Daniel Barnett

"Tomorrow died on the last morning of May. There were those who saw it happen, who watched the shadow fall, who felt the chop of the guillotine as the world lost its head. Everyone else witnessed only the aftermath, for the event itself lasted no longer than a moment. They stepped outside from windowless rooms, they climbed up from crowded subways, they pulled back the blinds to let in the sun, and found the nightmare waiting for them."But the dark is only the beginning.

Nightmareland Volume One

Nightfall

Nightmareland Volume Three

Sleepwalking

Summer crashes to an end on a winding road. Just like that, football superstar Joel Harper finds himself rolling his wheelchair into a new school in a strange town. Soon he's making friends of misfits, taking lessons in Iron Maiden, and trying to keep away from a ruthless bully with a penchant for switchblades. Little is he aware, something ancient and wounded has awoken deep beneath the tiny mountain community, and when it surfaces, all of Honaw will know its pain.

Poor Things

Stephen Graham Jones

Gwendolyn Kiste

Cynthia Pelayo

Gemma Amor

Eric LaRocca

Gabino Iglesias

James Sabata

Mike Thorn

Hailey Piper

Laurel Hightower

Tom Deady

Craig Wallwork

S. H. Cooper

Stephanie Evelyn

Vincent V. Cava

Donyae Coles

S. A. Bradley

Donald R. Guillory

Rhonda Jackson Garcia

A Horror Anthology

Shattered & Splintered

Something else. These are the words John Hawthorne whispers on a forgotten back road when a passing cloud reveals the moon. Something else. For the moon cannot shine without the sun, and so its presence above can only mean there are other forces at play behind the night. Terrible, unspeakable forces, whose designs for humanity will soon become known . . . LULLABY is the second volume of the NIGHTMARELAND CHRONICLES, an ongoing serialized adventure horror epic following one man's journey to reach his estranged daughter in a world claimed by eternal night.

Nightmareland Volume Two

Lullaby

This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery's concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness. Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning.

In Experimental Film

Movement as Meaning

Employment Tribunal Time Limits

This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein’s concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery’s concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness. Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning.

Movement as Meaning in Experimental Film

Daniel Barnett

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