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Author:   Dr. Tomáš Jirsa (Postdoctoral Researcher in Comparative Literature and Media Studies, Palacký University, Czechia) ,  Bernd Herzogenrath (Palacky University Czech Republic) ,  Patricia Pisters
Publisher:   Bloomsbury Publishing Plc
Imprint:   Bloomsbury Academic USA
ISBN:  

9781501374890

ISBN 10:   1501374893
Pages:   168
Publication Date:   25 August 2022
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

List of Figures Acknowledgements When Forms Fall Apart: An Introduction Disformations Open Form to New Formations Formal Disturbances Are Grounded in the Affective Operations that Rewrite Form Aesthetic Forms Think with and through Intermedia Figures Chapter 1 Facing the Faceless: Modernism, War, and the Work of Disfiguration Shattering the Face in Modernism Toward the Affective Work of the Formless Inflicting Wounds upon Language: Gueules Cassées Rewriting the Faceless Experience Chapter 2 Curves that Break the Frame: On the Relentless Absorption of the Wallpaper Pattern Nabokov’s Unruly Geometry of Wallpaper Rococo, or the Broken Frame Boredom, Fascination, and the Screen of Hallucination For a Morphological Reading of Gilman’s Wallpaper Between Excess and Absence: The Patterns of Madness Chapter 3 How Text Becomes Diatext: Gemini and Performativity of the Garbage Dump Speaking for Rubbish: Tournier’s Dandy Garbage Man versus Waste Studies The Media Archaeology of Garbage Reading a Figure, Trashing the Subject From Metatext to Diatext Chapter 4 The Portrait of Absence, or When the Empty Chairs Get Crowded Chairs without Sitters: Weiner, Kosuth, and the Missing Subject Tracing the Present Absence with Van Gogh, Derrida, and Nancy Chairing Not Sharing, Shifting Not Sitting: A Media Swap in Ionesco’s The Chairs Decentered, Not Vanished Coda: Affective Compounds Make a Media Excess Notes Bibliography Index

Reviews

Through a series of intriguing examples from literature and contemporary audio-visual arts, Jirsa's book takes academic and non-academic readers alike on a delightful cross-disciplinary journey into the media philosophical notions of affect and affective operations. If you wish to know what happens to a chair when no one is sitting on it, or what becomes of a faceless face, then Disformations is definitely for you. * Pietro Conte, Professor in Aesthetics, Ca' Foscari University of Venice, Italy * In this astonishingly inventive and wide-ranging book, Jirsa expertly traverses the domains of literature, painting, cinema, and video art for figures that push the formal limits of representation-the face destroyed by war, wallpaper patterns, the garbage dump, the empty chair-and thus reveal the dynamic force of affect at work in the secret heart of all formation. Arriving in the turbulent wake of the so-called affective and formal turns, Jirsa's media-philosophical concept of disformation brilliantly shows us a new way through the all-too familiar impasses of both. This book should be read by anyone interested in thinking deeply about the affective operations of form in our contemporary mediated moment. * Abraham Geil, Senior Lecturer of Film Studies, University of Amsterdam, The Netherlands * The central project of Disformations: Affects, Media, Literature is to reactivate the fecund concept of the formless. Jirsa insists on treating the formless neither as ineffable nor as deficient but instead as a generative process, exploring the speculative potential of disturbances to form. The close readings of a range of fascinating figures-from empty chairs to wallpaper patterns-will be of great interest to any scholar invested in the vital affective operations of aesthetic objects. * Eugenie Brinkema, Associate Professor of Contemporary Literature and Media, Massachusetts Institute of Technology, USA *

Through a series of intriguing examples from literature and contemporary audio-visual arts, Jirsa's book takes academic and non-academic readers alike on a delightful cross-disciplinary journey into the media philosophical notions of affect and affective operations. If you wish to know what happens to a chair when no one is sitting on it, or what becomes of a faceless face, then Disformations is definitely for you. --Pietro Conte, Professor in Aesthetics, Ca' Foscari University of Venice, Italy In this astonishingly inventive and wide-ranging book, Jirsa expertly traverses the domains of literature, painting, cinema, and video art for figures that push the formal limits of representation-the face destroyed by war, wallpaper patterns, the garbage dump, the empty chair-and thus reveal the dynamic force of affect at work in the secret heart of all formation. Arriving in the turbulent wake of the so-called affective and formal turns, Jirsa's media-philosophical concept of disformation brilliantly shows us a new way through the all-too familiar impasses of both. This book should be read by anyone interested in thinking deeply about the affective operations of form in our contemporary mediated moment. --Abraham Geil, Senior Lecturer of Film Studies, University of Amsterdam, The Netherlands The central project of Disformations: Affects, Media, Literature is to reactivate the fecund concept of the formless. Jirsa insists on treating the formless neither as ineffable nor as deficient but instead as a generative process, exploring the speculative potential of disturbances to form. The close readings of a range of fascinating figures-from empty chairs to wallpaper patterns-will be of great interest to any scholar invested in the vital affective operations of aesthetic objects. --Eugenie Brinkema, Associate Professor of Contemporary Literature and Media, Massachusetts Institute of Technology, USA

Through a series of intriguing examples from literature, cinema, and contemporary arts, Jirsa's book takes readers on a delightful cross-disciplinary journey into affectively driven generative deformations. Passionate and erudite, Disformations's claim about the performative force of affects will be much debated in the contemporary media theory. * Pietro Conte, Associate Professor in Aesthetics, Ca' Foscari University of Venice, Italy * In this astonishingly inventive and wide-ranging book, Jirsa expertly traverses the domains of literature, painting, cinema, and video art for figures that push the formal limits of representation-the face destroyed by war, wallpaper patterns, the garbage dump, the empty chair-and thus reveal the dynamic force of affect at work in the secret heart of all formation. Arriving in the turbulent wake of the so-called affective and formal turns, Jirsa's media-philosophical concept of disformation brilliantly shows us a new way through the all-too familiar impasses of both. This book should be read by anyone interested in thinking deeply about the affective operations of form in our contemporary mediated moment. * Abraham Geil, Senior Lecturer of Film Studies, University of Amsterdam, The Netherlands * The central project of Disformations: Affects, Media, Literature is to reactivate the vital question of the affective operations of aesthetic objects. Through close readings of a range of fascinating figures-from empty chairs to wallpaper patterns-Jirsa insists on treating representational limits neither as ineffable nor as deficient, but instead as generative processes that expose the speculative potential of disturbances to form. * Eugenie Brinkema, Associate Professor of Contemporary Literature and Media, Massachusetts Institute of Technology, USA *

Author Information

Tomáš Jirsa is Associate Professor of Literary Studies at Palacký University Olomouc, Czech Republic. Interested in relations between literature and the visual arts, affect studies, and music video, he recently co-edited (with Ernst van Alphen) How to Do Things with Affects: Affective Triggers in Aesthetic Forms and Cultural Practices (2019). In 2015 and 2017, he was awarded a fellowship from IKKM in Weimar; in 2019, he was Visiting Scholar at the Amsterdam School for Cultural Analysis.

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