"Suspensions of Perception" is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result form crucial changes in the nature of perception that can be traced back to the second half of the 19th century. Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity and experience and a central element in the efficient functioning of economic and disciplinary institution, as well as the emerging space of mass consumption and spectacle. Crary approaches these issues through multiple analyses of single works by three key modernist painters - Manet, Seurat and Cezanne - who each engaged in a singular confrontation with the disruptions, vacancies and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices. "Suspensions of Perception" decisively relocates the problems of aesthetic contemplation within a broader collective encounter with the unstable nature of perception - in psychology, philosophy, neurology, early cinema and photography. In doing so, it provides an historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.

Suspensions of Perception: Attention, Spectacle, and Modern Culture

The Routledge Companion to Video Game Studies

Whatever the pictorial turn is, then, it should be clear that it is not a return to naive mimesis, copy or correspondence theories of representation, or a renewedmetaphysics of pictorial “presence”: it is rather a postlinguistic, postsemiotic rediscovery of the picture as a complex interplay between visuality, apparatus, institutions, discourse, bodies, and figurality. It is the realization that spectatorship (the look, the gaze, the glance, the practices of observation, surveillance, and visual pleasure)may be as deep a problem as various forms of reading (decipherment, decoding, interpretation, etc.) and that visual experience or “visual literacy” might not be fully explicable on the model of textuality. [W. J. T. Mitchell, “The Pictorial Turn,” Picture Theory: Essays on Verbal and Visual Representation (Chicago, 1994), p. 16] Novelization, a Contaminated Genre?

https://www.jstor.org/stable/10.1086/498003

Novelization, a Contaminated Genre?

https://users.clas.ufl.edu/burt/%20%20%20%20%20%20Kiaorostami%20Shakespeare%20Amy%20Scott-Douglas/cinephilia%20film%20preservation%20and%20archive%20pdfs/157_039-050.pdf

What's the Point of an Index? or, Faking Photographs

The disappearance of the screen’s physical barrier, the fourth wall, challenges many of the narrative conventions traditionally used in the traditional journalistic account This is an area in which we are still taking the first steps, but these moves have already raised interesting narratological challenges Technological development allows us not only to have the sensation of being elsewhere, but also of interacting with the storytelling elements In this article, the author reviews the steps that have been taken up to the present time in the use of these platforms for news and shows the reflections carried out by disciplines connected with narrative construction on the challenges of this new way to tell the story of what is happening in the world The implications of being inside the scene of the action and being able to interact with it means rethinking the conventions of audiovisual editing and the visual perspective of the audience, as well as the relevance of the three-dimensional nature of real sound and the freedom to act inside the story without modifying the real course of the events

/pdf/going-beyond-the-classic-news-narrative-convention-the-3ush7sh4u9.pdf

Going Beyond the Classic News Narrative Convention: The Background to and Challenges of Immersion in Journalism

PrefaceIntroduction: The End of Cinema?1. Cinema Is Not What It Used to Be2. Digitalizing Cinema from Top to Bottom3. A Brief Phenomenology of "Digitalized" Cinema4. From Shooting to Filming: The Aufhebung Effect5. A Medium Is Always Born Twice...6. New Variants of the Moving Image7. "Animage" and the New Visual CultureConclusion: A Medium in Crisis in the Digital AgeNotesAcknowledgmentsSelected BibliographyIndex

The End of Cinema?: A Medium in Crisis in the Digital Age

The writer does not ‘wrest’ speech from silence, as we are told in pious literary hagiographies, but inversely, and how much more arduously, more cruelly and less gloriously, detaches a secondary l...

A medium is always born twice …1

El relato cinematográfico: cine y narratología

This article outlines a dynamic model whose goal is to make a contribution to the understanding of the genealogy of media. We will suggest a few avenues of investigation which may be able to accoun...

The Cinema as a Model for the Genealogy of Media

Un média naît toujours deux fois...

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