01398nam 2200361 450 991013549420332120231216054510.00-7381-4555-6(CKB)3780000000093169(NjHacI)993780000000093169(EXLCZ)99378000000009316920231216d1969 uy 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierIEEE Std No.296 IEEE Standard Definitions of Terms, Letter Symbols, and Color Code for Hall Effect Devices /Institute of Electrical and Electronics Engineers[Place of publication not identified] :IEEE,1969.1 online resource (1 page)Definitions of 48 terms are accompanied by a list of 38 letter symbols and the standard crossed-rectangle-in-circle-with-crosswires circuit symbol, with the colour code for lead wires to p-type and n-type Hall generators.IEEE Std No.296: IEEE Standard Definitions of Terms, Letter Symbols, and Color Code for Hall Effect DevicesHall generatorsHall effectHall generators.Hall effect.621.38152NjHacINjHaclDOCUMENT9910135494203321IEEE Std No.2962577244UNINA04114nam 22007215 450 991080915810332120210715030548.00-8232-8347-X0-8232-8359-310.1515/9780823283590(CKB)4100000007817685(MiAaPQ)EBC5739522(OCoLC)1090682546(MdBmJHUP)muse72757(DE-B1597)555419(DE-B1597)9780823283590(EXLCZ)99410000000781768520200723h20192019 fg 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierThe Supermarket of the Visible Toward a General Economy of Images /Peter SzendyNew York, NY :Fordham University Press,[2019]©20191 online resource (175 pages)Thinking Out Loud0-8232-8358-5 Front matter --Contents --one. Money, or The Other Side of Images --two. The Point of (No) Exchange, or The Debt- Image --three. Innervation, or The Gaze of Capital --Merchandise --Deleted Scenes --Deleted Scenes --Photo Gallery --Locations --Deleted Scene --Deleted Scenes --Deleted Scenes --Formats --Credits --Notes --IndexAlready in 1929, Walter Benjamin described “a one hundred per cent image-space.” Such an image space saturates our world now more than ever, constituting the visibility in which we live. The Supermarket of the Visible analyzes this space and the icons that populate it as the culmination of a history of the circulation and general commodification of images and gazes. From the first elevators and escalators (tracking shots avant la lettre) to cinema (the great conductor of gazes), all the way down to contemporary eye-tracking techniques that monitor the slightest saccades of our eyes, Peter Szendy offers an entirely novel theory of the intersection of the image and economics. The Supermarket of the Visible elaborates an economy proper to images, icons, in other words, an iconomy. Deleuze caught a glimpse of this when he wrote that “money is the back side of all the images that cinema shows and edits on the front.” Since “cinema,” for Deleuze, is synonymous with “universe,” Szendy argues that this sentence must be understood in its broadest dimension and that a reading of key works in the history of cinema allows us a unique vantage point upon the reverse of images, their monetary implications. Paying close attention to sequences in Hitchcock, Bresson, Antonioni, De Palma, and The Sopranos, Szendy shows how cinema is not a uniquely commercial art form among other, purer arts, but, more fundamentally, helps to elaborate what might be called, with Bataille, a general iconomy.Moving deftly and lightly between political economy, aesthetic theory, and popular movies and television, The Supermarket of the Visible will be a necessary book for anyone concerned with media, philosophy, politics, or visual culture.Thinking out loud.Motion picturesEconomic aspectsMotion picturesPhilosophySemioticsVisual perceptionBenjamin.Deleuze.Image.aesthetics.cinema.economy.elevators.escalators.eye-tracking.film.innervation.money.political economy.Motion picturesEconomic aspects.Motion picturesPhilosophy.Semiotics.Visual perception.791.4301791.4301Szendy Peterauthttp://id.loc.gov/vocabulary/relators/aut625456Plug Jan1666744DE-B1597DE-B1597BOOK9910809158103321The Supermarket of the Visible4026158UNINA