Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Ausgabe 22Indiana University Press, 2000 |
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Seite 93
... painting , the art of painting strictly speaking , the deformation of the image and not the repro- duction of the image , as in photography . On the one hand , cinema will integrate equally all the " isms " used in the history of ...
... painting , the art of painting strictly speaking , the deformation of the image and not the repro- duction of the image , as in photography . On the one hand , cinema will integrate equally all the " isms " used in the history of ...
Seite 128
... painting and the traditional view of art as I escape symbolically , but also materially , from the prison of the flat surface . . . . Pol- lock , then , threw paint on the canvas . He was looking for a new dimension of space , but all ...
... painting and the traditional view of art as I escape symbolically , but also materially , from the prison of the flat surface . . . . Pol- lock , then , threw paint on the canvas . He was looking for a new dimension of space , but all ...
Seite 129
... painting with their feet ( Shigara ) . All these events took place in front of audiences , and cameras . " Pollock , Cage , Fontana , and Shimamoto shared a common desire to disrupt or pierce the pictorial surface , to question the ...
... painting with their feet ( Shigara ) . All these events took place in front of audiences , and cameras . " Pollock , Cage , Fontana , and Shimamoto shared a common desire to disrupt or pierce the pictorial surface , to question the ...
Inhalt
COURSE | 3 |
Collective Memory Credibility Structures and the Case | 31 |
Greg Louganis and | 53 |
Urheberrecht | |
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