Erika Balsom
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231176934
- eISBN:
- 9780231543125
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231176934.001.0001
- Subject:
- Film, Television and Radio, Film
Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities ...
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Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity—or both at once. From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.Less
Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity—or both at once. From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.
Erika Balsom
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231176934
- eISBN:
- 9780231543125
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231176934.003.0002
- Subject:
- Film, Television and Radio, Film
Film theory has largely overlooked the fact that film and video are founded in an economy of the multiple. In this chapter, I outline a theory of the moving image as a reproducible medium that ...
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Film theory has largely overlooked the fact that film and video are founded in an economy of the multiple. In this chapter, I outline a theory of the moving image as a reproducible medium that considers the way an image may be copied repeatedly so as to facilitate circulation across distribution networks. By moving into this domain, one confronts not the questions of indexicality, documentary, and realism that so often get asked in relation to the image’s status as a copy of the profilmic; rather, issues of authority, originality, and authenticity become paramount. This chapter unfolds what is at stake in approaching the moving image in this way and will examine how its reproducibility has been conceived of as both a utopian promise and the site of a dangerous inauthenticity since its emergence in the late nineteenth century.Less
Film theory has largely overlooked the fact that film and video are founded in an economy of the multiple. In this chapter, I outline a theory of the moving image as a reproducible medium that considers the way an image may be copied repeatedly so as to facilitate circulation across distribution networks. By moving into this domain, one confronts not the questions of indexicality, documentary, and realism that so often get asked in relation to the image’s status as a copy of the profilmic; rather, issues of authority, originality, and authenticity become paramount. This chapter unfolds what is at stake in approaching the moving image in this way and will examine how its reproducibility has been conceived of as both a utopian promise and the site of a dangerous inauthenticity since its emergence in the late nineteenth century.
Bradley E. Alger
- Published in print:
- 2019
- Published Online:
- February 2021
- ISBN:
- 9780190881481
- eISBN:
- 9780190093761
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190881481.003.0007
- Subject:
- Neuroscience, Techniques
This chapter reviews and evaluates reports that scientists often cannot repeat, or “reproduce” published work. It begins by defining what “reproducibility” means and how reproducibility applies to ...
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This chapter reviews and evaluates reports that scientists often cannot repeat, or “reproduce” published work. It begins by defining what “reproducibility” means and how reproducibility applies to various kinds of science. The focus then shifts to the Reproducibility Project: Psychology, which was a systematic effort to repeat published findings in psychology, and which gave rise to many of the present concerns about reproducibility. The chapter critically examines the Reproducibility Project and points out how the nature of science and the complexity of nature can stymie the best attempts at reproducibility. The chapter also reviews the statistical criticisms of science that John Ioannidis and Katherine Button and their colleagues have raised. The hypothesis is a central issue because it is inconsistently defined across various branches of science. The statisticians’ strongest attacks are directed against work that differs from most laboratory experimental science. A weak point in the reasoning behind the Reproducibility Project and the statistical arguments is the assumption that a multi-pronged scientific investigation can be legitimately criticized by close examination of one of its components. Experimental science relies on multiple tests and multiple hypotheses to arrive at its conclusions. Reproducibility is a valid concern for science; it is not a “crisis.”Less
This chapter reviews and evaluates reports that scientists often cannot repeat, or “reproduce” published work. It begins by defining what “reproducibility” means and how reproducibility applies to various kinds of science. The focus then shifts to the Reproducibility Project: Psychology, which was a systematic effort to repeat published findings in psychology, and which gave rise to many of the present concerns about reproducibility. The chapter critically examines the Reproducibility Project and points out how the nature of science and the complexity of nature can stymie the best attempts at reproducibility. The chapter also reviews the statistical criticisms of science that John Ioannidis and Katherine Button and their colleagues have raised. The hypothesis is a central issue because it is inconsistently defined across various branches of science. The statisticians’ strongest attacks are directed against work that differs from most laboratory experimental science. A weak point in the reasoning behind the Reproducibility Project and the statistical arguments is the assumption that a multi-pronged scientific investigation can be legitimately criticized by close examination of one of its components. Experimental science relies on multiple tests and multiple hypotheses to arrive at its conclusions. Reproducibility is a valid concern for science; it is not a “crisis.”
Bradley E. Alger
- Published in print:
- 2019
- Published Online:
- February 2021
- ISBN:
- 9780190881481
- eISBN:
- 9780190093761
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190881481.003.0008
- Subject:
- Neuroscience, Techniques
This chapter makes the case for the scientific hypothesis from two quite different points of view: statistical and cognitive. The consideration of statistical advantages picks up from the discussion ...
More
This chapter makes the case for the scientific hypothesis from two quite different points of view: statistical and cognitive. The consideration of statistical advantages picks up from the discussion of the Reproducibility Crisis in the previous chapter. First, it explores reasoning that shows that hypothesis-based research will, as a general rule, be much more reliable than, for example, open-ended gene searches. It also revives a procedure, Fisher’s Method for Combining Results that, though rarely used nowadays, underscores the strengths of multiple testing of hypotheses. Second, the chapter goes into many cognitive advantages of hypothesis-based research that exist because the human mind is inherently and continually at work trying to understand the world. The hypothesis is a natural way of channeling this drive into science. It is also a powerful organizational tool that serves as a blueprint for investigations and helps organize scientific thinking and communications.Less
This chapter makes the case for the scientific hypothesis from two quite different points of view: statistical and cognitive. The consideration of statistical advantages picks up from the discussion of the Reproducibility Crisis in the previous chapter. First, it explores reasoning that shows that hypothesis-based research will, as a general rule, be much more reliable than, for example, open-ended gene searches. It also revives a procedure, Fisher’s Method for Combining Results that, though rarely used nowadays, underscores the strengths of multiple testing of hypotheses. Second, the chapter goes into many cognitive advantages of hypothesis-based research that exist because the human mind is inherently and continually at work trying to understand the world. The hypothesis is a natural way of channeling this drive into science. It is also a powerful organizational tool that serves as a blueprint for investigations and helps organize scientific thinking and communications.