Superimpositions: Philosophy and the Moving Image takes philosophy and visual media as related practices. Books in this series do not simply apply philosophy as a method for reading art or redundantly representing its extant ideas. Following the visual logic of superimposed imagery, we see what philosophy and art share and what remains distinct, and distinctly generative. Superimposition, moreover, resembles thinking itself: an encounter with an object summons the idea of something like it and yet not the same. Twentieth-century philosophers turned increasingly to literature to replace generalized axioms with thick descriptions of the world and our psyches. Superimpositions takes the moving image, in all its limitations and possibilities, as central to the task of twenty-first-century philosophy and its refusal to foreclose either thought or difference.
Series Editor: Brian Price
Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the thesis underlying So What, a collection of essays on filmmakers and artists, including Luchino Visconti, Orson Welles, Marguerite Duras, Hollis Frampton, and Agnes Martin.
How films help us understand the inevitable death of Earth and humanity Offering a bracing theoretical corrective to ecocriticism’s emphasis on pedagogies of care and interconnection, Negative Life:...
Superimpositions: Philosophy and the Moving Image takes philosophy and visual media as related practices. Books in this series do not simply apply philosophy as a method for reading art or redundantly representing its extant ideas. Following the visual logic of superimposed imagery, we see what philosophy and art share and what remains distinct, and distinctly generative. Superimposition, moreover, resembles thinking itself: an encounter with an object summons the idea of something like it and yet not the same. Twentieth-century philosophers turned increasingly to literature to replace generalized axioms with thick descriptions of the world and our psyches. Superimpositions takes the moving image, in all its limitations and possibilities, as central to the task of twenty-first-century philosophy and its refusal to foreclose either thought or difference.
