Explains the aesthetic and political affordances, functions, and affects of a range of artistic expressions that are marked by illegibility or semi-legibility
Becomes the first book to map out a coherent theory of indistinct art, despite the abundance of examples of opaque images and sounds in our audiovisual culture
Intervenes in current debates around regimes of visibility and surveillance by showing how indistinct aesthetics may offer a critique of the positivist impulse informing these regimes
Demonstrates how the notion of ethical value is closely tied to opacity in art
Asbjørn Skarsvåg Grønstad is a film scholar and professor of Visual Culture at the University of Bergen, Norway. He is founding director of the Nomadikon Center for Visual Culture and the author/editor of ten books, the most recent of which are Gestures of Seeing in Film, Video and Drawing (co-edited with Henrik Gustafsson & Øyvind Vågnes, 2016), Film and the Ethical Imagination (Palgrave 2016), and Invisibility in Visual and Material Culture (co-edited with Øyvind Vågnes, Palgrave 2019). Grønstad is also a founding editor of the journal Ekphrasis: Nordic Journal of Visual Culture.
This is the first book to offer a systematic account of the concept of opacity in the aesthetic field. Engaging with works by Ernie Gehr, John Akomfrah, Matt Saunders, David Lynch, Trevor Paglen, Zach Blas, and Low, the study considers the cultural, epistemological, and ethical values of images and sounds that are fuzzy, indeterminate, distorted, degraded, or otherwise indistinct. Rethinking Art and Visual Culture shows how opaque forms of art address problems of mediation, knowledge, and information. It also intervenes in current debates about new systems of visibility and surveillance by explaining how indefinite art provides a critique of the positivist drive behind these regimes. A timely contribution to media theory, cinema studies, American studies, and aesthetics, the book presents a novel and extensive analysis of the politics of transparency.
Chapter 1. Introduction: The Devotion to Transparency Versus Virtues of Opacity.- Chapter 2 - On the Concept of Opacity in Art and Theory.- Chapter 3 - Boundaries of Discernibility: Ernie Gehr.- Chapter 4 - Archival Ghosts, or the Elsewhere of the Image: John Akomfrah.- Chapter 5 - The Shape of the Secret: Matt Saunders.- Chapter 6 - And Dark Within: David Lynch.- Chapter 7 - A Hermeneutics of the Black Site: Trevor Paglen.- Chapter 8 - Faceless, Nameless: Zach Blas.- Chapter 9- Sublime Static: Low.- Afterword.
Chapter 1. Introduction: The Devotion to Transparency Versus Virtues of Opacity.- Chapter 2 - On the Concept of Opacity in Art and Theory.-
Chapter 3 - Boundaries of Discernibility: Ernie Gehr.-
Chapter 4 - Archival Ghosts, or the Elsewhere of the Image: John Akomfrah.-
Chapter 5 - The Shape of the Secret: Matt Saunders.-
Chapter 6 - And Dark Within: David Lynch.-
Chapter 7 - A Hermeneutics of the Black Site: Trevor Paglen.- C
hapter 8 - Faceless, Nameless: Zach Blas.-
Chapter 9- Sublime Static: Low.- A
fterword.
Asbjørn Skarsvåg Grønstad is a film scholar and professor of Visual Culture at the University of Bergen, Norway. He is founding director of the Nomadikon Center for Visual Culture and the author/editor of ten books, the most recent of which are Gestures of Seeing in Film, Video and Drawing (co-edited with Henrik Gustafsson & Øyvind Vågnes, 2016), Film and the Ethical Imagination (Palgrave 2016), and Invisibility in Visual and Material Culture (co-edited with Øyvind Vågnes, Palgrave 2019). Grønstad is also a founding editor of the journal Ekphrasis: Nordic Journal of Visual Culture.
Über den Autor
Asbjørn Skarsvåg Grønstad is a film scholar and professor of Visual Culture at the University of Bergen, Norway. He is founding director of the Nomadikon Center for Visual Culture and the author/editor of ten books, the most recent of which are Gestures of Seeing in Film, Video and Drawing (co-edited with Henrik Gustafsson & Øyvind Vågnes, 2016), Film and the Ethical Imagination (Palgrave 2016), and Invisibility in Visual and Material Culture (co-edited with Øyvind Vågnes, Palgrave 2019). Grønstad is also a founding editor of the journal Ekphrasis: Nordic Journal of Visual Culture.
Inhaltsverzeichnis
Chapter 1. Introduction: The Devotion to Transparency Versus Virtues of Opacity.- Chapter 2 - On the Concept of Opacity in Art and Theory.- Chapter 3 - Boundaries of Discernibility: Ernie Gehr.- Chapter 4 - Archival Ghosts, or the Elsewhere of the Image: John Akomfrah.- Chapter 5 - The Shape of the Secret: Matt Saunders.- Chapter 6 - And Dark Within: David Lynch.- Chapter 7 - A Hermeneutics of the Black Site: Trevor Paglen.- Chapter 8 - Faceless, Nameless: Zach Blas.- Chapter 9- Sublime Static: Low.- Afterword.
Klappentext
This is the first book to offer a systematic account of the concept of opacity in the aesthetic field. Engaging with works by Ernie Gehr, John Akomfrah, Matt Saunders, David Lynch, Trevor Paglen, Zach Blas, and Low, the study considers the cultural, epistemological, and ethical values of images and sounds that are fuzzy, indeterminate, distorted, degraded, or otherwise indistinct. Rethinking Art and Visual Culture shows how opaque forms of art address problems of mediation, knowledge, and information. It also intervenes in current debates about new systems of visibility and surveillance by explaining how indefinite art provides a critique of the positivist drive behind these regimes. A timely contribution to media theory, cinema studies, American studies, and aesthetics, the book presents a novel and extensive analysis of the politics of transparency.
Explains the aesthetic and political affordances, functions, and affects of a range of artistic expressions that are marked by illegibility or semi-legibility
Becomes the first book to map out a coherent theory of indistinct art, despite the abundance of examples of opaque images and sounds in our audiovisual culture
Intervenes in current debates around regimes of visibility and surveillance by showing how indistinct aesthetics may offer a critique of the positivist impulse informing these regimes
Demonstrates how the notion of ethical value is closely tied to opacity in art
