Electronic reproduction. Ann Arbor, MI Available via World Wide Web.
Intro -- Preface -- Acknowledgements -- Contents -- Chapter 1: Introduction -- Chapter 2: The World Without a Picture: Avant-Garde and Iconoclasm -- 2.1 Introduction -- 2.2 Iconoclasm Beyond Religion and Aesthetics -- 2.3 The Worldhood of the World -- 2.4 The Sublime and the Avant-Garde -- 2.5 The Avant-Garde and the "End of Art" -- 2.6 Conclusion -- References -- Chapter 3: Deconstruction of the Image: From Mimesis and Representation to Communication -- 3.1 Introduction: On the Trace of the Picture -- 3.1.1 The Iconic Turn -- 3.1.2 The Anthropology of Images (Bild-Anthropologie)
3.1.3 The Image as a Communication Medium -- 3.1.4 The World-Picture and the Scene of the Subject: Heidegger's Trace -- 3.2 Conclusion: Video-Centrism Without History? -- References -- Chapter 4: The Dark Core of Mimesis: Art, Body and Image in the Thought of Jean-Luc Nancy -- 4.1 Introduction -- 4.1.1 What Is Art? -- 4.1.2 The Disembodiment and the Rising of the Body -- 4.1.3 An Image Without Foundation -- 4.2 Conclusion -- References -- Chapter 5: The Dead-Nature of the Body: Biopolitics and Images of Humans' End -- 5.1 Art, But for What Reason? -- 5.2 Metamorphosis of the Body
5.2.1 Avant-Garde and Neo-Avant-Garde -- 5.2.2 The Symbolism of Life and Its Images -- 5.2.3 Two Bodies of Performative Art -- 5.2.4 Spectacle and Virtual Art -- 5.3 Biopolitics Against Life? -- 5.3.1 Art Without a Human -- 5.3.2 Cyborg-Transgenic Art-The Other World -- 5.4 Conclusion -- References -- Chapter 6: Event of the Moment: Time in Contemporary Art -- 6.1 The Permanent Revolution: Time of the Avant-Garde -- 6.2 Flash Moment -- 6.3 Clocks and Calendars: Dalí-Darboven -- 6.4 Conclusion -- References -- Chapter 7: Figures of Resistance: Painting After the End of the Avant-garde
7.1 The Black Cross of the Retro-Avant-garde -- 7.2 How Are Objects Observed? -- 7.3 Mediation of the Society of the Spectacle -- 7.4 Conclusion: Duchamp's Last Act -- References -- Chapter 8: Conclusion -- Index