LEADER 02931nam 2200589Ia 450 001 9910458896503321 005 20200520144314.0 010 $a0-8078-6813-2 035 $a(CKB)2670000000058475 035 $a(EBL)605936 035 $a(OCoLC)676699422 035 $a(SSID)ssj0000414026 035 $a(PQKBManifestationID)11279954 035 $a(PQKBTitleCode)TC0000414026 035 $a(PQKBWorkID)10384953 035 $a(PQKB)10268019 035 $a(MiAaPQ)EBC605936 035 $a(Au-PeEL)EBL605936 035 $a(CaPaEBR)ebr10425419 035 $a(CaONFJC)MIL929228 035 $a(EXLCZ)992670000000058475 100 $a20100326d2010 ub 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 12$aA chosen path$b[electronic resource] $ethe ceramic art of Karen Karnes /$fedited by Mark Shapiro ; foreword by Garth Clark 205 $a1st ed. 210 $aChapel Hill $cUniversity of North Carolina Press$d2010 215 $a1 online resource (192 p.) 300 $a"This book was published in conjunction with an exhibition at the Arizona State University Art Museum Ceramics Research Center, Tempe, Arizona." 311 $a0-8078-3427-0 320 $aIncludes bibliographical references and index. 327 $aContents; Foreword: Karen Karnes, Modernist; Curator's Statement; Introduction; Karen Karnes: An American Life in Seven Contrasts; The Woman behind the Pot; Individual and Collective: Karen Karnes and the Twentieth-Century Craft Movement; Her Pot; In Her Own Words; Plates; Exhibition Checklist; Chronology with Selected Exhibitions; Selected Public Collections; Bibliography; Contributors; Acknowledgments; Index 330 $aRenowned ceramic artist Karen Karnes has created some of the most iconic pottery of the late twentieth and early twenty-first centuries. The body of work she has produced in her more than sixty years in the studio is remarkable for its depth, personal voice, and consistent innovation. Many of her pieces defy category, invoking body and landscape, pottery and sculpture, male and female, hand and eye. Equally compelling are Karnes's experiences in some of the most significant cultural settings of her generation: from the worker-owned cooperative housing of her childhood, to Brooklyn Coll 606 $aArt pottery, American$y20th century$vExhibitions 606 $aArt pottery, American$y21st century$vExhibitions 608 $aElectronic books. 615 0$aArt pottery, American 615 0$aArt pottery, American 676 $a738.092 700 $aKarnes$b Karen$f1925-$0920594 701 $aShapiro$b Mark$g(Mark Joshua),$f1955-$0920595 712 02$aArizona State University.$bArt Museum. 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910458896503321 996 $aA chosen path$92064773 997 $aUNINA LEADER 04093nam 22007095 450 001 9910793571203321 005 20210715030548.0 010 $a0-8232-8347-X 010 $a0-8232-8359-3 024 7 $a10.1515/9780823283590 035 $a(CKB)4100000007817685 035 $a(MiAaPQ)EBC5739522 035 $a(OCoLC)1090682546 035 $a(MdBmJHUP)muse72757 035 $a(DE-B1597)555419 035 $a(DE-B1597)9780823283590 035 $a(EXLCZ)994100000007817685 100 $a20200723h20192019 fg 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Supermarket of the Visible $eToward a General Economy of Images /$fPeter Szendy 210 1$aNew York, NY :$cFordham University Press,$d[2019] 210 4$dİ2019 215 $a1 online resource (175 pages) 225 0 $aThinking Out Loud 311 0 $a0-8232-8358-5 327 $tFront matter --$tContents --$tone. Money, or The Other Side of Images --$ttwo. The Point of (No) Exchange, or The Debt- Image --$tthree. Innervation, or The Gaze of Capital --$tMerchandise --$tDeleted Scenes --$tDeleted Scenes --$tPhoto Gallery --$tLocations --$tDeleted Scene --$tDeleted Scenes --$tDeleted Scenes --$tFormats --$tCredits --$tNotes --$tIndex 330 $aAlready in 1929, Walter Benjamin described ?a one hundred per cent image-space.? Such an image space saturates our world now more than ever, constituting the visibility in which we live. The Supermarket of the Visible analyzes this space and the icons that populate it as the culmination of a history of the circulation and general commodification of images and gazes. From the first elevators and escalators (tracking shots avant la lettre) to cinema (the great conductor of gazes), all the way down to contemporary eye-tracking techniques that monitor the slightest saccades of our eyes, Peter Szendy offers an entirely novel theory of the intersection of the image and economics. The Supermarket of the Visible elaborates an economy proper to images, icons, in other words, an iconomy. Deleuze caught a glimpse of this when he wrote that ?money is the back side of all the images that cinema shows and edits on the front.? Since ?cinema,? for Deleuze, is synonymous with ?universe,? Szendy argues that this sentence must be understood in its broadest dimension and that a reading of key works in the history of cinema allows us a unique vantage point upon the reverse of images, their monetary implications. Paying close attention to sequences in Hitchcock, Bresson, Antonioni, De Palma, and The Sopranos, Szendy shows how cinema is not a uniquely commercial art form among other, purer arts, but, more fundamentally, helps to elaborate what might be called, with Bataille, a general iconomy.Moving deftly and lightly between political economy, aesthetic theory, and popular movies and television, The Supermarket of the Visible will be a necessary book for anyone concerned with media, philosophy, politics, or visual culture. 410 0$aThinking out loud. 606 $aMotion pictures$xEconomic aspects 606 $aMotion pictures$xPhilosophy 606 $aSemiotics 606 $aVisual perception 610 $aBenjamin. 610 $aDeleuze. 610 $aImage. 610 $aaesthetics. 610 $acinema. 610 $aeconomy. 610 $aelevators. 610 $aescalators. 610 $aeye-tracking. 610 $afilm. 610 $ainnervation. 610 $amoney. 610 $apolitical economy. 615 0$aMotion pictures$xEconomic aspects. 615 0$aMotion pictures$xPhilosophy. 615 0$aSemiotics. 615 0$aVisual perception. 676 $a791.4301 700 $aSzendy$b Peter$4aut$4http://id.loc.gov/vocabulary/relators/aut$0625456 701 $aPlug$b Jan$01482228 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910793571203321 996 $aThe Supermarket of the Visible$93699710 997 $aUNINA LEADER 03291nam 2200721 450 001 9910787268403321 005 20200917021826.0 010 $a90-04-28059-6 024 7 $a10.1163/9789004280595 035 $a(CKB)3710000000303852 035 $a(EBL)4003998 035 $a(SSID)ssj0001489048 035 $a(PQKBManifestationID)11801874 035 $a(PQKBTitleCode)TC0001489048 035 $a(PQKBWorkID)11453381 035 $a(PQKB)11170677 035 $a(MiAaPQ)EBC4003998 035 $a(OCoLC)918997396$z(OCoLC)905242789 035 $a(nllekb)BRILL9789004280595 035 $a(Au-PeEL)EBL4003998 035 $a(CaPaEBR)ebr11101655 035 $a(CaONFJC)MIL831817 035 $a(OCoLC)918997396 035 $a(PPN)184932106 035 $a(EXLCZ)993710000000303852 100 $a20151114h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aAppropriating live televised football through talk /$fby Cornelia Gerhardt 210 1$aLeiden, Netherlands ;$aBoston, [Massachusetts] :$cBrill,$d2014. 210 4$dİ2014 215 $a1 online resource (301 p.) 225 1 $aStudies in Pragmatics,$x1750-368x ;$vVolume 13 300 $aDescription based upon print version of record. 311 $a90-04-27899-0 320 $aIncludes bibliographical references and index. 327 $aPreliminary Material -- 1 Introduction -- 2 Cohesion -- 3 Interactionality -- 4 Focus on the Broadcast Game -- 5 Other Signs of Involvement by the Viewers -- 6 Conclusion -- Appendix: Index of Transcripts -- Bibliography -- Subject Index. 330 $aVideo-recordings of families and groups of friends watching the FIFA men?s football World Cup in their homes allow access to the empirical rather than the imagined or inscribed audiences of a major television event. Qualitative analyses reveal how natural audiences behave in the reception situation appropriating live televised football through talk. Gerhardt shows how the mainly English television viewers use an array of linguistic and embodied resources to turn watching football into a meaningful activity in their groups. Cohesive devices and sequentiality link the fans? talk-in-interaction to the televised text (commentary and pictures). Gaze behaviour, pointing, and even jumping up and down are used as resources for a variety of functions like the construction of an identity as football fan. 410 0$aStudies in pragmatics ;$vVolume 13. 606 $aInterpersonal communication 606 $aSequence (Linguistics) 606 $aTelevision broadcasting of sports$xSocial aspects 606 $aTelevision viewers 606 $aSports$xLanguage 606 $aSoccer fans 615 0$aInterpersonal communication. 615 0$aSequence (Linguistics) 615 0$aTelevision broadcasting of sports$xSocial aspects. 615 0$aTelevision viewers. 615 0$aSports$xLanguage. 615 0$aSoccer fans. 676 $a302.2345 700 $aGerhardt$b Cornelia$0872417 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787268403321 996 $aAppropriating live televised football through talk$93779118 997 $aUNINA