From late medieval reenactments of the Deposition from the Cross to Sol Lewitt’s Buried Cube, Depositions is about taking down images and about images that anticipate being taken down. Foretelling their own depositions, as well as their re-elevations in contexts far from those in which they were made, the images studied in this book reveal themselves to be untimely--no truer to their first appearance than to their later reappearances.
If the gaze can be understood to mark the disjuncture between how we see ourselves and how we want to be seen by others, the cosmetic gaze--in Bernadette Wegenstein’s groundbreaking formulation--is one through which the act of looking at our bodies and those of others is already informed by the techniques, expectations, and strategies (often surgical) of bodily modification. It is, Wegenstein says, also a moralizing gaze, a way of looking at bodies as awaiting both physical and spiritual improvement.
We form individual memories by a process known as consolidation: the conversion of immediate and fleeting bits of information into a stable and accessible representation of facts and events. These memories provide a version of the past that helps us navigate the present and is critical to individual identity. In this book, Thomas Anastasio, Kristen Ann Ehrenberger, Patrick Watson, and Wenyi Zhang propose that social groups form collective memories by analogous processes.
Why is it so hard to make up our minds? Adam and Eve set the template: Do we or don’t we eat the apple? They chose, half-heartedly, and nothing was ever the same again. With this book, Kenneth Weisbrode offers a crisp, literate, and provocative introduction to the age-old struggle with ambivalence.
Ambivalence results from a basic desire to have it both ways.
We are living under the administration of fear: fear has become an environment, an everyday landscape. There was a time when wars, famines, and epidemics were localized and limited by a certain timeframe. Today, it is the world itself that is limited, saturated, and manipulated, the world itself that seizes us and confines us with a stressful claustrophobia. Stock-market crises, undifferentiated terrorism, lightning pandemics, “professional” suicides . . . .
In Mechanisms, Matthew Kirschenbaum examines new media and electronic writing against the textual and technological primitives that govern writing, inscription, and textual transmission in all media: erasure, variability, repeatability, and survivability. Mechanisms is the first book in its field to devote significant attention to storage--the hard drive in particular--arguing that understanding the affordances of storage devices is essential to understanding new media.
When did the “silent deeps” become cacophonous and galaxies begin to swim in a sea of cosmic noise? Why do we think that noises have colors and that colors can be loud? How loud is too loud, and says who? Attending, as ears do, to a surround of sounds at once physical and political, Hillel Schwartz listens across millennia for changes in the Western experience and understanding of noise.
An ancient tradition holds that Pythagoras discovered the secrets of harmony within a forge when he came across five men hammering with five hammers, producing a wondrous sound. Four of the five hammers stood in a marvelous set of proportions, harmonizing; but there was also a fifth hammer. Pythagoras saw and heard it, but he could not measure it; nor could he understand its discordant sound. Pythagoras therefore discarded it. What was this hammer, such that Pythagoras chose so decidedly to reject it?