標(biāo)題: Titlebook: Border Ecology; Art and Environmenta Ila Nicole Sheren Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license t [打印本頁] 作者: Ensign 時(shí)間: 2025-3-21 17:59
書目名稱Border Ecology影響因子(影響力)
書目名稱Border Ecology影響因子(影響力)學(xué)科排名
書目名稱Border Ecology網(wǎng)絡(luò)公開度
書目名稱Border Ecology網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Border Ecology被引頻次
書目名稱Border Ecology被引頻次學(xué)科排名
書目名稱Border Ecology年度引用
書目名稱Border Ecology年度引用學(xué)科排名
書目名稱Border Ecology讀者反饋
書目名稱Border Ecology讀者反饋學(xué)科排名
作者: eardrum 時(shí)間: 2025-3-21 22:54
art? Video, photography and internet art from the margins.This book analyzes how contemporary visual art can visualize environmental crisis. It draws on Karen Barad’s method of “agential realism,” which understands disparate factors as working together and “entangled.” Through an analysis of digita作者: cliche 時(shí)間: 2025-3-22 03:33 作者: THE 時(shí)間: 2025-3-22 08:09
Introduction, of decolonial theory and subaltern studies. The introduction then gives a brief rundown of Barad’s agential realist solution and sketches out what I mean by “border ecology.” Finally, I address relevant literature in the field of eco art, as well as relevant theories of digital media.作者: NUDGE 時(shí)間: 2025-3-22 10:19 作者: 令人悲傷 時(shí)間: 2025-3-22 16:11 作者: 畸形 時(shí)間: 2025-3-22 20:18 作者: Astigmatism 時(shí)間: 2025-3-22 22:57 作者: Malaise 時(shí)間: 2025-3-23 04:53 作者: 細(xì)頸瓶 時(shí)間: 2025-3-23 06:33
https://doi.org/10.1007/978-3-0348-7478-6 I argue, however, that rather than doing away entirely with allusions to the Western Romantic separation of human and nature, such digital landscapes are poised to ask critical questions: what kind of “nature” is represented in such a digitized, data-driven landscape? Can the visual of a schematic,作者: 配置 時(shí)間: 2025-3-23 13:11
https://doi.org/10.1007/978-981-13-6404-4 Although borders stand for “otherness” in Mignolo’s formulation, I contend that the Mississippi watershed presents a metaphorical border and a physical boundary zone that radically de-centers human priorities of mapping the ecosystem. In doing so, I situate . as an ecocritical work specific to St L作者: PUT 時(shí)間: 2025-3-23 17:54
The Boundaries of the Map, I argue, however, that rather than doing away entirely with allusions to the Western Romantic separation of human and nature, such digital landscapes are poised to ask critical questions: what kind of “nature” is represented in such a digitized, data-driven landscape? Can the visual of a schematic,作者: evanescent 時(shí)間: 2025-3-23 21:41
Border Crossers, Although borders stand for “otherness” in Mignolo’s formulation, I contend that the Mississippi watershed presents a metaphorical border and a physical boundary zone that radically de-centers human priorities of mapping the ecosystem. In doing so, I situate . as an ecocritical work specific to St L作者: Ige326 時(shí)間: 2025-3-23 23:37 作者: 熱心助人 時(shí)間: 2025-3-24 06:01
Ila Nicole SherenEcology meets decolonial praxis in digital media.How visual art can give insights into environmental crises.What is missing from ecocritical art? Video, photography and internet art from the margins作者: SAGE 時(shí)間: 2025-3-24 07:45
http://image.papertrans.cn/b/image/189810.jpg作者: 在前面 時(shí)間: 2025-3-24 12:07
https://doi.org/10.1007/978-3-031-25953-1contemporary art; Global South; border studies; eco art; landscape; new media作者: 適宜 時(shí)間: 2025-3-24 16:03 作者: avarice 時(shí)間: 2025-3-24 19:03 作者: 形狀 時(shí)間: 2025-3-25 00:28 作者: 能夠支付 時(shí)間: 2025-3-25 07:12 作者: NAV 時(shí)間: 2025-3-25 10:43 作者: CLAY 時(shí)間: 2025-3-25 15:29
https://doi.org/10.1007/978-981-13-6404-4ts may play. This chapter examines the connections between new materialism and postcolonial theory using the eco-art project . (2013–ongoing) by St. Louis-based artists Libby Reuter and Joshua Rowan and the interactive web-based documentary . (2012), by Leanne Allison and Jeremy Mendes. The former s作者: heckle 時(shí)間: 2025-3-25 16:33 作者: cliche 時(shí)間: 2025-3-25 23:27
Conclusions and New Directions: Border Art for a Border Ecology,Chapter ., the conclusion, takes up the question of the U.S.-Mexico border and asks what it would look like to make border art for a border ecology. Postcommodity’s 2015 installation . serves as the anchor for this brief discussion.作者: MORPH 時(shí)間: 2025-3-26 01:40
Introduction,rticular agency. I then trace the shortcomings of such an object-oriented approach, as well as the critiques of mainstream environmentalism coming out of decolonial theory and subaltern studies. The introduction then gives a brief rundown of Barad’s agential realist solution and sketches out what I 作者: crescendo 時(shí)間: 2025-3-26 08:04 作者: paradigm 時(shí)間: 2025-3-26 11:57 作者: Etching 時(shí)間: 2025-3-26 16:40
Entanglements,ideo piece, Vibha Galhotra’s . (2015). This chapter is where I present “border ecology” as my solution to thinking through the problematic nature of “objects” in regard to postcolonial identities and the Global South at large. Galhotra’s video consists of a depiction of the sacred Yamuna River, stee作者: ineffectual 時(shí)間: 2025-3-26 19:00
Border Crossers,ts may play. This chapter examines the connections between new materialism and postcolonial theory using the eco-art project . (2013–ongoing) by St. Louis-based artists Libby Reuter and Joshua Rowan and the interactive web-based documentary . (2012), by Leanne Allison and Jeremy Mendes. The former s作者: 鄙視 時(shí)間: 2025-3-26 21:34
Klaus-Dieter Hupkeeichzeitig entstehen dadurch auch spezifische Hürden und Probleme für die SchülerInnen beim übergang vom prop?deutischen zum fortgeschrittenen Geometrieunterricht am Ende der Unterstufe. In diesem Beitrag argumentiere ich für die These, dass einige der spezifischen Hürden durch eine abrupte Ver?nder作者: 刺耳的聲音 時(shí)間: 2025-3-27 04:29 作者: DIS 時(shí)間: 2025-3-27 07:56 作者: 課程 時(shí)間: 2025-3-27 09:53 作者: heirloom 時(shí)間: 2025-3-27 16:45 作者: Host142 時(shí)間: 2025-3-27 21:43
