Titlebook: Invisibility in Visual and Material Culture; Asbjørn Grønstad,Øyvind Vågnes Book 2019 The Editor(s) (if applicable) and The Author(s), und

苦恼

chronicle

Literary Device: Invisible Light and a Photo of Photography,osed to the dominant epistemology of the time. His recourse to a literary form of invisibility was an attempt to reconcile the incommensurability of invisible light with the prevailing episteme structured around tropes of visible light and the eye.

折磨

Neurointerfaces, Mental Imagery and Sensory Translation in Art and Science in the Digital Age,contemporary image science and critical neuroscience, the chapter shows how artistic scenarios help to both localize and expand our understanding of mental imagery and to offer an alternative to the existing correlations-based approach.

闪光东本

confederacy

反应

interference

Invisibility Matters,in subsequent chapters. Guided by an understanding of invisibility as a designation for “unmarked and unmapped relationships,” the chapter notes how the phenomenon is largely inseparable from the concepts of representation, aesthetics technology and politics. With reference to Maurice Merleau-Ponty’

等待

Archaeologists of the Off-Screen: Harun Farocki and Trevor Paglen, called .. In spite of the show’s title, the theme that most potently aligns their respective arcs of artistic research is a persistent concern with invisibility, ranging from the clandestine infrastructure of military and intelligence programs to the invisible operations conducted by automated imag

crutch

Literary Device: Invisible Light and a Photo of Photography,ph of a bookshelf with a seemingly unrelated passage of text. Here, Talbot speculates about a fantastical voyeuristic scenario involving a proto-night vision device and its literary possibilities. In this chapter, it is shown that the vexing nature of “A Scene in a Library,” particularly Talbot’s pa

Charade

,Tomas van Houtryve’s , and the Culture of Surveillance,ip on the topic, which tends to see a transformation from ‘surveillance state’ to ‘surveillance culture’ (David Lyon), inviting a reconsideration of what constitutes surveillor and surveilled. Two conceptual nodes are particularly significant in unpacking this development: Harun Farocki’s influentia