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[null,"1.","Record Nr.",null,"UNINA9910960808503321"]
[null,null,"Autore",null,"Steiner Shep"]
[null,null,"Titolo",null,"Rodney Graham: Phonokinetoscope"]
[null,null,"Pubbl/distr/stampa",null,"[Place of publication not identified], : Afterall, , 2013"]
[null,null,"ISBN",null,"1-84638-121-5"]
[{"$nulls":4},"1-84638-124-X"]
[{"$nulls":4},"1-4619-4735-9"]
[{"$nulls":4},"1-84638-123-1"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (128 pages) : illustrations (some color)"]
[null,null,"Collana",null,"One work series. Rodney Graham"]
[null,null,"Disciplina",null,"128"]
[null,null,"Soggetti",null,"Art and music"]
[{"$nulls":4},"Film criticism"]
[{"$nulls":4},"Discursive works"]
[{"$nulls":4},"Essays"]
[{"$nulls":4},"Critical Writing"]
[{"$nulls":4},"Essay"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","\"One work\"--Cover."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references."]
[null,null,"Nota di contenuto",null,"Intro -- Contents -- Preface -- Tupoi -- From Topoi to Topologies -- Primordial Encounters -- Cinema as Pharmakon -- 'Pre-positional By-play' -- 'How does it feel… How does it feel…', or Getting Around Husserl's 'Temporal Object' -- Appendix I -- Appendix II -- Plates -- Endnotes."]
[null,null,null,"Sommario/riassunto","\"Urban parkland, invention and repetition are the key motifs of Rodney Graham's Phonokinetoscope (2001). Drawing together Graham's early commitment to photography and subsequent investigations into film, music and installation, the work consists of a turntable driving a projector, a vinyl LP with psychedelic rock song written and performed by the artist, and a 16mm film loop featuring Graham riding a bicycle around Berlin's Tiergarten, while tripping on acid. In this book, Shepherd Steiner discusses Phonokinetoscope as a pivotal work in the context of the artist's early explorations of proto-cinema and later preoccupations with the 'temporal object'. He uncovers a practice indebted to deconstruction and a picture of an artist engaged in the most pressing issues confronting contemporary art and theory: reference, mimesis, performance, the legacy of minimalism, topology, "]
[{"$nulls":4},"irony and memory.\"--"]