| Sumario: | This article presents information on a study which aimed to recover some of the continuity between cinematic imagination as software and cinematic imagination as hardware so that people may begin to understand the past, especially the recent past, as of spring 2005, in relation to a reconceptualization of the relationship between software and hardware. Apparently, the kinetograph and the cinématograph were not the works of individual genius, but emerged from the popular imagination that converged on a raft of concerns, ranging from the deeply philosophical to the outright flippant, that gave a particular meaning to hundreds of pre-cinematic devices both invented and rediscovered in the nineteenth century. From what people know of it, that imagination has once again found a dynamic moment in the disorganized turbulence of an ill-defined and confused apparatus, gathered together under the rubric of electronic digital media, ranging from the networked home computer to microwave telephone technology, and Bluetooth interspecie communication. The cinema, the flagship of the analogue era, has not simply survived, it has prospered in the digital revolution and even set the economic and aesthetic agenda for how that technology is exploited as entertainment.
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