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

  *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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