The twentieth century saw many revolutions. Various transformations in the political, economic, social, technological and artistic domains not only inaugurated new eras, or at least discourses about new eras; they also often entailed a radical reorientation in the very conceptions by which any revolution could be thought. This beautifully edited collection of essays addresses itself to the particular revolution by which we came to understand the unity of space and time as ontological categories.
The twelve papers collected in this volume explore the consequences of conceptions of time and its relationship to space. Although originating from the revolution in mathematics and theoretical physics, these essays extend the thinking of space-time in a multi-disciplinary approach through the philosophy of space and time, social geography, post-Marxian social theory, new network theory, the philosophy of art and culture, musicology, evolutionary biology, historiography, psychoanalytic theory, and comparative literature. The result is a fascinating snapshot of a nearly universal transformation, but one that was only slowly realized, as the debates in one field reverberated across a vast terrain of discourse and discipline. In tracing the varied responses to the developments emanating from theoretical physics, the essays in this volume reveal how discontinuous but profound shifts in knowledge and aesthetics ultimately converge on a radically transformed horizon.
Contributors are: Peter Galison, Richard T. W. Arthur, Nader El-Bizri, Chunglin Kwa, Leslie Kavanaugh, Mary Lynne Ellis, Patricia Locke, Sander van Maas, Raviv Ganchrow, Josef Früchtl, M. Christine Boyer, and Antoine Picon.
This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein’s concepts of
family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of
movement as meaning to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery’s concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness.
Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning.