Jack Post
Maastricht University, Arts & Literature, Faculty Member
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Research Interests: Art and Typography
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Requiem for a Reader? A Semiotic Approach to Reader and Text in Electronic Literature Jack Post (University of Maastricht) One thing is for sure, by placing the... more
Requiem for a Reader? A Semiotic Approach to Reader and Text in Electronic Literature Jack Post (University of Maastricht) One thing is for sure, by placing the adjective'electronic'before'litera-ture', the literary text finds itself in the midst of the rapidly ...
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Research Interests: Sociology and Typography
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Research Interests: Economics and Typography
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Ce double numero special de Image & Narrative – les numeros 13.2 et 13.3 – s'interroge sur ces manifestions qui emergent a la fois dans les arts contemporains et dans la culture populaire (parcs d'attractions a theme,... more
Ce double numero special de Image & Narrative – les numeros 13.2 et 13.3 – s'interroge sur ces manifestions qui emergent a la fois dans les arts contemporains et dans la culture populaire (parcs d'attractions a theme, installations illusionnistes des media numeriques, series televisees et effets speciaux au cinema, ou encore jeux electroniques) et veut comprendre ces phenomenes en relation directe avec la culture visuelle et theâtrale de la premiere modernite. Se pose des lors la question si le concept de « neobaroque » est approprie pour repenser notre culture contemporaine ou s’il n'est-ce qu'un autre mot pour postmodernite/postmodernisme, ajoutant un peu plus de confusion dans la definition fluctuante de ces concepts ? Quels sont les enjeux et implications de ces approches transhistoriques dans lesquelles des regimes historiques specifiques et leurs contextes sont figes dans leur repetition, transmis sans questionnement et appliques a d'autres periodes et vers d'autres champs d'etude ? Peut-on etablir un lien entre les caracteristiques rhetoriques du baroque defini historiquement et, d'une part, sa portee performative et, d'autre part, les phenomenes culturels qualifies aujourd'hui de « neo-baroques » ? Dans quelle mesure le baroque – a la fois historique et contemporain – peut-il etre decrit en termes de « dispositif » (Giorgio Agamben) enracinant l'experience culturelle dans son niveau le plus profond et le plus large ?
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Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already... more
Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.
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Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already... more
Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with t...
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Although Douglas Sirk' All That Heaven Allows (1954) and Todd Haynes' Far from Heaven (2002) are both characterized as melodramas, they address their spectators differently. The divergent (emotional) reactions towards both films... more
Although Douglas Sirk' All That Heaven Allows (1954) and Todd Haynes' Far from Heaven (2002) are both characterized as melodramas, they address their spectators differently. The divergent (emotional) reactions towards both films are the effect of different rhetorical strategies: the first can be seen a typical example of baroque discourse and the latter as a specimen of mannerist discourse. The reference to the terms melodrama, mannerism and baroque does not imply that these films are just formal repetitions of historical periods or that they thematically and structurally refer to historical styles, but that they are characterized by opposing discursive strategies which came to the foreground in a specific historical time and constellation. Because these discursive strategies return in other historical periods and social-political circumstances in different guises and with different aims, they can be compared to what Aby Warburg calls Pathosformeln (pathos formula). The expr...
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Peer-reviewed collection of 11 unpublished essays on the Semiotics of digital games. Freely available at http://www.ec-aiss.it/monografici/5_computer_games.php.
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Requiem for a Reader? A Semiotic Approach to Reader and Text in Electronic Literature Jack Post (University of Maastricht) One thing is for sure, by placing the adjective'electronic'before'litera-ture', the literary... more
Requiem for a Reader? A Semiotic Approach to Reader and Text in Electronic Literature Jack Post (University of Maastricht) One thing is for sure, by placing the adjective'electronic'before'litera-ture', the literary text finds itself in the midst of the rapidly ...
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The rather unknown and repudiated 19th century Belgian painter Antoine Wiertz (1806-1865) plays a prominent role in Walter Benjamin's later work, such as the Arcades Project (Benjamin's "primal history" of the nineteenth... more
The rather unknown and repudiated 19th century Belgian painter Antoine Wiertz (1806-1865) plays a prominent role in Walter Benjamin's later work, such as the Arcades Project (Benjamin's "primal history" of the nineteenth century) and the Artwork essay. Wiertz foresaw, argues Benjamin, that the introduction of new technological reproduction media like photography would change the 'entire character of art'. Wiertz is, together with Baudelaire, one of the few artists who had a distinct view on the relation between art and technology and between art and photography in particular. However why would Benjamin depict Wiertz as a prophetical figure, as a precursor of film and the political use of photo-montage? Benjamin meant with the word precursor not simply a person or phenomenon that announces the coming of another. Wiertz' work is for Benjamin one of those 'disreputable' forms of art that in moments of crisis point at new modes of perception and ima...
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MacBook 12.00 Normal 0 21 false false false NL-BE X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes;... more
MacBook 12.00 Normal 0 21 false false false NL-BE X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Cambria","serif"; mso-fareast-font-family:Cambria; mso-bidi-font-family:"Times New Roman";} Abstract Although Douglas Sirk’ All That Heaven Allows (1954) and Todd Haynes’ Far from Heaven (2002) are both characterized as melodramas, they address their spectators differently. The divergent (emotional) reactions towards both films are the effect of different rhetorical strategies: the first can be seen a typical example of baroque discourse and the latter as a specimen of mannerist discourse. The reference to t...
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Editorial Een themanummer over typografie lijkt opmerkelijk voor een wetenschappelijk tijdschrift voor mediageschiedenis. Immers, zo kun je je afvragen, behoort de studie van typografie niet tot de kunst- of designgeschiedenis of de... more
Editorial Een themanummer over typografie lijkt opmerkelijk voor een wetenschappelijk tijdschrift voor mediageschiedenis. Immers, zo kun je je afvragen, behoort de studie van typografie niet tot de kunst- of designgeschiedenis of de studie van het boek? Wie de reguliere nummers van het Tijdschrift voor Mediageschiedenis / Journal for Media History doorbladert ziet dat de meeste artikelen gaan over de traditionele media als film, televisie, de geschreven pers, of fotografie. Themanummers behandelen een scala aan zulke uiteenlopende onderwerpen als de monarchie, schandalen of de representatie van de natuur. In elk geval biedt een themanummer de uitdaging om de grenzen (van onderzoek of aandachtsvelden) op te zoeken. Interessant om te zien welke grenzen het voorliggende themanummer over typografie aanboort. DOI: 10.18146/2213-7653.2016.261
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Editorial At first glance, a special issue on the subject of typography might seem an unusual choice for an academic journal dedicated to media history. After all, wouldn’t the study of typography be better suited to a publication on the... more
Editorial At first glance, a special issue on the subject of typography might seem an unusual choice for an academic journal dedicated to media history. After all, wouldn’t the study of typography be better suited to a publication on the history of art and graphic design, or perhaps the study of books? A quick glance through previous general issues of the Journal for Media History (Tijdschrift voor Mediageschiedenis, or TMG) reveals that the majority of the articles deal with traditional media such as film, television, photography and print media. But TMG also publishes special issues on a wide variety of topics, ranging from the monarchy to scandals to representations of nature. These special issues challenge the journal to explore its boundaries, both in terms of research and scope. It will be interesting to see just which boundaries this special issue on typography will be crossed. DOI: 10.18146/2213-7653.2016.261
Ce double numero special de Image & Narrative – les numeros 13.2 et 13.3 – s'interroge sur ces manifestions qui emergent a la fois dans les arts contemporains et dans la culture populaire (parcs d'attractions a theme,... more
Ce double numero special de Image & Narrative – les numeros 13.2 et 13.3 – s'interroge sur ces manifestions qui emergent a la fois dans les arts contemporains et dans la culture populaire (parcs d'attractions a theme, installations illusionnistes des media numeriques, series televisees et effets speciaux au cinema, ou encore jeux electroniques) et veut comprendre ces phenomenes en relation directe avec la culture visuelle et theâtrale de la premiere modernite. Se pose des lors la question si le concept de « neobaroque » est approprie pour repenser notre culture contemporaine ou s’il n'est-ce qu'un autre mot pour postmodernite/postmodernisme, ajoutant un peu plus de confusion dans la definition fluctuante de ces concepts ? Quels sont les enjeux et implications de ces approches transhistoriques dans lesquelles des regimes historiques specifiques et leurs contextes sont figes dans leur repetition, transmis sans questionnement et appliques a d'autres periodes et vers...
Requiem for a Reader? A Semiotic Approach to Reader and Text in Electronic Literature Jack Post (University of Maastricht) One thing is for sure, by placing the... more
Requiem for a Reader? A Semiotic Approach to Reader and Text in Electronic Literature Jack Post (University of Maastricht) One thing is for sure, by placing the adjective'electronic'before'litera-ture', the literary text finds itself in the midst of the rapidly ...