In a general sense, attempts to theorize media in terms of the intricate and slippery border between the internal and the external, discussions of language, image, sound…often begin with Lacan’s infantile mirror stage and further align the continued reproduction of subjectivity with the influences of external stimuli such as media. Since perception, subject formation, language and image are common stakeholders in both psychoanalytic and mediatic discourses, theories of media (in their various forms and abstractions) are embedded with invocations of these three Lacanian orders and a further concern with their interplay. ![]() They serve to situate subjectivity within a system of perception and a dialogue with the external world. ![]() In the Lacanian arena, the symbolic-real-imaginary forms a trio of intrapsychic realms which comprise the various levels of psychic phenomena. However, if we’re talking about media, perception, and representation, we begin with the symbolic-real-imaginary triad of Jacques Lacan’s three psychoanalytic orders, developed during a series of lectures in the 1950’s. We seek out (or avoid) the Real World we have Imaginary Friends we experience Symbolic Moments. "The symbolic," "the real," and "the imaginary" all have individual OED definitions, all relate to something significant in our daily sense of the world, all evoke meanings and references independent of each other. And with this differentiation – and not with steam engines and railroads – a clear division occurs between matter and information, the real and the symbolic" (Kittler, GFT, 16). "Machines take over functions of the central nervous system, and no longer, as in the past, merely those of muscles. "Linguistic Value," Course in General Linguistics. New York: Dover Publications, Inc.ĭe Saussure, Ferdinand. "Logic as Semiotic: The Theory of Signs," Philosophical Writings of Pierce. "Visual Pleasure Narrative Cinema." Visual and Other Pleasures, 1975. "Translator's Note." The Four Fundamental Concepts of Psychoanalysis. Understanding Media: The Extensions of Man. "The Mirror Stage as formative of the function of the I as revealed in psychoanalytic experience." (1949). "The Signification of the Phallus." Ecrits. Baltimore: The Johns Hopkins University Press, 1956. "Symbol and Language." The Language of the Self. Stanford: Stanford University Press, 1999. "Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered." October. New York: Oxford University Press, 1992.īuck-Morss, Susan. ![]() "Ideological Effects of the Basic Cinematic Apparatus." Film Theory and Criticism. New York: Monthly Review Press.īaudry, Lean-Louis. ![]() "Ideology and Ideological State Apparatuses." Lenin and Philosophy and Other Essays. GENESIS STEAM is honored and tremendously grateful to be the recipient of over 45K from Michael Muller and Sideshow Collectibles from the Final Bow Fine Art Prints celebrating the life and legacy of Kobe Bryant.Althusser, Louis. As Muller shared on Instagram, Kobe was all about helping people and the donation to GENESIS STEAM is in his name. Muller has chosen to have 100% of the profits from these prints benefit GENESIS STEAM. In honor of Kobe Bryant’s legacy, Michael Muller teamed up with SideShow Collectables to create a series of Fine Art Epson Prints. The photo was featured on TIME Magazine’s cover commemorating Bryant, and was used all over the world by fans to celebrate the basketball phenominon’s life. Michael Muller captured the iconic Final Bow photo of Los Angeles Laker legend, Kobe Bryant. GENESIS STEAM is honored to have Michael Muller, World renowned photographer, adventurer, and filmmaker as our partner and mentor to our students. March 2020 Michael Muller and Sideshow Donate Proceeds of Kobe Bryant Prints to GENESIS
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