Photography in the Middle: Dispatches on Media Ecologies and Aesthetics / (Record no. 234338)

MARC details
000 -LEADER
fixed length control field 04930cam a22004454a 4500
001 - CONTROL NUMBER
control field musev2_76516
003 - CONTROL NUMBER IDENTIFIER
control field MdBmJHUP
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20240815120833.0
006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS
fixed length control field m o d
007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION
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008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 200729r20202016xxu o 00 0 eng d
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9780998237510
035 ## - SYSTEM CONTROL NUMBER
System control number (OCoLC)1183978121
040 ## - CATALOGING SOURCE
Original cataloging agency MdBmJHUP
Transcribing agency MdBmJHUP
050 #4 - LIBRARY OF CONGRESS CALL NUMBER
Classification number TR183
Item number .C657 2016
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Coley, Rob,
Relator term author.
245 10 - TITLE STATEMENT
Title Photography in the Middle: Dispatches on Media Ecologies and Aesthetics /
Statement of responsibility, etc. Rob Coley & Dean Lockwood.
264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE
Place of production, publication, distribution, manufacture Baltimore, Maryland :
Name of producer, publisher, distributor, manufacturer Project Muse,
Date of production, publication, distribution, manufacture, or copyright notice 2020
264 #3 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE
Place of production, publication, distribution, manufacture Baltimore, Md. :
Name of producer, publisher, distributor, manufacturer Project MUSE,
Date of production, publication, distribution, manufacture, or copyright notice 2020
264 #4 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE
Date of production, publication, distribution, manufacture, or copyright notice ©2020
300 ## - PHYSICAL DESCRIPTION
Extent 1 online resource (176 pages):
Other physical details illustrations (some color)
336 ## - CONTENT TYPE
Content type term text
Content type code txt
Source rdacontent
337 ## - MEDIA TYPE
Media type term computer
Media type code c
Source rdamedia
338 ## - CARRIER TYPE
Carrier type term online resource
Carrier type code cr
Source rdacarrier
500 ## - GENERAL NOTE
General note Issued as part of book collections on Project MUSE.
504 ## - BIBLIOGRAPHY, ETC. NOTE
Bibliography, etc. note Includes bibliographical references (pages 165-173).
505 0# - FORMATTED CONTENTS NOTE
Formatted contents note Circle of confusion -- Tricks learned after the crash -- Dispatches -- The Holiday Inn -- csi Düsseldorf -- I am Muybridge -- On paraphotography.,
506 0# - RESTRICTIONS ON ACCESS NOTE
Terms governing access Open Access
Standardized terminology for access restriction Unrestricted online access
Source of term star
520 ## - SUMMARY, ETC.
Summary, etc. It's easy to forget there's a war on when the front line is everywhere encrypted in plain sight. Gathered in this book's several chapters are dispatches on the role of photography in a War Universe, a space and time in which photographers such as Hilla Becher, Don McCullin and Eadweard Muybridge exist only insofar as they are a mark of possession, in the sway of larger forces. These photographers are conceptual personae that collectively fabulate a different kind of photography, a paraphotography in which the camera produces negative abyssal flashes or 'endarkenment.' In his Vietnam War memoir, Dispatches, Michael Herr imagines a 'dropped camera' receiving 'jumping and falling' images, images which capture the weird indivisibility of medium and mediated in a time of war. The movies and the war, the photographs and the torn bodies, fused and exchanged. Reporting from the chaos at the middle of things, Herr invokes a kind of writing attuned to this experience. Photography in the Middle, eschewing a high theoretical mode, seeks to exploit the bag of tricks that is the dispatch. The dispatch makes no grand statement about the progress of the war. Cultivating the most perverse implications of its sources, it tries to express what the daily briefing never can. Ports of entry in the script we're given, odd and hasty little glyphs, unhelpful rips in the cover story, dispatches are futile, dark intuitions, an expeditious inefficacy. They are bleak but necessary responses to an indifferent world in which any action whatever has little noticeable effect.As luck would have it, Photography in the Middle begins with some nasty accidents, and extracts from the wreckage a few lessons learned. Dusting itself off, it ships out and puts up with a bunch of battle scarred, big gun photojournalists in the Holiday Inn of a typical world city. Later, it immerses itself within the leaked files of an enigmatic police cabal which detail the surveillance of conceptual photographers Bernd and Hilla Becher, an operation that even extends to the duo's dreams. Further back in time, in 1897, we are invited to an inflammatory, yet patchily documented public lecture given by the Titan, Muybridge.More than any other, it is William Burroughs, conceived here as a war photographer, who is our tutelary figure, hovering over all these pages in his attempt to map emergent vectors of mediation, ever more intimate forms of control and accelerants of planetary catastrophe. Burroughs believed that it was necessary to both keep pace with and formulate new vectors, vectors that might act as intersections with a nonhuman outside. Photography has an agency of its own, one that scrambles the patterns and refrains of mediation upon which human life is based, glitching the human and provoking relations with external coordinates. With Burroughs, and other inspirations such as J.G. Ballard, Georges Bataille, Tom McCarthy and Eugene Thacker, our notion of the dispatch does not offer positive knowledge of something that we can reconcile with existing rational explanations, but rather the revelation of a nightside, our redundancy in a photography that suspends all operations in a general blindness.
588 ## - SOURCE OF DESCRIPTION NOTE
Source of description note Description based on print version record.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Photography
General subdivision Technique.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Photography
General subdivision Philosophy.
655 #7 - INDEX TERM--GENRE/FORM
Genre/form data or focus term Electronic books.
Source of term local
700 1# - ADDED ENTRY--PERSONAL NAME
Personal name Lockwood, Dean,
Relator term author.
710 2# - ADDED ENTRY--CORPORATE NAME
Corporate name or jurisdiction name as entry element Project Muse,
Relator term distributor.
776 18 - ADDITIONAL PHYSICAL FORM ENTRY
Relationship information Print version:
International Standard Book Number 9780998237510
710 2# - ADDED ENTRY--CORPORATE NAME
Corporate name or jurisdiction name as entry element Project Muse.
Relator term distributor
830 #0 - SERIES ADDED ENTRY--UNIFORM TITLE
Uniform title Book collections on Project MUSE.
856 40 - ELECTRONIC LOCATION AND ACCESS
Public note Full text available:
Uniform Resource Identifier <a href="https://muse.jhu.edu/book/76516/">https://muse.jhu.edu/book/76516/</a>

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