on the life-image (Deleuze, cinema, biopolitics) / Cesare Casarino -- On producing the concept of the image-concept / Kenneth Surin -- The romantic image of the intentional structure / Forest Pyle -- Ur-ability : force and image from Kant to Benjamin / Kevin McLaughlin -- The tongue of the eye : what "art history" means / Bernard Stiegler.

Sommario/riassunto

It has become a commonplace that ""images"" were central to the twentieth century and that their role will be even more powerful in the twenty-first. But what is an image and what can an image be? Releasing the Image understands images as something beyond mere representations of things. Releasing images from that function, it shows them to be self-referential and self-generative, and in this way



capable of producing forms of engagement beyond spectatorship and subjectivity. This understanding of images owes much to phenomenology-the work of Husserl, Heidegger, and Merleau-Ponty-and