What the Film Archive Can Tell Us About Technology in the Post-digital Era.
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 reconceptualizat...
| Publicado en: | Design Issues Vol. 21; no. 2; pp. 48 - 63 |
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| Formato: | Artículo |
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MIT Press
Spring2005
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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=16717143&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 16717143 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07479360 DIU jtl: Design Issues issn: 07479360 maglogo: N pubinfo: dt: Spring2005 vid: 21 iid: 2 pid: 776 pub: MIT Press artinfo: ui: 16717143 10.1162/0747936053630197 ppf: 48 ppct: 15 formats: fmt: @attributes: type: P size: 2.4MB tig: atl: What the Film Archive Can Tell Us About Technology in the Post-digital Era. aug: au: Punt, Michael su: Motion pictures Kinetograph Cinematography Motion picture cameras Computer input-output equipment Computer software Wireless communications Technology sug: subj: Motion pictures Kinetograph Cinematography Motion picture cameras Computer input-output equipment Computer software Wireless communications Technology ab: 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. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Design Issues is the property of MIT Press 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: Design Issues holder: MIT Press dt: @attributes: year: 2005 holdings: @attributes: islocal: N |
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