LEADER 03496 am 22005533u 450 001 9910353331803321 005 20240227004218.0 010 $a9781947477783 024 7 $a10.21983/P3.0241.1.00 035 $a(CKB)4100000009914131 035 $a(OAPEN)1004706 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/36607 035 $a(EXLCZ)994100000009914131 100 $a20200123h20192019 uy 0 101 0 $amul 135 $aurmu#---auuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aBeta exercise $ethe theory and practice of Osamu Kanemura /$fedited by Marco Mazzi, Vincent W.J. van Gerven Oei ; translated by Michiyo Miyake & Nicholas Marshall 210 $aBrooklyn, NY$cpunctum books$d2019 210 1$a[Santa Barbara, California] :$aEarth, Milky Way :$cpunctum books,$d2019. 210 4$dİ2019 215 $a1 online resource (227 pages) $cillustrations; PDF, digital file(s) 311 $a9781947477776 320 $aIncludes bibliographical references. 330 $aBeta Exercise: The Theory and Practice of Osamu Kanemura is the first bilingual (Japanese-English) book to provide an overview of the theoretical work of Japanese photographer and video artist Osamu Kanemura, a unique voice in the world of contemporary photography. The opening essay ?Life Is a Gift? comments on the transformation of human life into an exchangeable commodity and the abstraction it entails. ?Essay 01? develops Kanemura?s idea of photographic ?technique? in an era when such techniques have become accessible to all, radically undermining the importance of human subjectivity in the process of capturing the photographic image: ?We can say that modern technology constitutes photographic technique.? Instead, Kanemura argues, extra-technical elements such as concept and vision will have to compensate for the expression of individuality that technique is no longer able to convey. Taking cues from Kiyoshi Kurosawa and Karlheinz Stockhausen, the essay ?Dead-Stick Landing? develops Kanemura?s theory of the moving image as mechanical system, solely governed by an ?on-off switch.? ?Essay 02? develops these ideas into a consideration of cinematic time and the experience of boredom in cinema as the result of a truthful ?loyalty? expressed to machines, and not to stories. The essays are accompanied by an extensive two-part interview with Italian photographer Marco Mazzi, touching upon topics ranging from the technical aspects of his equipment, the concept of non-editing, and the destruction of the frame to the similarity between Mao?s dialectics and the camera, the presence of the human figure as trace, and the politics of photographing Tokyo. 606 $aPhotography$zJapan 606 $aPhotography, Artistic 606 $aArchitectural photography 610 $aphotography 610 $amedia studies 610 $aOsamu Kanemura 610 $aJapan 610 $aaesthetics 615 0$aPhotography 615 0$aPhotography, Artistic. 615 0$aArchitectural photography. 676 $a779 700 $aKanemura$b Osamu$4auth$01088339 702 $aMazzi$b Marco 702 $aGerven Oei$b Vincent W. J. van$f1983- 702 $aMiyake$b Michiyo 702 $aMarshall$b Nicholas 801 2$bUkMaJRU 906 $aBOOK 912 $a9910353331803321 996 $aBeta exercise$93386687 997 $aUNINA