In Archiveology Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology-the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers-provides ways to imagine the past and the future. Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines a range of films alongside Benjamin's conceptions of memory, document, excavation, and historiography. She shows how city films such as Nicole Vedres's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays Itself (2003) reconstruct notions of urban life and uses Christian Marclay's The Clock (2010) to draw parallels between critical cinephilia and Benjamin's theory of the phantasmagoria. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film. In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory.

Against Immediacy is a history of early video art considered in relation to television in the United States during the 1960s and 1970s. It examines how artists questioned the ways in which "the people" were ideologically figured by the commercial mass media. During this time, artists and organizations including Nam June Paik, Juan Downey, and the Women's Video News Service challenged the existing limits of the one-to-many model of televisual broadcasting while simultaneously constructing more democratic, bottom-up models in which the people mediated themselves. Operating at the intersection between art history and media studies, Against Immediacy connects early video art and the rise of the media screen in gallery-based art to discussions about participation and the activation of the spectator in art and electronic media, moving from video art as an early form of democratic media practice to its canonization as a form of high art.

This volume is a response to the growing need for new methodological approaches to the rapidly changing landscape of new forms of performative practices. The authors address a host of contemporary phenomena situated at the crossroads between science and fiction which employ various media and merge live participation with mediated hybrid experiences at both affective and cognitive level. All essays collected here move across disciplinary divisions in order to provide an account of these new tendencies, thus providing food for thought for a wide readership ranging from performative studies to the social sciences, philosophy and cultural studies.

When his twenty-four-hour film The Clock was awarded the Golden Lion at the fifty-fourth Venice Biennale in 2011, his hour had struck. Yet as an artist, performer, and pioneer of turntablism, the Swiss-American Christian Marclay (*1955) has been famous for his complex oeuvre for more than thirty years. Since then he has translated sounds and music into visible forms in his performances, installations, collages, sculptures, and photographs, revealing sensory experiences in them that his viewers had never dared to experience. Comic books and mangas are the source material for Marclay's most recent works, whose listening experience yet again opens up new dimensions. The extensive monograph not only does justice to the entire spectrum of the artist's multimedia and synaesthetic oeuvre; it also brings previously little known works home to our eyes and our ears. Exhibition: Aargauer Kunsthaus, Aarau, 30.8.2015 - 15.11.2015

Screen-based media, such as touch-screens, navigation systems and virtual reality applications merge images and operations. They turn viewing first and foremost into using and reflect the turn towards an active role of the image in guiding a user's action and perception. From professional environments to everyday life multiple configurations of screens organise working routines, structure interaction, and situate users in space both within and beyond the boundaries of the screen. This volume examines the linking of screen, space, and operation in fields such as remote navigation, architecture, medicine, interface design, and film production asking how the interaction with and through screens structures their users' action and perception.

What happens when a drone enters a gallery or appears on screen? What thresholds are crossed as this weapon of war occupies everyday visual culture? These questions have appeared with increasing regularity since the advent of the War on Terror, when drones began migrating into civilian platforms of film, photography, installation, sculpture, performance art, and theater. In this groundbreaking study, Thomas Stubblefield attempts not only to define the emerging genre of "drone art" but to outline its primary features, identify its historical lineages, and assess its political aspirations. Richly detailed and politically salient, this book is the first comprehensive analysis of the intersections between drones, art, technology, and power.

Crash Bandicoot Coloring Book contains 44 full-page detailed coloring pages with characters from one of the best series platform video games ever - Crash Bandicoot. Great activity for kids and adults! Each image is printed on a separate page to prevent bleed-through.

Until now, celebrated photographer Robert Frank's daring and unconventional work as a filmmaker has not been awarded the critical notice it deserves. In this timely volume, George Kouvaros surveys Frank's films and videos and places them in the larger context of experimentation in American art and literature since World War II. Born in 1924, Frank emigrated from Switzerland to the United States in 1947 and quickly made his mark as a photojournalist. A 1955 Guggenheim Foundation fellowship allowed him to travel across the country, photographing aspects of American life that had previously received little attention. The resulting book, The Americans, with an Introduction by Jack Kerouac, is generally considered a landmark in the history of postwar photography. During the same period, Frank befriended other artists and writers, among them Allen Ginsberg, Peter Orlovsky, and Gregory Corso, all of whom are featured in his first film, Pull My Daisy, which is narrated by Kerouac. This film set the terms for a new era of experimental filmmaking. By examining Frank's films and videos, including Pull My Daisy, Me and My Brother, and Cocksucker Blues, in the framework of his more widely recognized photographic achievements, Kouvaros develops a model of cross-media history in which photography, film, and video are complicit in the search for fresh forms of visual expression. Awakening the Eye is an insightful, compelling, and, at times, moving account of Frank's determination to forge a personal connection between the circumstances of his life and the media in which he works.

Group Therapy invites readers to reconsider their perceptions of mental health, by asking how far our personal wellbeing is related to the values of the society we live in. In the 21st century, where many of our daily activities are mediated by digital devices, it focuses particularly on the impact of new technologies on our sense of self and our collective wellbeing. Using provocations and personal testimonies, the book challenges conventional perceptions of mental illness, while offering practical advice on how to deal with contemporary problems such as internet addiction or mental health in the workplace. Written by artists, psychologists and health professionals, and building upon an exhibition at FACT, Group Therapy provides an accessible 'how to' guide for the contemporary day-to-day experience of mental health.