Books by Sarah K Stanley
S.K Stanley’s Revolutionary Climatology examines the implications of Benjamin’s working through o... more S.K Stanley’s Revolutionary Climatology examines the implications of Benjamin’s working through of Marxist historical materialism through an ecological reading of The Arcades Project, while zeroing in on his deployment of literary method within a media archeological framework. It draws out a poetics of geological time scales that Benjamin had seeded through much of his writings. To that end it draws on the media science or Medienwissenshaft as developed at Humboldt University, in particular, the work of Wolfgang Ernst and his maxims of media that operate without human interlocution.
Benjamin: Materialist History of Culture...
A materialist interpretation of history necessarily ... more Benjamin: Materialist History of Culture...
A materialist interpretation of history necessarily contains an immanent critique of progress.
Sarah Stanley’s Revolutionary Climatology examines the implications of Benjamin’s brand of materialism and his deployment of method, thus enriching a possible understanding of the ways Benjamin works through his search for affinities and correspondences within (an media archeological frame) ..
Three kindred elaborations are offered in this issue’s section of review articles featuring Budapest, Paris/Berlin and London.
Roland Fischer travels to the world’s largest cities in order to compile a virtual catalog of hig... more Roland Fischer travels to the world’s largest cities in order to compile a virtual catalog of high rise structures. The artist is in fact investigating the consolidation of financial industries through new forms of trading instruments, especially in Asia, which gave rise to panoply of generic architectural styles in 1980s and 90s. This contemporary condition which further unites architecture and finance in the newly globalized world city provides the graphic spectrum for Roland Fischer’s Façade series. Facades on Paper IV is a series of eight photographic screenprints individually titled: Birmingham (Night), OIO Melbourne, Bank of China #2, Black Forest, Museum Munich #2, Surf Parade/Gold Cost, NAB Melbourne, and Wokesong Beijing.
Book Reviews by Sarah K Stanley
Afterimage Volume/issue:Vol. 31, No. 6, May 2004
""Marianne Fulton writes of photographer Carl Mangly famed photo, entitled A Korean woman carryin... more ""Marianne Fulton writes of photographer Carl Mangly famed photo, entitled A Korean woman carrying her baby and worldly goods flees the fighting around Seoul in the winter attack on the Korean capital in 1951, "Besides showing a refugee, this is about motherhood, about the human race." Despite Roland Barthes' critique of the universalizing tendencies of The Family of Man exhibition based on shared experience, he admits elsewhere that there could be no photography without the universal. Photography's ability to generalize human experience by changing the peculiar into the all embracing can certainly create dramatic war images. This will to transform individual stories of suffering into powerful, overarching themes of death and destruction also becomes war photography's greatest philosophical incongruity.
"
Afterimage, Sep 1, 2005
Vanishing, a uniquely designed book by Antonin Kratochvil, provides a compilation of images by a ... more Vanishing, a uniquely designed book by Antonin Kratochvil, provides a compilation of images by a photographer who is distinguished by his great sensitivity to the plight of human beings and animal species seeking to survive in endangered habitats. The book provides a view into 16 of the most desperate conditions on Earth--"another planet's hell,"... Although dealing with the most extreme forms of environmental degradation, Kratochvil spurns the pushiness of news coverage ... responding instead with ephemeral occurrences encountered during everyday events. The stark black and white images never use sensational methods ...; instead the book is a project in personal subjectivity and understatement, accompanied by a sampling of big data about these sites from a variety of news feeds, remixed as literary montage.
Essays by Sarah K Stanley
Design Metabolism and Contemporary Tokyo, Jun 2013
This research investigates the mix of art, architecture, urbanism, information systems and ecolog... more This research investigates the mix of art, architecture, urbanism, information systems and ecology that emerged with Metabolist thinking and image production in Japan in the 1960s. As a conceptual project, divisions between technology and nature were successfully merged into the urban tissue of contemporary Tokyo
Flusser Studies, 2020
Handbook for Viewing Fuji and its Clouds: An Introduction
Why are the clouds that form on Fuji so... more Handbook for Viewing Fuji and its Clouds: An Introduction
Why are the clouds that form on Fuji so unique, so breathtakingly ethereal? It has taken me nearly a decade to learn the secrets of its orographic clouds, its invisible gravity waves, its stratographic unfolding. Tokyo is the heartland of Fuji film, high-tech electronics and all the great Japanese film studios that produced the likes of Ozu. All this had prepared the ground for my Fuji-viewing experience. Five years after writing a theoretical text, Methods for Viewing Fuji, I found a published science archive of cloud photographs by Masanao Abe, a Japanese physicist.
Diagram of Fuji: A Stratovolcano 3,776 metres (12,388 ft) high intercepted by four distinct cloud types:
A triangular cap drapes over the cone as opaque veil. One or several stacked lenses cascade from the peak to float suspended for an entire day. A few small wispy cirrocumulus attach to one side. At its base sit long stratus sheets extending into surrounding hillsides.
Art Installation and Performance Workshop by Sarah K Stanley
MACHINIC ASSEMBLAGES OF DESIRE, 2019
Plateau 5: On Cartography chaired by Thomas Nail, see keynote lecture on Diagrams p. 12
Cartogr... more Plateau 5: On Cartography chaired by Thomas Nail, see keynote lecture on Diagrams p. 12
Cartographic Assemblages on the North Sea was the research portion to the Live Mapping installation featuring a large-scale canvas map of Ghent, incorporating features from older maps of the city from the 16th Century to present with the early city walls and canal systems for its sailing vessels.
I recorded the short text placed in the catalog for A Voyage on the North Sea, and used this as the basis for a sound installation to accompany a live mapping of the city of Ghent and the Orpheus Institute building by artist Patricia Smith. It was risky considering that conferences are defined by intensive encounters within interiors with little time to explore Ghent itself. My task was to discuss Broodthaers' mode of surveying historical formations of media (the book, film, photography, and painting), cartographic maps and wealth made possible with sailing vessels and its instrumentation, in order to make connections to the modern city and media. Cartographic maps was often drawn onto hemp canvas for durability during sea voyages, which shared the material of the sail, hence the plant term cannabis came to be called canvas, and eventually used for oil painting, which could then be transported easily as the first traveling work of art. These same materials continue on with this canvas mapping of Ghent, right at a time when hemp farming is surging once again across Europe, newly legalized in 2017.
My research also devised the method to collect diagrammatic ideas and concepts from others attending DARE, transferred onto a large-scale canvas drawing. I also produced a sound installation using sampling from lectures, urban sounds, nightly performances and film screenings, as a manifestation of machinic assemblages of desire. These elements will be brought together in a short documentation to be posted on-line.
This was a lecture performance related to my other performed art writing, such as “This Building is not a Readymade” and “Beautiful Urbanism: A Western set in Queens,” (Berlin, Germany ZKU).
Writing has nothing to do with signifying. It has to do with surveying, mapping, even realms that are yet to come. (A Thousand Plateaus)
Orpheus Meeting Room 1st floor
Bureau of Cartographic Assemblages
Sound Installation and Live Mapping with Sarah K. Stanley and Patricia Smith
After The Dark Precursor and Aberrant Nuptials, Assemblages (in its two manifestations as “machinic assemblages of desire” and “collective assemblages of enunciation”) is the theme of the third (DARE) held in Ghent (BE) at the Orpheus Institute, December 9–11, 2019.
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Books by Sarah K Stanley
A materialist interpretation of history necessarily contains an immanent critique of progress.
Sarah Stanley’s Revolutionary Climatology examines the implications of Benjamin’s brand of materialism and his deployment of method, thus enriching a possible understanding of the ways Benjamin works through his search for affinities and correspondences within (an media archeological frame) ..
Three kindred elaborations are offered in this issue’s section of review articles featuring Budapest, Paris/Berlin and London.
Book Reviews by Sarah K Stanley
"
Essays by Sarah K Stanley
Why are the clouds that form on Fuji so unique, so breathtakingly ethereal? It has taken me nearly a decade to learn the secrets of its orographic clouds, its invisible gravity waves, its stratographic unfolding. Tokyo is the heartland of Fuji film, high-tech electronics and all the great Japanese film studios that produced the likes of Ozu. All this had prepared the ground for my Fuji-viewing experience. Five years after writing a theoretical text, Methods for Viewing Fuji, I found a published science archive of cloud photographs by Masanao Abe, a Japanese physicist.
Diagram of Fuji: A Stratovolcano 3,776 metres (12,388 ft) high intercepted by four distinct cloud types:
A triangular cap drapes over the cone as opaque veil. One or several stacked lenses cascade from the peak to float suspended for an entire day. A few small wispy cirrocumulus attach to one side. At its base sit long stratus sheets extending into surrounding hillsides.
Art Installation and Performance Workshop by Sarah K Stanley
Cartographic Assemblages on the North Sea was the research portion to the Live Mapping installation featuring a large-scale canvas map of Ghent, incorporating features from older maps of the city from the 16th Century to present with the early city walls and canal systems for its sailing vessels.
I recorded the short text placed in the catalog for A Voyage on the North Sea, and used this as the basis for a sound installation to accompany a live mapping of the city of Ghent and the Orpheus Institute building by artist Patricia Smith. It was risky considering that conferences are defined by intensive encounters within interiors with little time to explore Ghent itself. My task was to discuss Broodthaers' mode of surveying historical formations of media (the book, film, photography, and painting), cartographic maps and wealth made possible with sailing vessels and its instrumentation, in order to make connections to the modern city and media. Cartographic maps was often drawn onto hemp canvas for durability during sea voyages, which shared the material of the sail, hence the plant term cannabis came to be called canvas, and eventually used for oil painting, which could then be transported easily as the first traveling work of art. These same materials continue on with this canvas mapping of Ghent, right at a time when hemp farming is surging once again across Europe, newly legalized in 2017.
My research also devised the method to collect diagrammatic ideas and concepts from others attending DARE, transferred onto a large-scale canvas drawing. I also produced a sound installation using sampling from lectures, urban sounds, nightly performances and film screenings, as a manifestation of machinic assemblages of desire. These elements will be brought together in a short documentation to be posted on-line.
This was a lecture performance related to my other performed art writing, such as “This Building is not a Readymade” and “Beautiful Urbanism: A Western set in Queens,” (Berlin, Germany ZKU).
Writing has nothing to do with signifying. It has to do with surveying, mapping, even realms that are yet to come. (A Thousand Plateaus)
Orpheus Meeting Room 1st floor
Bureau of Cartographic Assemblages
Sound Installation and Live Mapping with Sarah K. Stanley and Patricia Smith
After The Dark Precursor and Aberrant Nuptials, Assemblages (in its two manifestations as “machinic assemblages of desire” and “collective assemblages of enunciation”) is the theme of the third (DARE) held in Ghent (BE) at the Orpheus Institute, December 9–11, 2019.
A materialist interpretation of history necessarily contains an immanent critique of progress.
Sarah Stanley’s Revolutionary Climatology examines the implications of Benjamin’s brand of materialism and his deployment of method, thus enriching a possible understanding of the ways Benjamin works through his search for affinities and correspondences within (an media archeological frame) ..
Three kindred elaborations are offered in this issue’s section of review articles featuring Budapest, Paris/Berlin and London.
"
Why are the clouds that form on Fuji so unique, so breathtakingly ethereal? It has taken me nearly a decade to learn the secrets of its orographic clouds, its invisible gravity waves, its stratographic unfolding. Tokyo is the heartland of Fuji film, high-tech electronics and all the great Japanese film studios that produced the likes of Ozu. All this had prepared the ground for my Fuji-viewing experience. Five years after writing a theoretical text, Methods for Viewing Fuji, I found a published science archive of cloud photographs by Masanao Abe, a Japanese physicist.
Diagram of Fuji: A Stratovolcano 3,776 metres (12,388 ft) high intercepted by four distinct cloud types:
A triangular cap drapes over the cone as opaque veil. One or several stacked lenses cascade from the peak to float suspended for an entire day. A few small wispy cirrocumulus attach to one side. At its base sit long stratus sheets extending into surrounding hillsides.
Cartographic Assemblages on the North Sea was the research portion to the Live Mapping installation featuring a large-scale canvas map of Ghent, incorporating features from older maps of the city from the 16th Century to present with the early city walls and canal systems for its sailing vessels.
I recorded the short text placed in the catalog for A Voyage on the North Sea, and used this as the basis for a sound installation to accompany a live mapping of the city of Ghent and the Orpheus Institute building by artist Patricia Smith. It was risky considering that conferences are defined by intensive encounters within interiors with little time to explore Ghent itself. My task was to discuss Broodthaers' mode of surveying historical formations of media (the book, film, photography, and painting), cartographic maps and wealth made possible with sailing vessels and its instrumentation, in order to make connections to the modern city and media. Cartographic maps was often drawn onto hemp canvas for durability during sea voyages, which shared the material of the sail, hence the plant term cannabis came to be called canvas, and eventually used for oil painting, which could then be transported easily as the first traveling work of art. These same materials continue on with this canvas mapping of Ghent, right at a time when hemp farming is surging once again across Europe, newly legalized in 2017.
My research also devised the method to collect diagrammatic ideas and concepts from others attending DARE, transferred onto a large-scale canvas drawing. I also produced a sound installation using sampling from lectures, urban sounds, nightly performances and film screenings, as a manifestation of machinic assemblages of desire. These elements will be brought together in a short documentation to be posted on-line.
This was a lecture performance related to my other performed art writing, such as “This Building is not a Readymade” and “Beautiful Urbanism: A Western set in Queens,” (Berlin, Germany ZKU).
Writing has nothing to do with signifying. It has to do with surveying, mapping, even realms that are yet to come. (A Thousand Plateaus)
Orpheus Meeting Room 1st floor
Bureau of Cartographic Assemblages
Sound Installation and Live Mapping with Sarah K. Stanley and Patricia Smith
After The Dark Precursor and Aberrant Nuptials, Assemblages (in its two manifestations as “machinic assemblages of desire” and “collective assemblages of enunciation”) is the theme of the third (DARE) held in Ghent (BE) at the Orpheus Institute, December 9–11, 2019.