Slavko Kacunko Book order

This volume provides a comprehensive insight into recent inquiries into frames and framings, showcasing a wide range of research topics now available in English for the first time. The conference titled "Framings," held in Copenhagen from November 29 to December 2, 2013, was organized by the Department of Art History at the University of Düsseldorf, the DNRF's Centre for Textile Research, and the Department of Arts and Cultural Studies at the University of Copenhagen. Its goal was to unite pioneering international research on frames developed over recent decades. The twenty-two essays included offer new perspectives on a field that has been largely overlooked despite its relevance. The volume is structured into four sections: Frames (Discreteness, Boundary, Exclusiveness), Frameworks (Medium, Continuity, Performativity), Framings (Visuality, Spatiality, Temporality), and Methodological Margins and Cultural [B]Orders. It traces the genealogy of the research topic, particularly in relation to significant initiatives in Düsseldorf and Copenhagen. Contributions come from various disciplines, including visual and cultural studies, film theory, semiotics, computer science, communication science, art history, media theory, literary studies, philosophy, and textile science, featuring both senior and emerging researchers from multiple countries.

By following and reproducing the cultural turn, the rhetoric of the cultural mix and hybridism is disseminated today, primarily in its crossing of trade barriers. Cultures reduced to their exchange value function as capital - an accumulative, speculative and, ultimately, financial affair. In some of its media and site-(un)specific manifestations, process art - which aims to encompass both old and new media art - seems to resist this pressure, despite, nonetheless, not being protected from regulations and incorporations. In the present collection of his recent essays, Slavko Kacunko discusses the process art by crossing the disciplines of art history and comparative media-, visual- and -cultural studies. As a first approximation, several historiographical remarks on closed-circuit video installations underline their importance as a core category of process art. In the second part, the problems of process art, seen as a threshold of art history, are further examined in another retro-analytical step, in which concepts and objects related to `mirror', `frame' and `immediacy' are analyzed as the triple delimitation of visual culture studies. In the third part, previously outlined manifestations of what is termed the `post-visual condition' are summarized and projected to the `coreless core' of the emerging art and research related to the coreless beings par excellence, the bacteria.

Marcel Odenbach has influenced the development of video and media art more than any other artist of his generation. This anthology of seminal texts and a unique collection of the artist's videos illuminate the exemplary role and importance of Marcel Odenbach's artistic practice from the perspectives of art history, media theory, cultural studies, film science, complemented by curatorial, ethnological, semiotic, sociological, and psychoanalytic approaches, as well as those of gender- and performance studies. With essays by Heather Barton, Hans Belting, Raymond Bellour, Dan Cameron, Sabine Fabo, Solange Farkas, Jörg Heiser, Wulf Herzogenrath, Kathy Rae Huffman, Slavko Kacunko, Doris Krystof, Friedemann Malsch, Kobena Mercer, Yvonne Spielmann, and Paul Virilio. Including a DVD with 10 original video works by Marcel Odenbach.