2013/2 – 'Waste'

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  • Review
  • Review
    Colour Films in Britain
    Hanssen, Eirik Frisvold (2013) , S. 563-568
  • Article
    The tactile and the index – From the remote control to the hand-held computer, some speculative reflections on the bodies of the will
    Engell, Lorenz (2013) , S. 323-336
    The article deals with the conception of tactility in Marshall McLuhan’s media theory and its relation to the notion of the index and the category of ‘secondness’ in the semiotic pragmatism of Charles Sanders Peirce. It shows how two different aspects of tactility in McLuhan’s work can be differentiated and, by further comparison with Michel Serres’ philosophy of the senses, how they are linked to the philosophical problem of the delegation of the will, or of the intention, from the human body to media technologies such as remote controls or computer interfaces.
  • Article
    Transcending obsolescence in technological ruins? Questions of conservation and presentation in Nam June Paik’s Something Pacific and Rembrandt Automatic
    Hölling, Hanna B. (2013) , S. 465-482
    Standing amidst the lively garden of the campus of the University of California, San Diego, I am looking at the many television sets, Buddhas, and elements of various electronic devices scattered around. As the first outdoor ensemble of the Korean video artist Nam June Paik (1932-2006), the installation Something Pacific (1986) was installed here almost three decades ago. Although meticulously trimmed, the grass grows over the sculptures just slightly – nature, as time, is taking over the arrangement. There is a particular feeling that is attached to this observation, a feeling of tranquillity, stasis, deactivation, perhaps meditation and somewhat religious emotion. This strangely-arranged ensemble, rather than putting malfunction on display, takes the viewer to the other side (perhaps to nostalgia), questioning the standard of what is expected of media – a desire or even demand to view a transmitted image. It is astonishing in its devotion to stillness and contemplation.
  • Article
    Media zoology and waste management – Animal energies and medianatures
    Parikka, Jussi (2013) , S. 527-544
    In this article I will investigate the relations of media and ecology, arguing that the incorporation of nature and ecology as part of the media theoretical discourse should also be connected to the ecological contexts in which theory is being produced. This means a concretisation of media ecology in terms of its focus and topic to take into account the current eco-crisis, from perspectives related to animal studies, electronic waste, and even geology. In this sense, the argument of the text is simple: there is a concrete edge to media ecological theory, and in this instance it is elaborated through the themes of animals, waste, and mineral resources.
  • Article
    ‘The Sown and the Waste’ – or, the psychedelic writing of film history
    Tybjerg, Casper (2013) , S. 509-525
    The word ‘psychedelic’ was coined in the 1950s by psychiatrist Humphry Osmond to describe hallucinogenic drugs like mescaline and LSD – but this essay will not be about either the history of ‘head’ films or how to write film history on acid. What I want to do is to show what film historians can learn from J.H. Hexter’s writings on the rhetoric of history, including a look at what he meant when he wrote about how historians use language ‘psychedelically’.
  • Article
  • Review
  • Article
    Archival gambits in recent art – What can an image do?
    Fournier, Anik (2013) , S. 337-358
    In recent decades new technologies have increased access to and the manipulation of audio-visual material, to the point that today, reusing found footage has for many become a daily practice. Although the word ‘archive’ still continues to evoke notions of preservation, order, and authority, images circulate through increasingly pervasive mediascapes, being ripped, cut, retouched, pasted, and repurposed along the way. If the rise of neoliberal hegemony in the 1980s turned everyone into a consumer, in the early 1990s, with the introduction of the JPEG and other formats of what Hito Steyerl has called ‘poor images’, everyone became a produce.
  • Article
    Editorial Necsus
    NECSUS Editorial Board (2013) , S. 321-322
    Each issue of NECSUS begins with general articles which are not bound to a specific theme. Please note that we accept abstract submissions on a rolling basis throughout the year for these articles. In this issue we are extremely pleased to present a series of dynamic contributions, as always, dealing with cutting-edge topics in media studies.
  • Review
    Framing, painting, collecting images – Antonioni’s legacy
    Di Chiara, Francesco (2013) , S. 599-605
  • Article
    Orbital ruins
    Parks, Lisa (2013) , S. 419-429
    When satellites or meteorites fall back to earth they draw attention to the extraterritorial domains that extend up from the surface of the planet; through the atmosphere, stratosphere, and ionosphere, into the multiple orbital paths and out to the edges of the super-synchronous or ‘parking’ orbit, where satellites go to die.
  • Article
    Revisiting the voice in media and as medium – New materialist propositions
    Tiainen, Milla (2013) , S. 383-406
    Approached with varying attention to its sensory, auditory, and signifying dimensions, over the past decades the voice has attracted repeated investigation and theorisation in research and discussions about media. The voice in media has been explored and conceptually defined by a series of undertakings, from enquiries in film studies to recent examinations of sound in the digital era. Whether overtly or more implicitly, diverse approaches both under and beyond film and media studies have also speculated about the voice itself as a medium or as involved in crucial processes of mediation. To this extent, the voice has become implicated in the very concepts of ‘media’ and ‘mediation’ – terms whose uses span a famously multi-layered range.
  • Review
    Re-writing the history of the avant-garde
    Camporesi, Enrico (2013) , S. 569-573
  • Article
    Blood, sweat, and tears – Bodily inscriptions in contemporary experimental film
    Knowles, Kim (2013) , S. 447-463
    The contemporary works discussed in this article emerge from a wider desire in experimental film to (re)discover the aesthetic and critical potential of celluloid as it shifts, to employ the terminology coined by Raymond Williams, from the dominant to the residual.
  • Review
    Revisiting Star Studies (12-14 June 2013, Newcastle University)
    Gmiterková, Šárka (2013) , S. 621-625
  • Article
  • Article
    ‘The Sprawl of Entropy’ – Cinema, waste, and obsolescence in the 1960s and 1970s
    Nardelli, Matilde (2013) , S. 431-446
    The following discussion broaches the relation between cinema and waste not so much by addressing examples of cinema about waste, but by presenting cinema itself as a kind of waste. Such an approach is in part prompted by current debates about the obsolescence of cinema, be this obsolescence considered in strictly material terms – i.e. the imminent end of the film-based technology from which the medium derived its traditional definition – or from the (differently material) perspective of cinema as a socio-cultural practice, a mode of producing, circulating, and consuming moving images largely for and in the cinema theatre.
  • Review
    Moving data
    Gnesda, Sophie; Reichert, Ramón (2013) , S. 573-578
  • Review