Patricia Pisters
Biographic Data
| ID | 492019 |
|---|---|
| NAME | Patricia Pisters |
| GIVEN NAMES | Patricia |
| FAMILY NAME | Pisters |
| SIGNATURE | PISTERS P |
| AFFILIATIONS | University of Amsterdam |
| ORCID | 0000-0003-2456-0822 |
| VERIFIED | Yes |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 8 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
An introduction to caring Chinese cinemas
This introductory article proposes ‘caring Chinese cinemas’ as a conceptual and methodological framework for rethinking the relations between cinema, ethics, aesthetics, ecology, politics, and criticism. Starting from recent debates on care, we emphasise both the productivity and the ambivalence of the concept: care can sustain, protect, and repair, but it can also control, exclude, or reproduce unequal relations of power. Bringing this discussio…
Bodies of water: Hydrofeminism in contemporary Chinese cinema
This article investigates contemporary Chinese films made by women directors as hydrofeminist ‘bodies of water’ in terms of elemental imagination and care. The elemental turn in cinema and media studies marks a return to the elements such as wind, earth and water as conditions of modern media. Elemental media studies often focus on the infrastructural side of media, such as our dependence on underwater sea cables for data traffic or cooling water…
Cosmotechnics of Fashion: Remixology in Global African Cinema
Psychedelic Aesthetics and the Body without Organs at the Limits of Perception
This article focuses on the aesthetics of the psychedelic experience. Aldous Huxley’s Doors of Perception remains one of the few studies that investigates the aesthetic dimension of the psychedelic experience as profoundly meaningful as such, because it gives direct attention to the nonhuman otherness of the universe that is hard to describe in words, but that can be felt and sensed. Similarly, Deleuze and Guattari have investigated psychedelics …
Introduction to Deleuze and Guattari and the Psychedelic Revival
Canary in a Coal Mine: Carbon Cinema and Three Ecologies of Energy
Coal has played a crucial role in energy supply for our modern times, including the development of film and media industries. Choosing the site of mines and mining as a central way of articulating energy regimes, this article addresses three levels of carbon energy as encountered in historical and contemporary coalmining films. By following the black gold from modernity to the contemporary age increasingly marked by the Anthropocene, I will propo…
Society after Money: A Dialogue
Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages
Deep Blue Geomediations:Following Lapis Lazuli in Three Ecological Assemblages Patricia Pisters (bio) Stones, like us, stand at the intersection of countless lines crossing one another and receding to infinity, at the center of a field of forces too unpredictable to be measured... (Yourcenar xix) Mining the Blue Mountain: Matter-Flow of the Machinic Phylum On my desk, next to my laptop, a small piece of lapis lazuli. My eye is captured by the int…
Image as gesture: Notes on Aernout Mik’s Communitas and the modern political film
Walking through Aernout Mik’s exhibition Communitas, dwelling in the encounter with the people and situations in front of and on the screens, one is struck by the cinematic and political qualities of the gestures in these powerful video installations. In this article I will develop some film-philosophical reflections on the silent performative force of the image as gesture and as politics. Drawing on Giorgio Agamben’s "Notes on Gesture", Robert B…
Temporal Explorations in Cosmic Consciousness: Intra-Agential Entanglements and the Neuro-Image
When Deleuze in the 1980s argued that 'the brain is the screen' he introduced the concepts of movement-image and time-image, two different modes of cinema with particular ontological and aesthetic characteristics. Contemporary cinema, however, has moved into yet another aesthetic mode, which I have proposed to call the neuro-image. One of the characteristics of the neuro-image is that we no longer follow the movements and actions of characters in…
Heart of the Matter: Bodies Without Organs and Biopolitics in Organ Transplant Films
In this essay I will look at four recent films that have organ transplantations "at their heart": 21 Grams (Alejandro González Iñárritu, 2003), L'Intrus (Claire Denis, 2001), Dirty Pretty Things (Stephen Frears, 2002) and Heart of Jenin (Leon Geller and Markus Vetter, 2008). Each film in its own way shows how Nancy's concept of the intruder balances in a different dynamics between biopolitical and biophilosophical concerns and proposes in various…
Global burn-out
Il fallait établir ce constat : avant d’être un problème individuel, le burn-out est d’abord une pathologie de civilisation. Marquée par l’accélération du temps, la soif de rentabilité, les tensions entre le dispositif technique et des humains déboussolés, la postmodernité est devenue un piège pour certaines personnes trop dévouées à un système dont elles cherchent en vain la reconnaissance. Mais ce piège n’est pas une fatalité. Face aux exigence…
Introduction: The Smooth and the Striated
A Thousand Plateaus’ ‘1440: The Smooth and the Striated’ introduces smoothness and striation as a conceptual pair to rethink space as a complex mixture between nomadic forces and sedentary captures. Among the models Deleuze and Guattari describe for explicating where we encounter smooth and striated spaces, the maritime model presents the special problem of the sea (Deleuze and Guattari 1988: 479). The sea is a smooth space par excellence: open w…
Synaptic Signals: Time Travelling Through the Brain in the Neuro-Image
This essay presents some thoughts on schizoanalysis and visual culture around the proposition that cinema survives in the digital age as a type of image that, after the movement-image and the time-image, could be called the neuro-image. By considering clinical schizophrenia as ‘degree zero’ of schizoanalysis in a more critical sense, a reading of The Butterfly Effect unfolds the temporal dimensions of schizoanalysis as typical for a definition of…
Flashforward: The Future is Now
In The Future of the Image (2007) Jacques Rancière states that the end of images is behind us. He argues for an aesthetics of the image that acknowledges the continuing power of images as educating documentations of traces of history, as directly affecting interruptions, and as open-to-combining signs of the visible and the sayable ad infinitum. But does Rancière's claim also concern the future of cinema? His cinematic references, in a Deleuzian …
Shooting the Family: Transnational Media and Intercultural Values
Introduction: The Smooth and the Striated
A Thousand Plateaus’ ‘1440: The Smooth and the Striated’ introduces smoothness and striation as a conceptual pair to rethink space as a complex mixture between nomadic forces and sedentary captures. Among the models Deleuze and Guattari describe for explicating where we encounter smooth and striated spaces, the maritime model presents the special problem of the sea (Deleuze and Guattari 1988: 479). The sea is a smooth space par excellence: open w…
Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages
Deep Blue Geomediations:Following Lapis Lazuli in Three Ecological Assemblages Patricia Pisters (bio) Stones, like us, stand at the intersection of countless lines crossing one another and receding to infinity, at the center of a field of forces too unpredictable to be measured... (Yourcenar xix) Mining the Blue Mountain: Matter-Flow of the Machinic Phylum On my desk, next to my laptop, a small piece of lapis lazuli. My eye is captured by the int…
Image as gesture: Notes on Aernout Mik’s Communitas and the modern political film
Walking through Aernout Mik’s exhibition Communitas, dwelling in the encounter with the people and situations in front of and on the screens, one is struck by the cinematic and political qualities of the gestures in these powerful video installations. In this article I will develop some film-philosophical reflections on the silent performative force of the image as gesture and as politics. Drawing on Giorgio Agamben’s "Notes on Gesture", Robert B…
Temporal Explorations in Cosmic Consciousness: Intra-Agential Entanglements and the Neuro-Image
When Deleuze in the 1980s argued that 'the brain is the screen' he introduced the concepts of movement-image and time-image, two different modes of cinema with particular ontological and aesthetic characteristics. Contemporary cinema, however, has moved into yet another aesthetic mode, which I have proposed to call the neuro-image. One of the characteristics of the neuro-image is that we no longer follow the movements and actions of characters in…
Shooting the Family: Transnational Media and Intercultural Values
Synaptic Signals: Time Travelling Through the Brain in the Neuro-Image
This essay presents some thoughts on schizoanalysis and visual culture around the proposition that cinema survives in the digital age as a type of image that, after the movement-image and the time-image, could be called the neuro-image. By considering clinical schizophrenia as ‘degree zero’ of schizoanalysis in a more critical sense, a reading of The Butterfly Effect unfolds the temporal dimensions of schizoanalysis as typical for a definition of…
Flashforward: The Future is Now
In The Future of the Image (2007) Jacques Rancière states that the end of images is behind us. He argues for an aesthetics of the image that acknowledges the continuing power of images as educating documentations of traces of history, as directly affecting interruptions, and as open-to-combining signs of the visible and the sayable ad infinitum. But does Rancière's claim also concern the future of cinema? His cinematic references, in a Deleuzian …
Introduction: The Smooth and the Striated
A Thousand Plateaus’ ‘1440: The Smooth and the Striated’ introduces smoothness and striation as a conceptual pair to rethink space as a complex mixture between nomadic forces and sedentary captures. Among the models Deleuze and Guattari describe for explicating where we encounter smooth and striated spaces, the maritime model presents the special problem of the sea (Deleuze and Guattari 1988: 479). The sea is a smooth space par excellence: open w…
Global burn-out
Il fallait établir ce constat : avant d’être un problème individuel, le burn-out est d’abord une pathologie de civilisation. Marquée par l’accélération du temps, la soif de rentabilité, les tensions entre le dispositif technique et des humains déboussolés, la postmodernité est devenue un piège pour certaines personnes trop dévouées à un système dont elles cherchent en vain la reconnaissance. Mais ce piège n’est pas une fatalité. Face aux exigence…
Heart of the Matter: Bodies Without Organs and Biopolitics in Organ Transplant Films
In this essay I will look at four recent films that have organ transplantations "at their heart": 21 Grams (Alejandro González Iñárritu, 2003), L'Intrus (Claire Denis, 2001), Dirty Pretty Things (Stephen Frears, 2002) and Heart of Jenin (Leon Geller and Markus Vetter, 2008). Each film in its own way shows how Nancy's concept of the intruder balances in a different dynamics between biopolitical and biophilosophical concerns and proposes in various…
Image as gesture: Notes on Aernout Mik’s Communitas and the modern political film
Walking through Aernout Mik’s exhibition Communitas, dwelling in the encounter with the people and situations in front of and on the screens, one is struck by the cinematic and political qualities of the gestures in these powerful video installations. In this article I will develop some film-philosophical reflections on the silent performative force of the image as gesture and as politics. Drawing on Giorgio Agamben’s "Notes on Gesture", Robert B…
Temporal Explorations in Cosmic Consciousness: Intra-Agential Entanglements and the Neuro-Image
When Deleuze in the 1980s argued that 'the brain is the screen' he introduced the concepts of movement-image and time-image, two different modes of cinema with particular ontological and aesthetic characteristics. Contemporary cinema, however, has moved into yet another aesthetic mode, which I have proposed to call the neuro-image. One of the characteristics of the neuro-image is that we no longer follow the movements and actions of characters in…
Deep Blue Geomediations: Following Lapis Lazuli in Three Ecological Assemblages
Deep Blue Geomediations:Following Lapis Lazuli in Three Ecological Assemblages Patricia Pisters (bio) Stones, like us, stand at the intersection of countless lines crossing one another and receding to infinity, at the center of a field of forces too unpredictable to be measured... (Yourcenar xix) Mining the Blue Mountain: Matter-Flow of the Machinic Phylum On my desk, next to my laptop, a small piece of lapis lazuli. My eye is captured by the int…
Society after Money: A Dialogue
Canary in a Coal Mine: Carbon Cinema and Three Ecologies of Energy
Coal has played a crucial role in energy supply for our modern times, including the development of film and media industries. Choosing the site of mines and mining as a central way of articulating energy regimes, this article addresses three levels of carbon energy as encountered in historical and contemporary coalmining films. By following the black gold from modernity to the contemporary age increasingly marked by the Anthropocene, I will propo…
Psychedelic Aesthetics and the Body without Organs at the Limits of Perception
This article focuses on the aesthetics of the psychedelic experience. Aldous Huxley’s Doors of Perception remains one of the few studies that investigates the aesthetic dimension of the psychedelic experience as profoundly meaningful as such, because it gives direct attention to the nonhuman otherness of the universe that is hard to describe in words, but that can be felt and sensed. Similarly, Deleuze and Guattari have investigated psychedelics …
Introduction to Deleuze and Guattari and the Psychedelic Revival
Bodies of water: Hydrofeminism in contemporary Chinese cinema
This article investigates contemporary Chinese films made by women directors as hydrofeminist ‘bodies of water’ in terms of elemental imagination and care. The elemental turn in cinema and media studies marks a return to the elements such as wind, earth and water as conditions of modern media. Elemental media studies often focus on the infrastructural side of media, such as our dependence on underwater sea cables for data traffic or cooling water…
Cosmotechnics of Fashion: Remixology in Global African Cinema
An introduction to caring Chinese cinemas
This introductory article proposes ‘caring Chinese cinemas’ as a conceptual and methodological framework for rethinking the relations between cinema, ethics, aesthetics, ecology, politics, and criticism. Starting from recent debates on care, we emphasise both the productivity and the ambivalence of the concept: care can sustain, protect, and repair, but it can also control, exclude, or reproduce unequal relations of power. Bringing this discussio…
Aesthetics (9 works) · Cinema and Media Studies (9 works) · Art (8 works) · Movie theater (7 works) · Philosophy (7 works) · Philosophy (4 works) · Politics (4 works) · Psychology (4 works) · Art history (3 works) · Epistemology (3 works)