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  1. "Shadow-Lands": The Suffering Image.Gavin Keeney - manuscript
    Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.
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  2. Análisis cinematográfico de la película peruana Jarjacha. El demonio del incesto (2000). Perspectivas de Gilles Deleuze y Alain Badiou.Jesús Miguel Delgado Del Aguila - 2022 - Opuntia Brava 13 (3):217-228.
    Este artículo extrapola conceptos cinematográficos que desarrollan Gilles Deleuze y Alain Badiou, tales como movimiento, cuadro, plano y montaje. El propósito de corroborar estas categorías es para articularlas en el largometraje del director Melinton Eusebio, Jarjacha. El demonio del incesto (2000), y detectar la cosmovisión concomitante que prevalece en una localidad distanciada de la capital, caracterizada por la presencia andina de una tradición y una organización política basada en el sometimiento de una localidad hacia un alcalde, quien dictamina y castiga (...)
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  3. «VI Congreso Internacional de Narrativa Fantástica 2019 (Lima, Perú)» (resumen).Jesús Miguel Delgado Del Aguila - 2021 - Revista Ciencia Multidisciplinaria CUNORI 5 (1):153-162.
    El VI Congreso Internacional de Narrativa Fantástica 2019 se realizó en la capital del Perú del 23 al 25 de octubre de 2019. Fue organizado por el Centro de Estudios Literarios Antonio Cornejo Polar y auspiciado por el Instituto Raúl Porras Barrenechea. Elton Honores asumió la función principal para la administración del evento. La convocatoria consideró las propuestas del subgénero fantástico, desde las creaciones artísticas de Borges, Poe y Oesterheld. También, se interrelacionó lo fantástico con conceptos conexos como los de (...)
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  4. Accidents Made Permanent: Theater and Automatism in Stanley Cavell, Michael Fried, and Matías Piñeiro.Byron Davies - 2020 - Modern Language Notes 135 (5):1283-1314.
    This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...)
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  5. The Post-Human Media Semblance: Predictive Catastrophism.Ekin Erkan - 2020 - Rhizomes: Cultural Studies in Emerging Knowledge 36.
    Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...)
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  6. On Levi R. Bryant’s “Dim Media” by Ekin Erkan.Ekin Erkan - 2019 - MediaCommons 5:1-20.
    A commissioned article about philosopher of ecology Levi Bryant, and his theory of urban space.
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  7. L'immagine-inazione. Lo spazio e il tempo nel passaggio dall'image-mouvement all'image-temps in Gilles Deleuze.Fabio Vergine - 2019 - In Enrico Giannetto (ed.), La memoria del cielo. Catania CT, Italia: pp. 1-18.
    Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...)
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  8. Hypertext. Eine Schrift für vernetzte, dynamische Schreibmaschinen (1965).Christian Vater - 2017 - In Christian Vater, Ludger Lieb, Christian Witschel & Michaela Böttner (eds.), 5300 Jahre Schrift. Heidelberg: Wunderhorn. pp. 166-169.
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  9. Abstrakt - Affektiv - Multimodal. Zur Verarbeitung von Bewegtbildern Im Anschluss an Cassirer, Langer Und Krois.Martina Sauer - 2016 - In Lars Christian Grabbe, Patrick Rupert-Kruse & Norbert M. Schmitz (eds.), Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment. Kiel, Germany: Büchner-Verlag. pp. 46-71.
    Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne K. (...)
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