Ecstatic Worlds: Media, Utopias, Ecologies (leonardo Book Series)
by Janine Marchessault /
2017 / English / PDF
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Postwar artists and architects have used photography, film, and
other media to imagine and record the world as a wonder of
collaborative entanglement -- to translate the world for the
world. In this book, Janine Marchessault examines a series of
utopian media events that opened up and expanded the cosmos,
creating ecstatic collective experiences for spectators and
participants.
Postwar artists and architects have used photography, film, and
other media to imagine and record the world as a wonder of
collaborative entanglement -- to translate the world for the
world. In this book, Janine Marchessault examines a series of
utopian media events that opened up and expanded the cosmos,
creating ecstatic collective experiences for spectators and
participants.
Marchessault shows that Edward Steichen's 1955 "Family of Man"
photography exhibition, for example, and Jacques Cousteau's 1956
underwater film
Marchessault shows that Edward Steichen's 1955 "Family of Man"
photography exhibition, for example, and Jacques Cousteau's 1956
underwater filmLe Monde du silence
Le Monde du silence (
(The Silent
World
The Silent
World) both gave viewers a sense of the Earth as a shared
ecology. The Festival of Britain (1951) -- in particular its
Telekinema (a combination of 3D film and television) and its Live
Architecture exhibition -- along with Expo 67's cinema
experiments and media city created an awareness of multiple
worlds. Toronto's alternative microcinema CineCycle, Agnès
Varda's 2000 film
) both gave viewers a sense of the Earth as a shared
ecology. The Festival of Britain (1951) -- in particular its
Telekinema (a combination of 3D film and television) and its Live
Architecture exhibition -- along with Expo 67's cinema
experiments and media city created an awareness of multiple
worlds. Toronto's alternative microcinema CineCycle, Agnès
Varda's 2000 filmLes Glaneurs et la glaneuse
Les Glaneurs et la glaneuse, and
Buckminster Fuller's World Game (geoscope), representing
ecologies of images and resources, encouraged planetary thinking.
The transspecies communication platform, the Dolphin Embassy,
devised by the Ant Farm architecture collaborative, extends this
planetary perspective toward other species; and Finnish artist
Erkki Kurenniemi's "Death of the Planet" projects a
postanthropocentric future.
, and
Buckminster Fuller's World Game (geoscope), representing
ecologies of images and resources, encouraged planetary thinking.
The transspecies communication platform, the Dolphin Embassy,
devised by the Ant Farm architecture collaborative, extends this
planetary perspective toward other species; and Finnish artist
Erkki Kurenniemi's "Death of the Planet" projects a
postanthropocentric future.
Drawing on sources that range from the Scottish town planner
Patrick Geddes to the French phenomenologist Maurice
Merleau-Ponty, Marchessault argues that each of these media
experiments represents an engagement with connectivity and
collectivity through media that will help us imagine a new form
of global humanism.
Drawing on sources that range from the Scottish town planner
Patrick Geddes to the French phenomenologist Maurice
Merleau-Ponty, Marchessault argues that each of these media
experiments represents an engagement with connectivity and
collectivity through media that will help us imagine a new form
of global humanism.