The Mutation of our Relations with Screens as a Mutation of our Relations with Being.
Traces of Maurice Merleau-Ponty's constant philosophical interest in cinema have been multiplying since the mid-1990s. These traces lead us to understand that such an interest was implicitly linked to the effort of ontologically rehabilitating the screen understood as the condition of possibility of...
| Publicado en: | Studia Phaenomenologica Vol. 16; pp. 325 - 343 |
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| Formato: | Artículo |
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Zeta Books
2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=119260430&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 119260430 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 15825647 8XIP jtl: Studia Phaenomenologica issn: 15825647 maglogo: N pubinfo: dt: 2016 vid: 16 pid: 71195 pub: Zeta Books artinfo: ui: 119260430 ppf: 325 ppct: 18 formats: fmt: @attributes: type: P size: 986KB tig: atl: The Mutation of our Relations with Screens as a Mutation of our Relations with Being. aug: au: Carbone, Mauro affil: Université Jean-Moulin Lyon 3 Institut Universitaire de France su: Motion pictures & literature Mutation (Phonetics) Merleau-Ponty, Maurice, 1908-1961 Philosophy of time Spatio-temporal variation sug: subj: Motion pictures & literature Mutation (Phonetics) Merleau-Ponty, Maurice, 1908-1961 Philosophy of time Spatio-temporal variation keyword: cinema desire immersivity screen vision window ab: Traces of Maurice Merleau-Ponty's constant philosophical interest in cinema have been multiplying since the mid-1990s. These traces lead us to understand that such an interest was implicitly linked to the effort of ontologically rehabilitating the screen understood as the condition of possibility of our vision. Therefore I believe that the late Merleau-Ponty was trying to elaborate a conception of our way of seeing that can no longer be shaped on the representative window model, but rather on the screen model. In this light, my aim is to develop, specify (mainly through my notion of "arche-screen"), and update Merleau-Ponty's insights concerning the screen as a decisive element of our visual experiences. In such a perspective, it is no doubt very important to reflect on the modified spatio-temporality of desire at work in our present relations to screens. This is what I try to do in the second part of my paper. Indeed, concerning the way in which nowadays screens surround and accompany us at every turn, in which we live through them (and not merely with them), we can state something similar to what Merleau-Ponty wrote about modern painting in Eye and Mind, that is to say that the novelty of that way of painting gave him "a feeling of mutation within the relations of man and Being." pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Studia Phaenomenologica is the property of Zeta Books and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Studia Phaenomenologica holder: Zeta Books dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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