Titlebook: Memory and Intermediality in Artists’ Moving Image; Sarah Durcan Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusiv

Ornithologist

constitutional

Sarah DurcanThe text includes measure theoretic preliminaries, from which the authors own course typically includes selected coverage. ..This is a heavily reworked and considerably shortened version of the first edition of978-3-319-52206-7978-3-319-52207-4Series ISSN 1431-875X Series E-ISSN 2197-4136

OATH

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Sarah DurcanThe text includes measure theoretic preliminaries, from which the authors own course typically includes selected coverage. ..This is a heavily reworked and considerably shortened version of the first edition of978-3-319-52206-7978-3-319-52207-4Series ISSN 1431-875X Series E-ISSN 2197-4136

COWER

Sarah DurcanThe text includes measure theoretic preliminaries, from which the authors own course typically includes selected coverage. ..This is a heavily reworked and considerably shortened version of the first edition of978-3-319-52206-7978-3-319-52207-4Series ISSN 1431-875X Series E-ISSN 2197-4136

省略

The text includes measure theoretic preliminaries, from which the authors own course typically includes selected coverage. ..This is a heavily reworked and considerably shortened version of the first edition of978-3-319-52206-7978-3-319-52207-4Series ISSN 1431-875X Series E-ISSN 2197-4136

white-matter

Book 2021ve, the ‘echo-chamber’, documentary fiction and mediatized memories. Stan Douglas, Steve McQueen, Runa Islam, Mark Leckey and Elizabeth Price are of a generation that has lived through the transition from analogue to digital. Their emphasis on the nuances of intermediality indicates the extent to which we remember through media..

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Sarah Durcang are both presented. Martingale coverage includes coverage of censored data martingales. The text includes measure theoretic preliminaries, from which the authors own course typically includes selected coverage. ..This is a heavily reworked and considerably shortened version of the first edition of

LARK

Introduction,ks of memory culture that inform the discussion of these practices in the 1990s and 2000s. Intermediality is defined as a dynamic and evolving set of relationships between media and their cultural associations. The currency of the term ‘moving image’ is examined in relation to the previous histories

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Memory and Intermediality,ys the role of the moving image as a media of memory and establishes the key concepts of Deleuze’s Bergsonian cinema and the virtual force of memory which inform the theorization of artists’ moving image in five overlapping mnemonic modes: ‘critical nostalgia’, ‘database narrative’, ‘echo-chamber’,