دانلود کتاب Vertov, Snow, Farocki: Machine Vision and the Posthuman

فهرست مطالب :

Cover\nHalftitle\nTitle\nCopyright\nDedication\nContents\nIntroduction\nPart I Threshold \rWhen a Ritual Process Speaks of Machine Vision and Cyborg Prototypes: A Film Document, Circa 1929\n 1 Manufacturing Vision and the Posthuman, Circa 1929: Kino-Eye, The Man with a Movie Camera, and the Perceptual Reconstructio\n Photographic and cinematic rites of passage\n Preamble to a kinomatic rite of passage: A note on Vertov’s politics of representation\n The Man with a Movie Camera: A kinomatic rite of passage\n On machine vision, the rationalization of observation and its linkage to a posthuman spectatorial consciousness: Vertov on “th\n Beyond poetic documentary: The posthuman and its “post-ocularcentric” culture of representation\n Kino-Eye’s logical excess: Vertov on the total collectivization of the human sensorium\n “Object” lesson\nPart II Enigma of the Central Region \rA Microhistory of Machine Vision and Posthuman Consciousness, Circa 1969–72\n 2 La Région Centrale: Basic Cultural, Technical, and Formal Filiations\n Basic technical parameters and filiations\n 3 Toward a Cosmic Rite of Passage: External and Internal Locations and a Play of Authorship\n External locations\n Establishing a cultural context: Modeling film space as cosmic space\n 4 La Région Centrale: Liminality, Knowledge Production, Pedagogy\n The complexity of a visual language and the mysteries of an implicit structure\n The culture and symbolism of acoustic communication\n 5 La Région Centrale: From Cosmic to Posthuman Rite of Passage\n Rite of Separation\n Liminal Stage\n Rite of Reincorporation\n 6 De La (1969–71): Authorship, Automation, and the Posthuman\n 7 A Comparative Schematic Analysis of the Automated Narrative and its Mechanical Logic in Vertov’s The Man with a Movie Came\nPart III The Public Deployment of Machine Vision and the Programmed Materialization of the Posthuman in Collective Social Spac\n 8 A Posthuman Future in the Age of the Algorithm: Harun Farocki’s Documentation of the Operational Image and its Culture of S\n Brief return to The Man with a Movie Camera and its propositions concerning machine-based vision\n Strategies of observation and surveillance\n Machine vision for the twenty-first century\n Eye/Machine I-III and their propositions concerning machine vision\n Counter-Music: The city, transportation systems, command centers, and contemporary strategies of surveillance\n A new cinematographic counter-practice?\nNotes\nBibliography\nIndex