In Hito Steyerl’s writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerl’s landmark essays from recent years in which she has steadily developed he...
In Hito Steyerl’s writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerl’s landmark essays from recent years in which she has steadily developed her very own politics of the image.
Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings.
With Introduction by Franco “Bifo” Berardi
Edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle
作者简介
· · · · · ·
Hito Steyerl is a filmmaker, moving-image artist, writer, and innovator of the essay documentary. Her principal topics of interest are media, technology, and the global circulation of images. Through her writing practice, films, and performative lectures, Steyerl considers the status of the image in an increasingly global and technological world.
目录
· · · · · ·
Preface
Introduction
In Free Fall: A Thought Experiment on Vertical Perspective
In Defense of the Poor Image
A Thing Like You and Me
Is a Museum a Factory?
· · · · · ·
(更多)
Preface
Introduction
In Free Fall: A Thought Experiment on Vertical Perspective
In Defense of the Poor Image
A Thing Like You and Me
Is a Museum a Factory?
The Articulation of Protest
Politics of Art: Contemporary Art and the Transition to Post-Democracy
Art as Occupation: Claims for an Autonomy of Life
Freedom from Everything: Freelancers and Mercenaries
Missing People: Entanglement, Superposition, and Exhumation as Sites of Indeterminacy
The Spam of the Earth: Withdrawal from Representation
Cut! Reproduction and Recombination
· · · · · · (收起)
e-flux journal(共13册)，
这套丛书还有
《Forthcoming》《What’s Love (or Care, Intimacy, Warmth, Affection) Got to Do with It?》《Moscow Symposium: Conceptualism Revisited》《Are You Working Too Much?》《Dispute Plan to Prevent Future Luxury Constitution》
等
。
维持运动要靠力
上海人民出版社2024版
鸿渐
上海人民出版社2024版
哲夫成城
上海人民出版社2024版
鹿鹿公主
上海人民出版社2024版
萩克寒
上海人民出版社2024版
veil
上海人民出版社2024版
霉狮♛
上海人民出版社2024版
0 有用 Ruoooooo 2023-01-29 19:58:27 浙江
抑郁
0 有用 J 2024-04-17 15:22:58 澳大利亚
Museum-as-factory的思考很有启发性
10 有用 sonatanegra 2015-12-24 05:05:36
觉得女神的文字其实比作品还要漂亮太多
0 有用 我又不是故意的 2024-04-22 15:50:09 美国
one of my favorite artists and media studies scholars
11 有用 烤芬 2019-04-10 19:00:23
Hito的文字非常有力地体现了她的“创作者-学者”双重身份：她的文字并不是学术写作，却能看出一些理论和思辨积累在里面，同时又比通常的学者要天马星空得多，有一种基于学术又远超学术的想象力和联想力，给人很多启发。