In this Book

summary
The Event of Art presents, in fifty-two modular chapters and over eight hundred pages and images, the works of artist Marc Lafia. The book interweaves essays, notes, photographic archives, and a host of exhibitions wherein Lafia traverses his wide body of work and examines how his early strategies of cultural reading of photography and film, of interface, network culture, and social media, transform into an investigation of materiality itself. If his interest was once the way media becomes the message, his interest later becomes the realm of the sensible and the sensate in themselves. Here he presents art as the medium itself, giving us wide permission to explore and examine our deepest feelings and senses, our world and its becoming. The book is introduced by two essays. The first is by curator and art dealer Mathieu Borysevicz, where he recounts meeting Lafia at his first artist residency, and the many projects they would go on to do together. He introduces Lafia’s interest in recording as it becomes digital and computational where "recording is not only memory, and a data structure, but a permutational instrument and ever-changing horizon of iterations.” The other introductory essay is by critic Daniel Coffeen, who writes, "while Lafia may not have a traditional medium – there is no such thing anymore – he does in fact have one consistent medium: imaging making itself, its apparati of creation, consumption, and circulation. In fact Lafia’s medium is the discourse of art – what it is, how it comes to be, how we experience it.” The Event of Art presents the work of art as a complex material and societal event. The event is multiple, a continual becoming of perception, being, materiality, participation, a coming to the senses and the making, shaping and opening to them, not only of one’s self, but the world becoming.

Table of Contents

  1. Cover
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  1. Title Page, Copyright
  2. pp. i-ii
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  1. Contents
  2. pp. v-viii
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  1. Mathieu Borysevicz: On Marc Lafia
  2. pp. ix-xiv
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  1. Daniel Coffeen: The Medium is the Machine: The Post-Media, Post-Relational Work of Marc Lafia
  2. pp. xvii-xxxx
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  1. Introduction: Art as Event
  2. pp. 1-17
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  1. 1. Art as a Recording, but What Kind?
  2. pp. 18-35
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  1. 2. Photography and Cinema, Recording Instruments of the Everyday, Instruments of Many Registers
  2. pp. 36-59
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  1. 3. The Unbounded Wor(l)d
  2. pp. 60-91
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  1. 4. Computations
  2. pp. 92-101
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  1. 5. Permutations
  2. pp. 102-111
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  1. 6. This Battle of Algiers: Cinema as Database, Lines of Force
  2. pp. 112-115
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  1. 7. Self-Exposures, F4, the Desktop Photography Collective
  2. pp. 116-121
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  1. 8. Chat Me Up: This Moment Already Always Recording
  2. pp. 122-127
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  1. 9. Revolution of Everyday Life
  2. pp. 128-137
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  1. 10. Here and Somewhere Else, Shanghai Kids
  2. pp. 138-151
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  1. 11. Being Art
  2. pp. 152-159
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  1. 12. Instructions
  2. pp. 160-169
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  1. 13. Self Becoming ⁄ Becoming Recordings
  2. pp. 170-189
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  1. 14. Delirium
  2. pp. 190-191
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  1. 15. The Unbounded Word
  2. pp. 192-207
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  1. 16. Art as Invention
  2. pp. 208-211
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  1. 17. Eternal Sunshine
  2. pp. 212-227
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  1. 18. Blackboards
  2. pp. 228-237
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  1. 19. Cinema-Engine
  2. pp. 238-257
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  1. 20. Anatomy of Pictures
  2. pp. 258-279
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  1. 21. Tumblr Room
  2. pp. 280-289
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  1. 22. #image
  2. pp. 290-305
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  1. 23. Pictures
  2. pp. 306-339
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  1. 24. Information Palimpsest
  2. pp. 340-365
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  1. 25. Marking the Contemporary
  2. pp. 366-403
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  1. 26. Image as Object as Situation
  2. pp. 404-409
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  1. 27. Come Together
  2. pp. 410-413
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  1. 28. Realms, an Archive of the Sensible
  2. pp. 414-437
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  1. 29. Art as Biography
  2. pp. 438-465
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  1. 30. Search
  2. pp. 466-483
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  1. 31. Display, Tableaux, Object-Scene
  2. pp. 484-495
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  1. 32. Instascapes
  2. pp. 496-505
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  1. 33. Picturing Machines
  2. pp. 506-517
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  1. 34. Instrumental Reason
  2. pp. 518-529
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  1. 35. In What Language To Come
  2. pp. 530-575
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  1. 36. Everywhere There Are Starting Points
  2. pp. 576-581
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  1. 37. An Object Rejoins the Flow of Time, Is Time
  2. pp. 582-585
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  1. 38. Art a Format, a Platform, a Plane of Embodied Sensate Being, Voices Singing
  2. pp. 586-589
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  1. 39. To “Speak Another Language”
  2. pp. 590-591
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  1. 40. Objects and Situations, Place, Reception and Embodiment
  2. pp. 592-595
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  1. 41. Forms of Formlessness
  2. pp. 596-597
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  1. 42. The Art Committee of the Richard Meier Grand Army Plaza Building
  2. pp. 598-609
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  1. 43. Forms and Objects: An Inventory of Effects
  2. pp. 610-675
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  1. 44. When Form Becomes Attitude
  2. pp. 676-679
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  1. 45. The Ecstatic, the Quiet as Form
  2. pp. 680-685
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  1. 46. The Banal, the Empty, the Cool, the Tragic
  2. pp. 686-689
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  1. 47. Forms, Appearances, and the Tragic (a first attempt)
  2. pp. 690-697
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  1. 48. Space, Shape, Volume and Objecthood
  2. pp. 698-717
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  1. 49. The Mundi, an Immensity Possessing No Dimension, a New Form of Cultural Exchange
  2. pp. 718-727
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  1. 50. Modular, Mutable, Notional and Performative
  2. pp. 728-737
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  1. 51. Of Reward and the Beautiful
  2. pp. 738-743
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  1. 52. Whatever I Do Comes from Doing and That’s That
  2. pp. 744-750
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  1. Acknowledgements: The Event of Art
  2. pp. 751-754
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  1. About the Author
  2. p. 755
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Additional Information

ISBN
9781950192984
MARC Record
OCLC
1227264776
Pages
797
Launched on MUSE
2020-12-22
Language
English
Open Access
Yes
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