The virtual Window _ Anne Friedberg

The virtual Window

Anne Friedberg

cinematic window 환경 안에서 관객들은 실제로 move하지 않는다 .virtually move 한다 .cinema window의 움직임은 not real이다. 이것은 ingrained mode이다. 즉, 우리의 spatio temporal experience를 remove한다. 이것은 frame안에서만 존재하는 delimited vision이다. 

이 부분을 PM에 적용해볼 수 있을 것 같다. 이 delimited vision within the frame / screen / virtual window는 video installation에도 적용이 된다. 그러나 PM은 reembodiment다. 

It means to expand an account of the emergence of a mobilized and virtual visuality backward, in a thicker history of the framed visuality of the window, and forward, to the window’s ever more virtual functions. .. Here, I consider the screen-the film screen, the TV screen, the computer screen- as a component piece of archtecture, a “virtual window which renders the wall permeable to light and “ventilation” and which has dramatically changed the materiality (and perhaps more radically-the temporality) of built space. (338) 이부분은 PM에 적용할 수 있을 것 같다. 

A brief history of fenestration

The window served as a membrane between inside and outside, and light was the material that modulated this relation. .. 

As the window grew in relation to the wall-shedding its mullions and posts- it became more and more of a permeable interface, its transparency enforced a two-way model of visuality: by framing a private view outward- the “picture” window-and by framing a public view inward -the “display” window. (340)

The window became a display frame and, as the architectural use of the horizontal or ribbon window demonstrated, the window could also become a wall. As a material, glass offered both tranparency and protection;

The materials of lass and its properties of transparency led Wright to this optical metaphor. … The window is a visual metaphor with a literal analog; an architectural figure and a philosophical paradigm. (341)

The Virtual Window and the Screen

but was most dramatically achieved with photography’s indexical record. (342)

 

The Cinema Screen

But the cinema provided a virtual mobility for its spectators it did so within the confines of a frame.

But let’s reframe that assumption thinking aobut the virtuality of such movement:  i.e., the spectator  is not really moving; .. The visuality here is compensatory along the lines of paradox, (343) which I will repeat: as the mobilized gaze became more virtual, it grew to involve less physical mobility, and became located within the confines of a framed visuality. .... In this way, the cultural force of the cinematic and televisual has produced an ingrained (뿌리박힌) virtuality of the senses, removing our experience of space, time and the real to the plane representation, but in form of delimited vision, in a frame. The cinema screen transferred the sensual isolation produced by the plate-glass window onto a virtual register. A virtual window is reliant not on its transparency but on its  opacity; its highly mediated modulation of light provides an aperture-not to a reality-but to to delimited virtuality. (344)

관객들은 실제로 move하지 않는다 .virtually move 한다 .cinema window의 움직임은 not real이다. 이것은 ingrained mode이다. 즉, 우리의 spatio temporal experience를 remove한다. 이것은 frame안에서만 존재하는 delimited vision이다. 

이 부분을 PM에 적용해볼 수 있을 것 같다. 이 delimited vision within the frame / screen / virtual window는 video installation에도 적용이 된다. 그러나 PM은 reembodiment다. 

As a key component of the “basic cinematic apparatus“-consisting of the film, the film projector, the screen and spectator in a fixed relation-“apparatus theory” cast the film screen as a conflationary substitute for the film frame. apparatus theory에서 스크린은 융합적인 대체물로 간주한다. 

 Apparatus theory may have been dismantled by feminist correctives to its ahistoric generalization and disregard for oppositional strategies of style or exhibition and yetimportantly- it described the screen itself as the locus of fascination, the site of enfolding psychic space onto physical space. (344) apparatus theory의 한계들은 있지만! 그래도 이것이 정신적 공간을 실질적 공간으로 투사했다는 것은 의의가 있다.

The computer screen

But the computer “users” are not spectators, not viewers. The “interface” many retain some immobility but the …

But is not only a new interface that has changed our relation to the screen. Perhaps more importantly, the computer has produced a further metaphysical chanllenges in our relation to the screen. The “integral realism” of the camera image meets its most subversive challenge: the digital image takes the assault to concepts of aura and originality produced by photography and film to new extremes; it radically subverts the photograph’s evidentiary power. Digital information can be manipulated easily and rapidly by computer, and hence is more susceptible to alteration. ..그렇다고 indexicality가 없어지는 게 아니라는 다른 이론들과 함께 쓰자. 

Beyond just the future of imaging, digital technology also transforms delivery and display. (346)

Microscreen Windows

As an interface, Windows (MS) extends screen space by overlapping screens of various sizes; each window can run a different application; you can arrange windows on your screen in stacked or overlapping formations or decorate your windows. .. Window are re-sizable, movable. Windows make multi-tasking possible. .. Multitasking makes it possible to combine work with leisure…

Quattrocento perspective and its comcommitant symbolic system has been challenged on may fronts. (347)

Now, a variety of screens-long and wide and square, large and small, composed of grains, composed of pixels-compete for our attention without any (convincing) arguments about hegemony. As screens have multiplied and divided, so has subjectivity.

A new post-perspectival, post-Cartesian subjectivity has emerged. The multi-screen, windowed visuality of Windows software has become an apt figurative trope for this new subjectivity. As the beholder of multiple windows, we receive images-still and moving, large and small, artwork and commodity- in fractured spatial and temporal frames.(348)

 

 

 

 

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