Archive for publications, July 2022

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[Commlist] New book: Image mapping. Between aesthetic theory and practice

Mon Jul 11 09:02:37 GMT 2022






  *Image mapping. Between aesthetic theory and practice****

https://wydawnictwo.uwb.edu.pl/ksiazka/407-mapowanie-obrazu-miedzy-estetyczna-teoria-a-praktyka <https://wydawnictwo.uwb.edu.pl/ksiazka/407-mapowanie-obrazu-miedzy-estetyczna-teoria-a-praktyka>

**by Kamil Lipiński

Published June 15, 2022 by Bialystok University Press

535 Pages 10 B/W Illustrations

The monograph attempts to fill a gap in the research on the various variants of image mapping, drawing inspiration from Fredric Jameson’s concept of “cognitive mapping” so as to comprehensively analyze image comparisons. Furthermore, adopting the perspective of the audiovisual world of French Theory, this study aims to open the black box by focusing on decentration and the spatial entanglement of moving images seen in the light of the post-war philosophy of/difference/. Bridging aesthetic theory with image practices, such an anti-essential approach enriches the interpretation of particular works by invoking conceptual frameworks whereby new meanings may be fostered in juxtapositions of moving images. The book is divided into two parts, /The visons of spaces/ and /The spaces of images, /each of which in turn consists of two chapters. Across the book’s four chapters, four forms of transgressing conceptual boundaries are considered under the auspices of post-structural theoretical discourse.

 Chapter One,/The vision of the discourse of space in the perspective of the French philosophy of difference/, attempts to revitalize the vast horizons of French Theory by using manifold variants of spacing as a point of departure whereby such deconstructivist categories as Jacques Derrida’s iterability, graft, hieroglyphism, phantomality, destinerrance, supplementation, and disjointure are reconsidered. One then goes on to treat Jean-Luc Nancy’s deconstructivist views on aesthetics, focusing particularly on the differentiation of voices, ekotechne, areality, and expeausition. Finally, Gilles Deleuze’s spatio-temporal thinking is examined. I thereby draw attention to the coexistence of the virtual and the actual, the potentiality of “any-space-whatever” as manifested in the cinema and in visual arts, nomadic categories of deterritorialization, and reterritorialization, and the figural dualism of sensation.

Chapter Two, /Wandering in a transcultural perspective/,draws special attention to “transcultural visual epistemology” so as to cast new light on migratory aesthetics and highlight the transgressive nature of critical transculturalism, considered in terms of cultural differences, distancing, and the mutual relationship between social categories of displacement. Such variants of spatialization are first discussed in the context of diasporicism, nomadism, exile, cosmopolitanism, uprooting, homesickness, repatriation, and orientalism. One then moves on to the second level of analysis, that of visual dynamics, whereby selected spatial works are subjected to an analysis that reveals a variety of transgressive intersections between moving images and the performative arts.

Chapter One in the Second Part, /Expanded image spaces/, represents my attempt to reinterpret various configurations of spatiality and mixed-media transgressions in selected works by Valie Export, /Balázs Béla Studio/, Gábor Bódy,and Jean-Luc Godard with /Anne//-//Marie Miéville/, seen in the light of post-structural theories such as abject, differential specificity, and strata.

Chapter Two in the Second Part, /Mapping an image in museums and new art spaces/, is an attempt to remap selected works of expanded cinema in a wider context of aesthetic reference,  drawing on such concepts as André Malraux’s Musée Imaginaire to reinvestigate migrations of images and their relocation in gallery and museum spaces. The analysis thereby shifts the emphasis to remapping the visual intersections of cinematic works with art installations and interactive digital interfaces. The study reexamines: the dissemination of media images of a person in an installation by Tony Oursler,geographic polarization of images in Isaac Julien's panorama, the coexistence of light events migrating among viewers by Guy Shervin,  dialogic images wandering in-between the works of V/í/ctor Erice and Abbas Kiarostami, “cinema-effects” achieved in installations by Jean-Luc Godard, and the/régards comparés /of found footage presented by the work of Péter Forgács,

Bringing together diverse images derived from various cultural contexts, this complex panorama of four approaches to spacing seeks to present the range of possibilities for expanding cinema, saturated with its critical and conceptual architecture for bridging past and present, decentering vision, and juxtaposing images. The field of critical visual studies aims to open the viewer to the practice of comparative interpretation, whereby innovative forms of intermingling images may be rediscovered. The monograph provides a methodological model for understanding wandering images in visual culture while illustrating the continued relevance of the anti-essential mode of theoretical interpretation characteristic of the French philosophy of difference.



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