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        <BiographicalNote>&lt;p&gt;Luca Malavasi is Associate Professor at the University of Genoa, where he teaches History and Analysis of Film and Cinema and Visual Culture. His work primarily focuses on film history and theory, contemporary cinema, and visual culture. His publications include: Il linguaggio del cinema (2019), Dalla parte delle immagini. Temi di cultura visuale (with B. Grespi, 2022), Pianeta Varda (eds. with Anna Masecchia, 2022). Il cinema contemporaneo. Caratteristiche, identità culturale, esperienza (ed., 2024), Christopher Nolan (ed., 2024).&lt;/p&gt;</BiographicalNote>
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        <Text textformat="03">&lt;p&gt;&lt;p&gt;A pioneer of the Nouvelle Vague, an indefatigable experimenter and manipulator of audiovisual materials, and more recently a brilliant creator of exhibitions and installations, Varda succeeded in interpreting the changes of a rapidly transforming world, al¬ways open to encounters with others and to social, aesthetic, and technological innovations. Sustained by an insatiable, encyclopedic passion for images, and by the spirit of a gatherer-glaneuse who knows how to transform the archive into a living entity, an inexhaustible generator of new stories and inventions, her work astonishes with its thematic and formal richness, while retaining an unmistakable “Varda style”.&lt;break/&gt;The essays collected in this book, while seeking to place Varda’s work within its contemporary context, also aim to trace her po¬tential legacy. They bring together scholars who have explored the ways in which Varda engaged with other media and artistic forms, constantly in a state of hybridization.&lt;/p&gt;&lt;/p&gt;</Text>
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        <Text textformat="03">&lt;p&gt;&lt;p&gt;A pioneer of the Nouvelle Vague, an indefatigable experimenter and manipulator of audiovisual materials, and more recently a brilliant creator of exhibitions and installations, Varda succeeded in interpreting the changes of a rapidly transforming world, al¬ways open to encounters with others and to social, aesthetic, and technological innovations. Sustained by an insatiable, encyclopedic passion for images, and by the spirit of a gatherer-glaneuse who knows how to transform the archive into a living entity, an inexhaustible generator of new stories and inventions, her work astonishes with its thematic and formal richness, while retaining an unmistakable “Varda style”.&lt;break/&gt;The essays collected in this book, while seeking to place Varda’s work within its contemporary context, also aim to trace her po¬tential legacy. They bring together scholars who have explored the ways in which Varda engaged with other media and artistic forms, constantly in a state of hybridization.&lt;/p&gt;&lt;/p&gt;</Text>
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        <Text textformat="03">&lt;p&gt;&lt;p&gt;This book develops a materialist conception of knowledge by uncovering its entanglement with the history of colonial capitalism. Against accounts that frame cognitive capitalism and the knowledge economy as recent developments, it argues that these formations are rooted in long-standing processes of dispossession, extraction, and exploitation inaugurated during colonial modernity. Drawing on postcolonial critique, Marxian categories, and case studies from New Spain, it reframes concepts such as human capital, intellectual labour, and knowledge accumulation. The work highlights how colonial power structured hierarchies of knowledge through race, labour, and difference, and how these structures persist in contemporary capitalism. Attention is given to struggles over knowledge, from early colonial encounters to present-day resistance against its commodification. This book offers an original contribution to the critique of political economy, proposing a historically grounded account of knowledge as a site of both exploitation and struggle.&lt;/p&gt;&lt;/p&gt;</Text>
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        <BiographicalNote>&lt;p&gt;Angela Maiello is Senior Researcher at the University of Calabria. She is the author of L’archivio in rete (2015), ‘Gomorra’ — La serie: la famiglia, il potere, lo sguardo del male (2016), and Mondi in serie: l’epoca postmediale delle serie tv (2020). She has co-edited the volumes Virale: il presente al tempo dell’epidemia (2020) and Quasi viventi: il mondo digitale dalla A alla Z (2024). She is the director of Repetita, a book series focused on television series, and serves as coordinator of the editorial board of the scientific journal Fata Morgana. She is the PI of the Research Project of National Relevance ‘CAOS — Catastrophes of Southern Italy: Photogénie and Remediation of Natural Disasters’ (PRIN 2022 PNRR).&lt;/p&gt;</BiographicalNote>
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        <Text textformat="03">&lt;p&gt;&lt;p&gt;The history of the Italian peninsula is characterized by exposure to natural hazards due to geological fragility, intense volcanic and seismic activity, and hydrographic vulnerability associated with the Mediterranean climate. This volume aims to explore how Italian cinema, audiovisual imagery, and visual culture have reflected on this distinctive feature of the Italian territory and landscape. In doing so, it questions the very concept of catastrophe, beginning with its being visible: can catastrophe actually be seen? In what ways can it be represented? And how do images of catastrophe contribute to the development of a collective identity? Through different disciplinary approaches — primarily film studies, but also philosophy and sociology — the volume seeks to offer a new perspective on Italian cinema and visual culture.&lt;/p&gt;&lt;/p&gt;</Text>
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        <Text textformat="03">&lt;p&gt;&lt;p&gt;The history of the Italian peninsula is characterized by exposure to natural hazards due to geological fragility, intense volcanic and seismic activity, and hydrographic vulnerability associated with the Mediterranean climate. This volume aims to explore how Italian cinema, audiovisual imagery, and visual culture have reflected on this distinctive feature of the Italian territory and landscape. In doing so, it questions the very concept of catastrophe, beginning with its being visible: can catastrophe actually be seen? In what ways can it be represented? And how do images of catastrophe contribute to the development of a collective identity? Through different disciplinary approaches — primarily film studies, but also philosophy and sociology — the volume seeks to offer a new perspective on Italian cinema and visual culture.&lt;/p&gt;&lt;/p&gt;</Text>
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        <Text textformat="03">&lt;p&gt;&lt;p&gt;In 1984, the Siberian natural gas pipeline was completed on schedule. This was unexpected, given that the pipeline had been a contributing factor in a “trade war” between the USA and Western European countries, led by West Germany, in the previous years. For the first time in two decades, Germany and the wider European community collectively succeeded in asserting their right to freedom of energy choice in their negotiations with the USSR, despite the United States maintaining its trade and energy-related commodities embargo against Moscow.&lt;break/&gt;Chess Moves in the Energy Market is the story of how this happened, how for thirty years West Germany used energy trade as a strategic tool for economic and political rapprochement between East and West, prioritized energy security over Cold War dynamics, and ultimately became dependent on Russian natural gas.&lt;/p&gt;&lt;/p&gt;</Text>
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        <Text textformat="03">&lt;p&gt;&lt;p&gt;The book focuses on the emerging ethical issues related to the dissemination of images produced by artificial intelligence. With the introduction of generative AI, it has become necessary to rethink the status of the image and the concept of imagination from an ethical perspective. The author discusses, in particular, the role of visual generative AI in advertising communication and in the domain of visual information, focusing on the polarizing power and biasing effects of certain images. Many ethical issues intersect with European regulations concerning technoartificial images, for example in relation to copyright, co-authorship, bias, privacy, liability, etc. In conclusion, a reflection is offered on the fundamental role of ethics in the design of AI and on the ways in which generative AI models are used and brought into relation. The vulnerability of systems and individuals to the risk of an increasingly simulacral reality, and to the anesthetization of our gaze, is analyzed. Will technological progress, then, remain at the service of humanity, fostering ethical awareness, or will it lead us toward uncertainty and radical nihilism?&lt;/p&gt;&lt;/p&gt;</Text>
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        <Text>Premise 
Chapter 1. The Techno-Artificial Image
1.1. The Visual Turn and New Ethical Scenarios
1.2. The Image Between Natural and Artificial
1.3. Generative Artificial Intelligence and Artificial Images 
1.4. Artificial Intelligence and the Facets of Imagination
Chapter 2. Imagining and Predicting with (and Through)
Artificial Images in the Society of Uncertainty
2.1. Imagining, Predicting and Suggesting in the ‘Artificial’ Society
2.2. Big Data and “Dataism” Between Bias and Cognitive Distortion
2.3. (A)moral Strategies and AI Image Generators
Chapter 3. Artificial Images and Horizons of Meaning
3.1. Ethics and Regulations: Data Protection, Transparency, Accountability, and Deception
3.2. (Co)authorship and the Potential Endlessness of a Dialogic Transformative Process
3.3. A New Linguistic Turn? The Role of Prompting Between Ethics, Imagination and Ambiguity
3.4. Ethics by and in Design, and the Concept of Vulnerability
3.5 Risk and Uncertainty
Conclusions
Bibliography</Text>
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        <Price>
          <PriceType>02</PriceType>
          <PriceAmount>25.99</PriceAmount>
          <CurrencyCode>USD</CurrencyCode>
          <Territory>
            <RegionsIncluded>WORLD</RegionsIncluded>
          </Territory>
        </Price>
      </SupplyDetail>
    </ProductSupply>
  </Product>
</ONIXMessage>