The garden of intermedial delights: cinematic 'adaptations' of Bosch, from modernism to the postmedia age

Pethő, Ágnes

doi:10.1093/screen/hju036

Cited by 13 publications

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“…In the post-media age, scholars, artists and media practitioners have become attentive to "configurations which have to do with a crossing of borders between media" (Rajewsky 2005, 46;Pethő 2014;Balme 2004, 7), interaction of materiality between media and transformation of media (Paech 2014;Spielmann 2001). Given that the interwoven medial relations in the post-media condition are relational, unstable and constantly reshaping, the conditions of intermediality also have to be redefined.…”

Section: Intermedial Gesturality A) Intermediality Through Movement Wmentioning

confidence: 99%

Intermediality of Screens in Post-Media Assemblages

Maithani

2019

Acta Universitatis Sapientiae, Film and Media Studies

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In contemporary artworks of so-called post-media assemblage, screens can be argued to emphasize, interconnect and rearticulate relationships between various parts in various modalities of image-making and display. They can be understood to produce gesturality that maintains conditions of mediality, which is the sustenance of relations between different parts of the media ensemble. This paper is an attempt to understand screens by analysing the gesturality that they propagate and not just facilitate. For this purpose, the paper interrogates the intermediality of screens in contemporary media arts that rely on this gesturality. By closely analysing contemporary media art installations such as Solar Reserve (Tonopah, Nevada) (John Gerrard, 2014) and Shadow 3 (Shilpa Gupta, 2007), this paper elaborates a concept of intermediality as an unfixed state and describes in-betweenness as enabling an openness to continuously form, unform and deform relations with different entities, thereby producing a gestural modality.

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Section: Intermedial Gesturality A) Intermediality Through Movement Wmentioning

confidence: 99%

Intermediality of Screens in Post-Media Assemblages

Maithani

2019

Acta Universitatis Sapientiae, Film and Media Studies

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Living in a Folded Cosmos

2024

The Fold

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This chapter gives a top-down cosmology, an open, immanent model of the cosmos in which every entity is a microcosm. Marks synthesizes from monadologists G.F.W. Leibniz, Gilles Deleuze, and the relatively enfolded philosopher H. Wildon Carr. She extends this model with twentieth-century physicist David Bohm's concept of the implicate order. Martinican philosopher-poet Édouard Glissant's decolonial theories of relation deepen the politics of the microcosm that enfolds the world. Marks introduces the concept of enfolding-unfolding aesthetics in discussions of Tali Yankelevich's Meu Querido Supermercado (My Darling Supermarket) (Brazil, 2019) and the Otolith Collective's INFINITY minus Infinity (UK, 2019). Introducing the tripartite cosmic model of image-information-infinite, Marks argues that the goal of life in the folded cosmos is to unfold more of what lies enfolded in the infinite, both singly and collectively.

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Soul-Assemblages

2024

The Fold

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This chapter gives a bottom-up cosmology, identifying the component parts of the cosmos: after Leibniz, monads, or embodied souls. Marks defines soul nontranscendentally, as anything that is bounded and therefore alive, and suggests that the cosmos, and all entities, consists of ensouled matter. Marks introduces the concept of soul-assemblage, a group of monads that are joined by what they do, which form their own folds. We confront the challenge of unfolding differently, which requires identifying singularities, monads that connect to enfolded surfaces. Marks shows how Leibniz's cosmology can be “snipped open” in order to allow every monad to thrive. This done, she suggests that some soul-assemblages have the potential to radically deterritorialize the existing order.

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The garden of intermedial delights: cinematic 'adaptations' of Bosch, from modernism to the postmedia age

Cited by 13 publications

References 0 publications

Intermediality of Screens in Post-Media Assemblages

Intermediality of Screens in Post-Media Assemblages

Living in a Folded Cosmos

Soul-Assemblages

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