Movement as Meaning : (Record no. 78805)

MARC details
000 -LEADER
fixed length control field 06893nam a22004573i 4500
001 - CONTROL NUMBER
control field EBC556529
003 - CONTROL NUMBER IDENTIFIER
control field MiAaPQ
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20191126105349.0
006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS
fixed length control field m o d |
007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION
fixed length control field cr cnu||||||||
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 191125s2008 xx o ||||0 eng d
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9789401205740
Qualifying information (electronic bk.)
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
Canceled/invalid ISBN 9789042023857
035 ## - SYSTEM CONTROL NUMBER
System control number (MiAaPQ)EBC556529
035 ## - SYSTEM CONTROL NUMBER
System control number (Au-PeEL)EBL556529
035 ## - SYSTEM CONTROL NUMBER
System control number (CaPaEBR)ebr10380649
035 ## - SYSTEM CONTROL NUMBER
System control number (OCoLC)712989227
040 ## - CATALOGING SOURCE
Original cataloging agency MiAaPQ
Language of cataloging eng
Description conventions rda
-- pn
Transcribing agency MiAaPQ
Modifying agency MiAaPQ
050 #4 - LIBRARY OF CONGRESS CALL NUMBER
Classification number PN1995.9.E96
082 0# - DEWEY DECIMAL CLASSIFICATION NUMBER
Classification number 791.43611
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Barnett, Daniel.
9 (RLIN) 62983
245 10 - TITLE STATEMENT
Title Movement as Meaning :
Remainder of title In Experimental Film.
264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE
Place of production, publication, distribution, manufacture Amsterdam :
Name of producer, publisher, distributor, manufacturer BRILL,
Date of production, publication, distribution, manufacture, or copyright notice 2008.
264 #4 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE
Date of production, publication, distribution, manufacture, or copyright notice ©2008.
300 ## - PHYSICAL DESCRIPTION
Extent 1 online resource (238 pages)
336 ## - CONTENT TYPE
Content type term text
Content type code txt
Source rdacontent
337 ## - MEDIA TYPE
Media type term computer
Media type code c
Source rdamedia
338 ## - CARRIER TYPE
Carrier type term online resource
Carrier type code cr
Source rdacarrier
490 1# - SERIES STATEMENT
Series statement Consciousness, Literature and the Arts Ser. ;
Volume/sequential designation v.v. 13
505 0# - FORMATTED CONTENTS NOTE
Formatted contents note Intro -- Movement as Meaning: In Experimental Film -- Table of Contents -- Foreword: What this book is, what this book isn't… -- Preface: Arriving at the scene ... -- Introduction: Two pictures of a rose in the dark... -- Part I: Modes of Perception and Modes of Expression -- 1. First ideas in new media: the cinematic suspension of disbelief… -- 2. Describing how the mind moves toward understandings… -- 3. New paradigms for viewing experience and new ways of creating meaning… -- 4. Theories of meaning: media, messages and how the mind moves… -- 5. The relevance of the mechanism: lessons to carry forward from an already ancient medium... -- 6. Frames vs. shots, surface vs. window... -- 7. What the surface of the screen can tell us about language... -- 8. Language integrates our perceptions as surely as the nervous system integrates our sense data - Hallucination or Metadata?... -- 9. Letting the mind surround an idea: an introduction to Wittgenstein... -- 10. Ascertaining understanding: What one language must evoke, another may stipulate (and vice versa)... -- 11. Dynamic and static theories of meaning... -- 12. Color, types of reference and the inveterate narrative... -- 13. The polyvalence of the picture... -- 14. Meaning and mutual experience - kinds of reference redefined... -- 15. What has art got to do with it... -- 16. A whole new way of reading - the surface of the screen and the modulation of self consciousness... -- 17. The anteroom of meaning and our conception of space... -- 18. Meaning and mental habits... -- 19. Assumed and earned meaning... -- 20. The spectrum of shared reference... -- 21. The story sequence and the montage - prologue... -- 22. When the editor learns about meaning... -- 23. Montage and metaphor... -- 24. The imitation of perception... -- Part II: Dynamic And Syntactic Universals -- 25. Non-Verbal Universals...
505 8# - FORMATTED CONTENTS NOTE
Formatted contents note 26. The polyvalence of the picture and the omnivalence of the movie -- 27. The description of omnivalence as a floating target... -- 28. Dynamic universals: beginning, middle and end - a prologue... -- 29. Language and the momentum of the body... -- 30. Syntactic universals: interval, context and repetition... -- 31. The synergy of symmetry... -- 32. Sidebar - another parallel model and another speculative future... -- 33. Formal references in music and cinema... -- 34. The developmental leap - keeping the referent a mystery... -- 35. Resemblance and resonance... -- 36. The subliminal pull of the flicker... -- 37. Aural and visual cadence... -- 38. The frame of the experience... -- 39. Resonance among frames... -- 40. Ancient history - the medium as the model... -- 41. Illustration, induction and repetition... -- 42. The material and the medium... -- 43. Sonics and seamlessness... -- 44. The private language machine and the evolution of a medium... -- 45. Illusions and ontological linchpins... -- 46. Delimiting an audience... -- 47. Summarizing the singular window en route to the panoramic view... -- Part III: The Moving Target -- 48. Digital ubiquity - the memosphere & the mediasphere... -- 49. Compression and consciousness... -- 50. Indeterminacy of translation revisited and context reconsidered... -- 51. The reconfigured attention span... -- 52. The synergy of the mediasphere… -- 53. The search engine and the editor-in-chief... -- 54. A sidebar on consciousness... -- 55. So, where is the screen?... -- 56. Definitions and boundaries... -- 57. The meaning is the metaphor (or not)... -- 58. The raw and the cooked... -- 59. A final reflection on method... -- 60. The grain and the pixel… -- Appendix A: The Paillard Bolex Movie Camera And the J-K Optical Printer -- Acknowledgements -- Bibliography -- Filmography -- Index.
520 ## - SUMMARY, ETC.
Summary, etc. This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery's concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness.Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning.
588 ## - SOURCE OF DESCRIPTION NOTE
Source of description note Description based on publisher supplied metadata and other sources.
590 ## - LOCAL NOTE (RLIN)
Local note Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2019. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element Experimental films.;Motion pictures.
9 (RLIN) 62984
655 #4 - INDEX TERM--GENRE/FORM
Genre/form data or focus term Electronic books.
9 (RLIN) 62985
776 08 - ADDITIONAL PHYSICAL FORM ENTRY
Relationship information Print version:
Main entry heading Barnett, Daniel
Title Movement as Meaning : In Experimental Film
Place, publisher, and date of publication Amsterdam : BRILL,c2008
International Standard Book Number 9789042023857
797 2# - LOCAL ADDED ENTRY--CORPORATE NAME (RLIN)
Corporate name or jurisdiction name as entry element ProQuest (Firm)
830 #0 - SERIES ADDED ENTRY--UNIFORM TITLE
Uniform title Consciousness, Literature and the Arts Ser.
9 (RLIN) 62986
856 40 - ELECTRONIC LOCATION AND ACCESS
Uniform Resource Identifier <a href="https://ebookcentral.proquest.com/lib/thebc/detail.action?docID=556529">https://ebookcentral.proquest.com/lib/thebc/detail.action?docID=556529</a>
Public note Click to View
887 ## - NON-MARC INFORMATION FIELD
Content of non-MARC field EBK
942 ## - ADDED ENTRY ELEMENTS (KOHA)
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