The Vanishing Frame

In the postdictatorial era, Latin American cultural production and criticism has been defined by a series of assumptions about politics and art—expecially the claim that political freedom can be achieved by promoting a more direct experience between the textual subject (often a victim) and the reader by eliminating the division between art and life. The Vanishing Frame argues against this conception of freedom, demonstrating how it is based on a politics of human rights complicit with economic injustices. Presenting a provocative counternarrative, Eugenio Claudio Di Stefano examines literary, visual, and interdisciplinary artists who insist on the autonomy of the work of art in order to think beyond the politics of human rights and neoliberalism in Latin American theory and culture. Di Stefano demonstrates that while artists such as Diamela Eltit, Ariel Dorfman, and Albertina Carri develop a concept of justice premised on recognizing victims’ experiences of torture or disappearance, they also ignore the injustice of economic inequality and exploitation. By examining how artists such as Roberto Bolaño, Alejandro Zambra, and Fernando Botero not only reject an aesthetics of experience (and the politics it entails) but also insist on the work of art as a point of departure for an anticapitalist politics, this new reading of Latin American cultural production offers an alternative understanding of recent developments in Latin American aesthetics and politics that puts art at its center and the postdictatorship at its end.

In the postdictatorial era, Latin American cultural production and criticism has been defined by a series of assumptions about politics and art—expecially the claim that political freedom can be achieved by promoting a more direct experience between the textual subject (often a victim) and the reader by eliminating the division between art and life. The Vanishing Frame argues against this conception of freedom, demonstrating how it is based on a politics of human rights complicit with economic injustices. Presenting a provocative counternarrative, Eugenio Claudio Di Stefano examines literary, visual, and interdisciplinary artists who insist on the autonomy of the work of art in order to think beyond the politics of human rights and neoliberalism in Latin American theory and culture. Di Stefano demonstrates that while artists such as Diamela Eltit, Ariel Dorfman, and Albertina Carri develop a concept of justice premised on recognizing victims’ experiences of torture or disappearance, they also ignore the injustice of economic inequality and exploitation. By examining how artists such as Roberto Bolaño, Alejandro Zambra, and Fernando Botero not only reject an aesthetics of experience (and the politics it entails) but also insist on the work of art as a point of departure for an anticapitalist politics, this new reading of Latin American cultural production offers an alternative understanding of recent developments in Latin American aesthetics and politics that puts art at its center and the postdictatorship at its end.

Behind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief that it is an intuitive, personal skill. Peter Ward shows how composition can be learned, to enhance the quality of your work. Based on the author's own practical experience, the book deals with the methods available for resolving practical production questions such as: Does the shot composition accurately reflect the idea that initiated the shot? Will the content and method of presenting the subject accurately convey the idea? Major innovations in television and film production since the previous edition have affected the styles of composition, such as wide-screen and the use of mini DV cameras. These new technologies and their implications for picture composition are addressed in this new edition. A new colour plate section is also being included to update the section on colour. If you are a practising camera operator, trainee camera operator, student or lecturer on a television or film production course, or simply a video enthusiast wishing to progress to a more professional standard you will find this book essential in enhancing the quality of your work.

This volume of the Lecture Notes in Mobility series contains papers written by speakers and poster presenters at the 21st International Forum on Advanced Microsystems for Automotive Applications (AMAA 2017) "Smart Systems Transforming the Automobile" that was held in Berlin, Germany in September 2017. The authors report about recent breakthroughs in electric and electronic components and systems, driver assistance and vehicle automation as well as safety and testing. Furthermore, legal aspects and impacts of connected and automated driving are covered. The target audience primarily comprises research experts and practitioners in industry and academia, but the book may also be beneficial for graduate students alike.

This book is the outcome of the NATO Advanced Research Workshop on Machine Intelligence and Knowledge Engineering for Robotic Applications held at Maratea, Italy in May 1986. Attendance of the workshop was by invitation only. Most of the participants and speakers are recognized leaders in the field, representing industry, government and academic c0mrnunity worldwide. The focus of the workshop was to review the recent advances of machine intelligence and knowledge engineering for robotic appli cations. It covers five main areas of interest. They are grouped into five sections: 1. Robot Vision 2. Knowledge Representation and Image Understanding 3. Robot Control and Inference Systems 4. Task Planning and Expert Systems 5. Software/Hardware Systems Also included in this book are a paper from the Poster Session and a brief report of the panel discussion on the Future Direction in Knowledge-Based Robotics. Section I of this book consists of four papers. It begins with a review of the basic concepts of computer vision, with emphasis on techniques specific for robot vision systems. The next paper pre sents a comprehensive 3-D vision system for robotic application.