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The Early Promise and Disappointing Career of Time-Lapse Photography
David Lavery

Time-lapse photography—the extremely accelerated recording and projection of an event taking place over an extended duration of time—is almost as old as the movies themselves. (The first known use of time-lapse dates from 1898.) In the early decades of the twentieth century, cineastes, not to mention scientists, artists, and poets, waxed eloquently on the promise of time-lapse photography as a means for revealing “things we cannot see,” and expanding human perception. This essay examines time-lapses tremendous initial imaginative appeal for such figures as Ernst Mach, Germaine Dulac, Jean Epstein, Rudolf Arnheim, Laszlo Moholy-Nagy, and Collette, and speculates about the possible reasons for its diminution over the course of the century.

Film Studies
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Architecture, memes and minds
Author: Chris Abel

While there is widespread agreement across disciplines that the identities of individuals, groups and places are significantly interrelated, there are equally divergent views as to the nature and origins of those relationships. The first part of the book highlights that the prime importance of the human body in spatial cognition and human perception generally. In stressing the fundamental role of the body as the medium of all personal experience, the concept of the self that emerges thus far retains a strong unitary core. An alternative theory of extended minds which retains the integrity of individual human agents while embracing the extension of personal powers by external devices is also discussed. The second part looks at the scope of inquiry to take in the wider impact of technology on human evolution and the extended self. Selected writings from some of Stiegler's prominent followers and critics were also examined for what they contribute to our understanding of Stiegler's ideas and their possible further applications. He and his followers continue to fall back upon neo-Darwinian concepts and terminologies in elaborating their ideas. Theories of emergence and self-production, or autopoiesis, are investigated as promising alternatives to orthodox evolutionary theory. The subject of design, function of memes, impacts of the coevolution of humankind and technology on the human mind and the self are some other concepts discussed. The third part of the book focuses talk about cognitive roots of classification and combinativity, the relations between form and content, and vernacular architecture.

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Chris Abel

directly to the driving theme in this book, stating that ‘Man […] is distinguished from the other animals by virtue of the fact that he has elaborated what I have termed extensions of his organism.’ In turn, Edward Casey and J. E. Malpas have also both reinvigorated the subject of place, especially the interdependence between the subjective and objective elements of place experience, as being worthy of renewed philosophical attention. The prime importance of the human body in spatial cognition and human perception generally is also firmly established in the second

in The extended self
Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Karen Fricker

filmic techniques and reworks them for the stage to keep theatre in step with changes in human perception brought about by advances in media technologies. For Lepage, taking such advances on board is essential for the relevance and future of theatre practices; they are a key tool in his attempts to evoke in his work the complex lived reality of contemporary culture in the developed world: The only way that theatre can evolve, can stay alive, is to embrace the vocabulary of other ways of telling stories … ­ People think fast today. They’re trained by TV, by

in Robert Lepage’s original stage productions
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Andy Lawrence

This section describes storytelling as an integral part of the ongoing research process, as well as a means to reach cinematic expression. The focus is on the practical stages involved in an entire post-production workflow but this also involves a degree of understanding about human perception and expression and in particular the way that humans comprehend time and space. Here we discuss how recorded material is put to work through the narrating of a film, in order to extend an understanding of fieldwork, especially in terms of affect, bodily sense and experience. The opportunities that exist in broadcast television for documentary are well defined before a film is made but a research film is in a constant state of evolution right up until the final cut. In order to select a mode of storytelling and the cutting techniques that suit a project one must employ carefully positioned feedback screenings of work-in-progress and develop the ability to receive editorial advice.

in Filmmaking for fieldwork
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Kimberley Skelton

of their vibrations; each fold is an area of innate human knowledge and comes to one’s consciousness when sensory data cause it to vibrate. So similar are the human mind and the physical environment in their composition of mobile folds that Deleuze transforms the house into an analogy for human perception. Sensory stimuli enter through the groundfloor windows of the house and then float to the windowless upper floor of folds, agitating the folds of innate knowledge as they rise.30 Motion permeates both body and environment in the Baroque world, transforming

in The paradox of body, building and motion in seventeenth-century England
Richard Rushton

view with no centre of interest slowly condenses into a few selected and organized objects, to finally land on the figure of Rushton_06_Ch5.indd 138 31/08/2010 09:35 Cinema produces reality  139 the film’s hero, Harry Caul (Gene Hackman). The film can accomplish these feats of floating and zooming and picking things out in ways that are similar to human perception. But the cinema also has the ability to take us beyond what is possible for ‘ordinary’ human perception. What this scene from The Conversation does – and the same might be said of any scene in any film

in The reality of film
Jarle Trondal, Martin Marcussen, Torbjörn Larsson and Frode Veggeland

also utilised as informants in this book. Informants provide inside observations and analyses from within international bureaucracies. In this regard, we are less interested in the ‘life worlds’ of the interviewees than in the observations these actors make from the international bureaucracies more broadly. This usage of the interviewees is particularly relevant in Part II of the book where we analyse the macro-, meso- and micro-levels of international bureaucracies. One note of caution is needed when studying human perceptions. This book presents quotes from the

in Unpacking international organisations