Asbjørn Grønstad – författare

Few phenomena are as formative of our experience of the visual world as displays of suffering. But what does it mean to have an ethical experience of disturbing or traumatizing images? What kind of ethical proposition does an image of pain mobilize? How may the spectator learn from and make use of the painful image as a source of ethical reflection? Engaging with a wide range of visual media--from painting, theatre, and sculpture, to photography, film, and video--this interdisciplinary collection of essays by leading and emerging scholars of visual culture offers a reappraisal of the increasingly complex relationship between images of pain and the ethics of viewing. Ethics and Images of Pain reconsiders the persistent and ever pertinent nexus of aesthetics and ethics, the role of painful images as generators of unpredictable forms of affect, the moral transformation of spectatorship, the ambivalence of the witness and the representation of afflication as a fundamental form of our shared scopic experience. The instructive and illuminating essays in the collection introduce a phenomenological context in which to make sense of our current ecology of excruciating images, one that accentuates notions of responsibility, empathy, and imagination. Contributors trace the images of pain across a miscellany of case studies, and amongst the topics addressed are: the work of artists as disparate as Doris Salcedo, Anselm Kiefer and Bendik Riis; photographs from Abu Ghraib and Rwanda; Hollywood war films and animated documentaries; performances of self-immolations and incidents of police brutality captured on mobile phones.

Few phenomena are as formative of our experience of the visual world as displays of suffering. But what does it mean to have an ethical experience of disturbing or traumatizing images? What kind of ethical proposition does an image of pain mobilize? How may the spectator learn from and make use of the painful image as a source of ethical reflection? Engaging with a wide range of visual media--from painting, theatre, and sculpture, to photography, film, and video--this interdisciplinary collection of essays by leading and emerging scholars of visual culture offers a reappraisal of the increasingly complex relationship between images of pain and the ethics of viewing. Ethics and Images of Pain reconsiders the persistent and ever pertinent nexus of aesthetics and ethics, the role of painful images as generators of unpredictable forms of affect, the moral transformation of spectatorship, the ambivalence of the witness and the representation of afflication as a fundamental form of our shared scopic experience. The instructive and illuminating essays in the collection introduce a phenomenological context in which to make sense of our current ecology of excruciating images, one that accentuates notions of responsibility, empathy, and imagination. Contributors trace the images of pain across a miscellany of case studies, and amongst the topics addressed are: the work of artists as disparate as Doris Salcedo, Anselm Kiefer and Bendik Riis; photographs from Abu Ghraib and Rwanda; Hollywood war films and animated documentaries; performances of self-immolations and incidents of police brutality captured on mobile phones.

The first book of its kind, Gestures of Seeing in Film, Video and Drawing engages broadly with the often too neglected yet significant questions of gesture in visual culture. In our turbulent mediasphere where images – as lenses bearing on their own circumstances – are constantly mobilized to enact symbolic forms of warfare and where they get entangled in all kinds of cultural conflicts and controversies, a turn to the gestural life of images seems to promise a particularly pertinent avenue of intellectual inquiry. The complex gestures of the artwork remain an under-explored theoretical topos in contemporary visual culture studies. In visual art, the gestural appears to be that which intervenes between form and content, materiality and meaning. But as a conceptual force it also impinges upon the very process of seeing itself. As a critical and heuristic trope, the gestural galvanizes many of the most pertinent areas of inquiry in contemporary debates and scholarship in visual culture and related disciplines: ethics (images and their values and affects), aesthetics (from visual essentialism to transesthetics and synesthesia), ecology (iconoclastic gestures and spaces of conflict), and epistemology (questions of the archive, memory and documentation). Offering fresh perspectives on many of these areas, Gestures of Seeing in Film, Video and Drawing will be intensely awaited by readers from and across several disciplines, such as anthropology, linguistics, performance, theater, film and visual studies.

The first book of its kind, Gestures of Seeing in Film, Video and Drawing engages broadly with the often too neglected yet significant questions of gesture in visual culture. In our turbulent mediasphere where images – as lenses bearing on their own circumstances – are constantly mobilized to enact symbolic forms of warfare and where they get entangled in all kinds of cultural conflicts and controversies, a turn to the gestural life of images seems to promise a particularly pertinent avenue of intellectual inquiry. The complex gestures of the artwork remain an under-explored theoretical topos in contemporary visual culture studies. In visual art, the gestural appears to be that which intervenes between form and content, materiality and meaning. But as a conceptual force it also impinges upon the very process of seeing itself. As a critical and heuristic trope, the gestural galvanizes many of the most pertinent areas of inquiry in contemporary debates and scholarship in visual culture and related disciplines: ethics (images and their values and affects), aesthetics (from visual essentialism to transesthetics and synesthesia), ecology (iconoclastic gestures and spaces of conflict), and epistemology (questions of the archive, memory and documentation). Offering fresh perspectives on many of these areas, Gestures of Seeing in Film, Video and Drawing will be intensely awaited by readers from and across several disciplines, such as anthropology, linguistics, performance, theater, film and visual studies.

The essays in Invisibility in Visual and Material Culture contribute pioneering and revelatory insights into the phenomenon of invisibility, forging new and multi-disciplinary approaches at the intersection of aesthetics, technology, representation and politics. Importantly, they acknowledge the complex interaction between invisibility and its opposite, visibility, arguing that the one cannot be fully grasped without the other. Considering these entanglements across different media forms, the chapters reveal that the invisible affects many cultural domains, from digital communication and operative images to the activism of social movements, as well as to identity, race, gender and class issues. Whether the subject is comic books, photographic provocations, biometric and brainwave sensing technologies, letters, or a cinematic diary, the analyses in this book engage critically and theoretically with the topic of invisibility and thus represent the first scholarly study to identifyits importance for the field of visual culture.