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Search Results for '"ecologies of the moving image"'

My book Ecologies of the Moving Image provides some suggestions into how we can become better consumers and co-producers of media. But these suggestions come couched within a 400-page treatise of media (and environmental) philosophy that includes a history of cinema, analyses of various films, and much else. While the focus there is on cinema and […]

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I’ve written about ethical witnessing before — both in the eco-trauma chapter of Ecologies of the Moving Image and in my reflections on Joshua Oppenheimer’s The Act of Killing. Seeing Serhii Loznitsa‘s latest film, Austerlitz, at Kyiv’s Molodist Film Festival a few days ago, prompted me to think some more about how a seemingly neutral camera, […]

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I’ve been struggling with how my triadic framework for interpreting art works relates to C. S. Peirce’s categories. When I first developed my triadism (fleshed out in Ecologies of the Moving Image) into the non-Peircian terms of materiality, experience, and representation — which I did in the context of teaching a course on the environmental arts — […]

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One of the films that gets a lengthy treatment in my book Ecologies of the Moving Image is Werner Herzog’s Grizzly Man, about the death of Timothy Treadwell at the hands of a brown bear in Alaska. I characterized it there as a complex and nuanced film that provides a series of somewhat contradictory — but cognitively and […]

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My review of Graham Harman’s recent book Bruno Latour: Reassembling the Political, has been published online in the journal Global Discourse. It’s part of a book review symposium, which will be accompanied (in the print issue) by the author’s reply to his interlocutors. The journal has been publishing a lot on Latour’s political theory (see here). I especially […]

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The latest issue of the open-access Cinema: Journal of Philosophy and the Moving Image, an issue devoted to “Gilles Deleuze and Moving Images,” includes a review by Niall Flynn of my book Ecologies of the Moving Image. Another recent review of EMI can be found in the The Journal of Ecocriticism. And I’ve mentioned the Environmental Humanities […]

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The third edition of the Environmental Humanities Book Chat features a discussion of my Ecologies of the Moving Image. Discussants include the Royal Institute of Technology’s Anna Åberg, organizer of the “Tales from Planet Earth” film festival and conference, Seth Peabody of Harvard University (and a Rachel Carson Center fellow), and moderator Hannes Bergthaller of National Chung-Hsing University (Taiwan) and Würzburg […]

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Faves

This is where you can find some of the most popular posts from the history of this blog, as well as some of my own favorite posts. I’ve also moved the most popular “tags” here, below, as least until I reintroduce a Tag Cloud that looks respectable (my server’s doesn’t). Popular Posts 33-1/3 Environmental Studies […]

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Prize announcement

Announcing a competition: Which scholars should be on the list of “Top humanists of the last century” but are not? The person who names the greatest number of such names by the end of the day (12 midnight) EST next Sunday — using the methodology specified there (a simple Google Scholar search) — will win a copy […]

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Visiting UC Davis

I’ll be participating in the Mellon-sponsored Environments and Societies Colloquium Series next Wednesday, April 30, at the University of California Davis. My colloquium paper, entitled “On Matters of Concern: Ecology, Ontological Politics, and the Anthropo(s)cene,” is available for reading on the E & S website. (It’s a variation of a chapter for a book on “integral ecologies” […]

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Or, process-relational ecocriticism 2.0 Two of the courses I’m currently teaching — the intermediate-level “Environmental Literature, Art, and Media” and the senior-level “The Culture of Nature” — require introducing an eco-critical framework appropriate to a wide range of artistic forms, from literature to visual art, music, film and new media. The process-relational framework developed in […]

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Readers of this blog know that my recent book presents what’s essentially a Whiteheadian (and Peircian) theory of cinema. (A theory, not the theory. And when compared to something as deeply Whiteheadian in its details as, say, Donald Sherburne’s A Whiteheadian Aesthetic, mine is, at best, “inspired by Whitehead.”)

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