LEADER 00878nam a22002411i 4500 001 991001082309707536 005 20021117171556.0 008 021117s1977 it |||||||||||||||||ita 035 $ab12097408-39ule_inst 035 $aARCHE-018720$9ExL 040 $aDip.to Filologia Ling. e Lett.$bita$cA.t.i. Arché s.c.r.l. Pandora Sicilia s.r.l. 082 04$a853.91 100 1 $aSgorlon, Carlo$0159870 245 14$aGli dei torneranno :$bromanzo /$cCarlo Sgorlon 260 $aMilano :$bMondadori,$c1977 300 $a303 p. ;$c21 cm 490 0 $aScrittori italiani e stranieri 907 $a.b12097408$b28-04-17$c01-04-03 912 $a991001082309707536 945 $aLE008 TS F X 53$g1$i2008000330026$lle008$o-$pE0.00$q-$rl$s- $t0$u0$v0$w0$x0$y.i12399176$z01-04-03 996 $aDei torneranno$9139658 997 $aUNISALENTO 998 $ale008$b01-04-03$cm$da $e-$fita$git $h4$i1 LEADER 01403aam 2200397I 450 001 9910710031503321 005 20151118015326.0 024 8 $aGOVPUB-C13-2df380ba3b5e684c6cf7c04416ed1692 035 $a(CKB)5470000002475964 035 $a(OCoLC)929882384 035 $a(EXLCZ)995470000002475964 100 $a20151118d1976 ua 0 101 0 $aeng 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aSelected thermochemical data compatible with the CODATA recommendations /$fV. B. Parker; D. D. Wagman; D. 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Some fields updated by batch processes. 300 $aTitle from PDF title page. 320 $aIncludes bibliographical references. 700 $aParker$b Vivian B$01392924 701 $aGarvin$b D$01396354 701 $aParker$b Vivian B$01392924 701 $aWagman$b Donald D$092335 712 02$aUnited States.$bNational Bureau of Standards. 801 0$bNBS 801 1$bNBS 801 2$bGPO 906 $aBOOK 912 $a9910710031503321 996 $aSelected thermochemical data compatible with the CODATA recommendations$93512341 997 $aUNINA LEADER 04905oam 22004814a 450 001 9910229241903321 005 20230621140738.0 024 7 $a10.21983/P3.0154.1.00 035 $a(CKB)4100000000981193 035 $a(OAPEN)1004623 035 $a(OCoLC)1183978121 035 $a(MdBmJHUP)muse87201 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/32424 035 $a(oapen)doab32424 035 $a(EXLCZ)994100000000981193 100 $a20200729e20202016 uy 0 101 0 $aeng 135 $aurmu#---auuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aPhotography in the Middle: Dispatches on Media Ecologies and Aesthetics$fRob Coley & Dean Lockwood 210 $aBrooklyn, NY$cpunctum books$d2016 210 1$aBaltimore, Maryland :$cProject Muse,$d2020 210 4$d©2020 215 $aa 1 online resource (173 pages) $cillustrations; PDF, digital file(s) 311 08$a0-9982375-1-5 320 $aIncludes bibliographical references (pages 165-173). 327 $aCircle of confusion -- Tricks learned after the crash -- Dispatches -- The Holiday Inn -- csi Du?sseldorf -- I am Muybridge -- On paraphotography., 330 $aIt's easy to forget there's a war on when the front line is everywhere encrypted in plain sight. Gathered in this book's several chapters are dispatches on the role of photography in a War Universe, a space and time in which photographers such as Hilla Becher, Don McCullin and Eadweard Muybridge exist only insofar as they are a mark of possession, in the sway of larger forces. These photographers are conceptual personae that collectively fabulate a different kind of photography, a paraphotography in which the camera produces negative abyssal flashes or 'endarkenment.' In his Vietnam War memoir, Dispatches, Michael Herr imagines a 'dropped camera' receiving 'jumping and falling' images, images which capture the weird indivisibility of medium and mediated in a time of war. The movies and the war, the photographs and the torn bodies, fused and exchanged. Reporting from the chaos at the middle of things, Herr invokes a kind of writing attuned to this experience. Photography in the Middle, eschewing a high theoretical mode, seeks to exploit the bag of tricks that is the dispatch. The dispatch makes no grand statement about the progress of the war. Cultivating the most perverse implications of its sources, it tries to express what the daily briefing never can. Ports of entry in the script we're given, odd and hasty little glyphs, unhelpful rips in the cover story, dispatches are futile, dark intuitions, an expeditious inefficacy. They are bleak but necessary responses to an indifferent world in which any action whatever has little noticeable effect.As luck would have it, Photography in the Middle begins with some nasty accidents, and extracts from the wreckage a few lessons learned. Dusting itself off, it ships out and puts up with a bunch of battle scarred, big gun photojournalists in the Holiday Inn of a typical world city. Later, it immerses itself within the leaked files of an enigmatic police cabal which detail the surveillance of conceptual photographers Bernd and Hilla Becher, an operation that even extends to the duo's dreams. Further back in time, in 1897, we are invited to an inflammatory, yet patchily documented public lecture given by the Titan, Muybridge.More than any other, it is William Burroughs, conceived here as a war photographer, who is our tutelary figure, hovering over all these pages in his attempt to map emergent vectors of mediation, ever more intimate forms of control and accelerants of planetary catastrophe. Burroughs believed that it was necessary to both keep pace with and formulate new vectors, vectors that might act as intersections with a nonhuman outside. Photography has an agency of its own, one that scrambles the patterns and refrains of mediation upon which human life is based, glitching the human and provoking relations with external coordinates. With Burroughs, and other inspirations such as J.G. Ballard, Georges Bataille, Tom McCarthy and Eugene Thacker, our notion of the dispatch does not offer positive knowledge of something that we can reconcile with existing rational explanations, but rather the revelation of a nightside, our redundancy in a photography that suspends all operations in a general blindness. 606 $aPhotography$xTechnique 606 $aPhotography$xPhilosophy 608 $aElectronic books. 615 0$aPhotography$xTechnique. 615 0$aPhotography$xPhilosophy. 700 $aColey$b Rob$0965221 702 $aLockwood$b Dean 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910229241903321 996 $aPhotography in the Middle: Dispatches on Media Ecologies and Aesthetics$92189857 997 $aUNINA