Bernd Herzogenrath – författare

As a director, actor, writer and producer, Tod Browning was one of the most dynamic Hollywood figures during the birth of commercial cinema. Known for his fantastic collaborations with Lon Chaney in numerous silents, and for directing the horror classic Dracula and the still-controversial Freaks, Browning has been called "the Edgar Allan Poe of the cinema." Despite not entering the profession until he began acting in his early thirties, he went on to helm more than 60 films in a 25-year career. His work continues to influence directors such as David Lynch, John Waters, and Alejandro Jodorowsky.These essays critically explore such topics as the connection between Browning, Poe and Kant; Browning's cinematic techniques; disability; masochism; sound and suspense; duality; parenthood; narrative and cinematic trickery; George Melford; surrealism; and the occult. A Browning filmography is included.

This collection of 20 essays pays homage to a filmmaker who had a reputation for delivering the most movie for the least money. Edgar G. Ulmer, nicknamed "The King of the Bs" and "The King of Poverty Row," gave us classics like The Black Cat, starring Bela Lugosi. His stealing away the wife of a producer led to exile from Hollywood and, working outside the studio system and with low budgets, he turned out film noir, science fiction, and ethnic films that achieved cult status and critical acceptance.

Considered the "King of Poverty Row," Edgar G. Ulmer (1904-1972) was an auteur of B productions. A filmmaker with an individual voice, Ulmer made independent movies before that category even existed. From his early productions like The Black Cat (1934) and Yiddish cinema of the late 1930s to his final films of the late 1950s and early 1960s, Ulmer created enduring works within the confines of economic constraints.Almost forgotten, Ulmer was rediscovered first in the 1950s by the French critics of the Cahiers du Cinema and then in the early 1970s by young American directors, notably Peter Bogdanovich. But who was Edgar G. Ulmer? The essays in this anthology attempt to shed some light on the director and the films he created—films that are great possibly because of, rather than despite, the many restrictions Ulmer endured to make them.In The Films of Edgar G. Ulmer, Bernd Herzogenrath has assembled a collection of essays that pay tribute to Ulmer's work and focus not only on his well-known films, including Detour, but also on rare gems such as From Nine to Nine and Strange Illusion. In addition to in-depth analyses of Ulmer's work, this volume also features an interview with Ulmer's wife and an interview Ulmer gave in 1965, in which he comments on actors Bela Lugosi and Boris Karloff, as well as fellow directors Tod Browning and James Whale.

The Barrandov Studios are one of the largest and oldest film studios in Europe. For more than 80 years so far, the studios have been the location of choice for over 2,500 Czech and International films. Barrandov's founding fathers, the Havel brothers Vàclav and Milo (the grandfather and uncle of later president Vàclav Havel), built the 'Hollywood of Eastern Europe' in the 1930s. A legendary studio like this, and its story, has so far not been told to an English-speaking readership. This collection aims to correct this, presenting the studio's rich history, its esteemed directors, and their most important films.

Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress. This is the first book-length study of Morrison's work, covering the whole of his career. It gathers specialists throughout film studies to explore Morrison's aesthetics of the archive-his creative play with archival footage and his focus on the materiality of the medium of film.

This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics.A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, ‘sensible cognition’ and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become ‘artistic’ or ‘poetic’ in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing 'conceptual interference pattern' between theory and practice.A ‘practical aesthetics’ thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways.

This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics.A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, ‘sensible cognition’ and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become ‘artistic’ or ‘poetic’ in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing 'conceptual interference pattern' between theory and practice.A ‘practical aesthetics’ thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways.

Particularly for the disciplines of the humanities and social sciences, for which writing is their lifeblood, the crisis in academic writing has become existential. It is not hard to diagnose the disease, and its causes. This book showcases what we desperately need: radical alternatives, experiments we can try out, ways of writing that don’t just tweak the system but plot a different course altogether. This isn’t just about finding new genres, for these only change the surface appearance without altering the underlying dynamic. Rather, the editor and contributors focus on finding new ways to join thinking both with writing and the things of which, and with which, we write. Each chapter brims with the kind of liveliness, outspokenness and urgency that their theme demands. Far from tiptoeing around the edifice of academia they are intent on stirring things up, reigniting their scholarship with a fuse of activism, in the hope of setting off an explosion that could send ripples throughout the academy.

Particularly for the disciplines of the humanities and social sciences, for which writing is their lifeblood, the crisis in academic writing has become existential. It is not hard to diagnose the disease, and its causes. This book showcases what we desperately need: radical alternatives, experiments we can try out, ways of writing that don’t just tweak the system but plot a different course altogether. This isn’t just about finding new genres, for these only change the surface appearance without altering the underlying dynamic. Rather, the editor and contributors focus on finding new ways to join thinking both with writing and the things of which, and with which, we write. Each chapter brims with the kind of liveliness, outspokenness and urgency that their theme demands. Far from tiptoeing around the edifice of academia they are intent on stirring things up, reigniting their scholarship with a fuse of activism, in the hope of setting off an explosion that could send ripples throughout the academy.

What colour is the future – or rather, what colors are the futures? Broad and enlightening in its coverage, this collection explores the notion that there is not just one visualization of the future, but many, stretching across and beyond shades of utopian brightness and dystopian darks. Visiting futures that belong to the realm of ghosts, it calls for a hauntology that deals not only with spectres of the past but also the of future, offering a fascinating engagement with both colonial history and hyper-accelerated societies.Guided by a diversity of colours, contributors speculate on non-anthropogenic futurities, theorising on the richness of an essentially complex and disordered material universe. The volume’s critical approaches range from speculative realism, oceanic biology, and philosophy and politics, to posthumanism and queer theory. What all these offerings have in common is a strong focus on materiality, the in|human, and the innovative possibilities that are brought into light by this ‘fabulated spectrum’. They combine the potentialities of philosophy, art, and science, in that they all forge a relation to chaos, or, an undeterminable ‘new.’ Powerful and thought-provoking, this book illuminates different possibilities of gazing upon futures in nuanced and novel ways.

Fictioning Devices proposes that contemporary art has developed new aesthetic and pedagogical functions by presenting metaphysical perspectives that generate alternatives to the narratives and social and political legacies of the Enlightenment, modernism, globalisation and colonialism. This volume introduces the concept of onto-fictioning, practices presenting ontological and cosmological perspectives, addressing developments in contemporary art influenced by discourses that include the ontological turn in anthropology, and a concern for environmentalism as well as blackness and postcolonialism in the Arts and Humanities. Two concepts in particular run throughout the book: cosmopolitics (concerning the ways in which defining reality is political) and cosmotechnics (concerning the relation of moral or social orders and the cosmos, articulated through technical activities or approaches to technology). Artworks that present fiction to generate encounters with multiple ontological and cosmological perspectives present narratives that differ, diverge or deviate from modern and globalising narratives, troubling the narrative of one-world shared by one-people and other similar narratives. The book engages with diverse artists and thinkers including John Akomfrah, Yuk Hui, Lawrence Lek, Fred Moten, Tai Shani, Susan Stengers, Eduardo Viverios de Castro and Sylvia Wynter.

This book explores space, time and encounter in an interdisciplinary higher education classroom during a typical academic year, considering how they might present as protagonists of authenticity. In this ethnography, the author is both the researcher and the teacher, delivering highly interactive and student centred modules for undergraduate students at a leading science and engineering university in the UK. Chasing the spirit of authenticity throughout the writing, the book demonstrates a remarkable alignment between the design and aspirations of the teaching, the experiences within the classroom, and the conduct of the research. Revealing the inner thoughts and inspirations of the researcher, the book includes insights from philosophy, anthropology, education, neuroscience, music, architecture, photography and popular culture. This examination of both the classroom experiences and the research itself reveals the messy, uncertain, imperfect – and yet fascinating nature of these very human experiences with an engaging richness. This book supports the reader to find their own version of ‘authentic’, evoked by being immersed in the story world of this research and the classrooms contained within. Readers are invited to reflect along with the researcher, and apply the insights revealed to their own teaching, learning or life experiences and take the spirit of authentic encounter into their own future.

For Gilles Deleuze, time is out of joint. For Michel Serres, it is a crumpled handkerchief. In both of these concepts, explicit references are made to the non-linear dynamics of Chaos and Complexity theory, as well as the New Sciences. The groundbreaking work of these key thinkers has the potential to instigate a radical break from traditional existentialist theories of time and history, affording us the opportunity to view history and historical events as a complex, non-linear system of feedback-loops, couplings and interfaces. In this collection, the first to address the comparative historiographies of Deleuze and Serres, twelve leading experts including William Connolly, Eugene Holland, Claire Colebrook and Elizabeth Grosz examine these alternative concepts of time and history, exposing critical arguments in this important and emerging field of research.

For Gilles Deleuze, time is 'out of joint'. For Michel Serres, it is 'a crumpled handkerchief'. In both of these concepts, explicit references are made to the non-linear dynamics of Chaos and Complexity theory, as well as the New Sciences. The groundbreaking work of these key thinkers has the potential to instigate a radical break from traditional existentialist theories of time and history, affording us the opportunity to view history and historical events as a complex, non-linear system of feedback-loops, couplings and interfaces. In this collection, the first to address the comparative historiographies of Deleuze and Serres, twelve leading experts - including William Connolly, Eugene Holland, Claire Colebrook and Elizabeth Grosz - examine these alternative concepts of time and history, exposing critical arguments in this important and emerging field of research.

Skepticism Films: Knowing and Doubting the World in Contemporary Cinema introduces skepticism films as updated configurations of skepticist thought experiments which exemplify the pervasiveness of philosophical ideas in popular culture. Philipp Schmerheim defends a pluralistic film-philosophical position according to which films can be, but need not be, expressions of philosophical thought in their own right. It critically investigates the influence of ideas of skepticism on film-philosophical theories and develops a typology of skepticism films by analyzing The Truman Show, Inception, The Matrix, Vanilla Sky, The Thirteenth Floor, Moon and other contemporary skepticism films. With its focus on skepticism as one of the most significant philosophical problems, Skepticism Films provides a better understanding of the dynamic interplay between film, theories of film and philosophy.

Launching Bloomsbury’s Thinking Media series, Media Matter introduces readers to the nascent field of media-philosophy. Contributors urge readers to re-adjust their ideas of Media Studies, by extending the understanding of "medium" to include a concept of materiality that also includes "non-human" transmitters (elements such as water, earth, fire, air) and also by understanding media not only in the context of cultural or discursive systems or apparatuses, relays, transistors, hardware or "discourse networks," but more inclusively, in terms of a "media ecology."Beginning with more general essays on media and then focusing on particular themes (neuroplasticity, photography, sculpture and music), especially in relation to film, Herzogenrath and the contributors redefine the concept of "medium" in order to think through media, rather than about them.

Skepticism Films: Knowing and Doubting the World in Contemporary Cinema introduces skepticism films as updated configurations of skepticist thought experiments which exemplify the pervasiveness of philosophical ideas in popular culture. Philipp Schmerheim defends a pluralistic film-philosophical position according to which films can be, but need not be, expressions of philosophical thought in their own right. It critically investigates the influence of ideas of skepticism on film-philosophical theories and develops a typology of skepticism films by analyzing The Truman Show, Inception, The Matrix, Vanilla Sky, The Thirteenth Floor, Moon and other contemporary skepticism films. With its focus on skepticism as one of the most significant philosophical problems, Skepticism Films provides a better understanding of the dynamic interplay between film, theories of film and philosophy.

Sonic Thinking attempts to extend the burgeoning field of media philosophy, which so far is defined by a strong focus on cinema, to the field of sound. The contributors urge readers to re-adjust their ideas of Sound Studies by attempting to think not only about sound [by external criteria, such as (cultural) meaning], but to think with and through sound. Series editor Bernd Herzogenrath's collection serves two interconnected purposes: in developing an alternative philosophy of music that takes music serious as a ‘form of thinking’; and in bringing this approach into a fertile symbiosis with the concepts and practices of ‘artistic research’: art, philosophy, and science as heterogeneous, yet coequal forms of thinking and researching. Including contributions by both established figures and younger scholars working on cutting edge material, and weaving artistic responses and interventions in between the more theoretical texts, Herzogenrath's collection provides a lively introduction to a fresh debate.

Available for the first time in English and freshly adapted as the acclaimed documentary Burning Out, Pascal Chabot's polemic treatise - Global Burnout - takes the phenomenon we call burnout as not just an individual problem that affects a few exhausted people, but rather 'a disease of civilization', connected to concepts of progress, technology, and desire, which are the hallmarks of this era of experimentation.First analysing the archaeology of the concept, Chabot distinguishes three main types of burnout: the first, specific to professions who help others, appears to be the exhaustion of their humanism; the second, a trouble of adaptation and perfectionism; and the third, which is a consequence of the struggle for recognition. The philosophical implications of each of these three states is identified, allowing Chabot to buck the trend towards a negative, nearly fatalistic outlook, something not surprising considering the intrinsic gravity of the subject matter. An excellent story teller as well as an adequate elaborater of complex theories, Chabot's Global Burnout presents an introduction to the topic and therapy for the modern reader.

Eigenvalue provides the first history of 'eigenvalue' by building an important bridge between the hard and the soft sciences. Originally a mathematical term, Hanjo Berressem applies Eigenvalue, which roughly translates to proper value, to the media studies discipline for the first time, providing a philological history and line of development across the sciences through to contemporary cultural studies. Berressem's groundbreaking work is organized into 2 books, with the first book broken down into six topical areas - mathematics, physics, cybernetics, biology, literary studies, cultural studies. The second book discusses the place of eigenvalues in sound, light and literature, specifically, Alvin Lucier’s experimental composition “I am Sitting in a Room,” Bill Morrison’s eight-minute experimental film Light is Calling and the literary works of Thomas Pynchon. Berressem's thought-provoking philology is an important reference point for readers seeking an authoritative introduction to a term that connects other key ideas in contemporary debate.

Sonic Thinking attempts to extend the burgeoning field of media philosophy, which so far is defined by a strong focus on cinema, to the field of sound. The contributors urge readers to re-adjust their ideas of Sound Studies by attempting to think not only about sound [by external criteria, such as (cultural) meaning], but to think with and through sound. Series editor Bernd Herzogenrath's collection serves two interconnected purposes: in developing an alternative philosophy of music that takes music serious as a ‘form of thinking’; and in bringing this approach into a fertile symbiosis with the concepts and practices of ‘artistic research’: art, philosophy, and science as heterogeneous, yet coequal forms of thinking and researching. Including contributions by both established figures and younger scholars working on cutting edge material, and weaving artistic responses and interventions in between the more theoretical texts, Herzogenrath's collection provides a lively introduction to a fresh debate.

Project Society After Money is an interdisciplinary project between commons theory, evolutionary political economy, media studies and sociology, that enter into a dialogue with one another in order to look at their specific theories and criticisms of money. Conceived as the beginning of a necessary interdisciplinary dialogue, the possibilities of post-monetary forms of organization and production are taken into account and examined. On one hand there is a lot of talk about ‘digital revolution’, ‘mediatized society’, ‘networks‘, ‘Industry 4.0’. On the other hand the present is described in terms of crisis: ‘financial crisis’, ‘economic crisis’, ‘planetary boundaries’. At once there is the description of a media-technological change along with massive social and ecological disruptions. Society After Money is based on the premise that there might be a conflict between digital media/digital technology and the medium of money – and perhaps new digital possibilities that allow alternative forms of economy. It criticizes what is normally seen as self-evident and natural, namely that social coordination has to be done by the medium of money. We're left with a highly innovative collection of contributions that initiates a broader social discourse on the role of money in the global society of the 21st century.

Work in Progress: Curatorial Labor in Twenty-First Century American Fiction interrogates contemporary texts that showcase forms of reading practices that feel anachronistic and laborious in times of instantaneity and short buffering times. Objects of analysis include the graphic narrative Building Stories by Chris Ware, the music album Song Reader by the indie rock artist Beck Hansen, and the computer game Kentucky Route Zero by the programming team Cardboard Computer. These texts stage their fragmentary nature and alleged “unfinishedness” as a quintessential part of both their narrative and material modus operandi. These works in and of progress feel both contemporary and retro in the 21st century. They draw upon and work against our expectations of interactive art in the digital age, incorporating and likewise rejecting digital forms and practices. This underlines the material and narrative flexibilities of the objects, for no outcome or reading experience is the same or can be replicated. It becomes apparent that the texts presuppose a reader who invests her spare time in figuring these texts out, diagnosing a contorted work-leisure dichotomy: “working these stories out” is a significant part of the reading experience for the reader–curatorial labor. This conjures up a reader, who, as the author argues, is turned into a curator and creative entity of and in these texts, for she implements and reassembles the options made available.

Television is the most powerful system of images in the late 20th and early 21st centuries. Nonetheless, TV has attained only little philosophical attention so far, especially compared to other (visual) media such as film. This book looks at TV as what happens on the screen and beyond it; which is mainly the operation of switching images. It therefore proposes a new definition of TV as the first picture that can be switched on, off, and over, which stresses that TV is more tactile than visual. Through the operation of switching, TV figures the world from within and as the course of its figuration. This is grasped here by the term of “ontography”. Through the ongoing interlacing and bridging of “TV 1.0” (the image is being switched) and “TV 2.0” (the image is a switch), TV exponentially increases the production and circulation of images. It transforms the world and itself from an analogue state to a digital one and from central perspectivism to pluri-perspective. In terms of time, through switching and the switch, it develops and reworks new temporal orderings, such as instantaneity, synchronicity, flow, and seriality. TV makes its own history. In space, it creates a mediasphere as its habitat and hence new forms of being-in-the-world, of proximity and distance, and scale. Anthropologically, it works on what a subject and an object is, on what makes the human being, and ontographically, how it is possible that there is something at all instead of nothing: through switch-images.

Wolfgang Ernst’s new work, Technológos in Being, in its explicit media-scientific approach, aligns with the politics of the thinking media series to publish innovative works that advance media studies towards the ‘new sciences.’ Ernst’s invites readers to re-adjust their ideas of Media Studies: the conviction that an extended understanding of "medium" needs to include a concept of materiality that focuses on "non- human" agencies as well. The book grounds media analysis radically in the technological apparatuses, relays, transistors, hard- and software, to precisely locate the scenes, operations and frictions where reasoning logos and ‘informable’ matter interfere.

What happens when forms fall apart? And how do affects such as fear, shock, fascination, and desire drive and shape formal disturbances in modern literature, cinema, and contemporary art? Opening an interdisciplinary dialogue between cultural affect theory, media philosophy, and literary studies, Tomáš Jirsa explores how specific affective operations disrupt form only to generate new formations. To demonstrate the importance of the structural work of mutually interacting affects, Disformations provides close readings of four intermedia figures stretched out across modernist fictions, contemporary video art, and posthuman visual experiments—the faceless face, the wallpaper pattern, the garbage dump, and the empty chair. Analyzing a wide range of texts, images, and audiovisual works, from Vincent van Gogh and Charlotte Perkins Gilman to Rainer Maria Rilke, Gaston Leroux, and Richard Weiner, to Francis Bacon, Michel Tournier, Ingmar Bergman, Eugène Ionesco, Vladimir Nabokov, Joseph Kosuth, and Jan Šerých, this book opens up a new avenue for addressing how aesthetic forms desubjectify affects to mobilize their mediality and performative qualities. Jirsa’s innovative theoretical framework and incisive readings offer a fresh inquiry into how artistic media produce their own figural thinking and in so doing compel us to think with them anew.

In 1957, A Face in the Crowd incorporated live video images to warn about the future of broadcast TV. In 2015, Kung Fury was infused with analogue noise to evoke the nostalgic feeling of watching an old VHS tape. Between the two films, numerous ones would incorporate video images to imagine the implications of video practices. Drawing on media archaeology, Videographic Cinema shows how such images and imaginaries have emerged, changed and remained over time according to their shifting technical, historical and institutional conditions. Rediscovering forgotten films like Anti-Clock (1979) and reassessing ones like Lost Highway (1997), Jonathan Rozenkrantz charts neglected chapters of video history, including self-confrontation techniques in psychiatry, their complex relation with surveillance, and the invention/discovery of the “videographic psyche” by artists, therapists and filmmakers. Spanning six decades, Videographic Cinema discovers an epistemic shift from prospective imaginaries of surveillance and control conditioned on video as a medium for live transmission, to retrospective ones concerned with videotape as a recording memory. It ends by considering videographic filmmaking itself as a form of archaeology in the age of analogue obsolescence.

Disrupted Intersubjectivity investigates two classes of phenomena creating failures of understanding in social interaction, referred to as ‘paralysis’ and ‘invasion.’ Both can be understood as disrupted forms of intersubjectivity, the former being characterized by a lack/deficiency of ways of relating to others, and the latter by an unnecessary surplus. By studying the literary accounts of these phenomena in a selection of Ian McEwan’s literary works (“Homemade,” On Chesil Beach, Enduring Love, and Atonement), Andrei Ionescu sheds light on the epistemological potential of literature and the structure of human relationships in general. Part of the developing field of cognitive literary studies, Disrupted Intersubjectivity not only uses cognitive scientific theories in order to clarify literary issues, but also investigates to what extent can literature itself contribute to the process of understanding the workings of the human mind. By investigating the metacognitive issues staged and reflected upon in literary works, Ionescu challenges and refines contemporary cognitive and philosophical approaches to intersubjectivity and opens directions for further theoretical and empirical research.