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EMBODIED ABSTRACTION IN CINEMA: VIRTUAL PROSTHESIS AND FORESTS OF LIGHT

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Date Issued:
2012
Abstract/Description:
Our impressions of this lifeworld are contingent upon our ability to see (in every conflicting meaning of the word). This paper reviews a body of scholars who often share disparate, "incompatible" ontological commitments in effort to examine how their ordering of concepts may reveal a deeper fluidity and permeability between all states of inquiry, creation and investigation into Being and Time. It begins with perspective, examining our subjective presence in the context of the camera apparatus and considers how the mirroring of mechanical instrumentation, namely the rotary shutter and optics of the camera has limited the true function of the cinema to a narrow, representational form. It considers the spiritual implications of the apparatus, exploring, regardless of what is filmed, what the method of inscription from still photos into motion means in regards to consciousness. The paper then investigates what the role of abstraction is in the context of a spiritually minded camera apparatus and attempts to reconcile Deluzian and phenomenological perspectives about film consciousness. All of this is, after all, is in the conceptual support of the four channel video installation Phase Space. The paper does not seek to, or claim to apply readymade philosophical concepts to cinema, rather it explicitly attempts to examine and discuss cinema on its own virtues and investigate how it can express itself as an experimental form of philosophy.
Title: EMBODIED ABSTRACTION IN CINEMA: VIRTUAL PROSTHESIS AND FORESTS OF LIGHT.
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Name(s): Perez, Jonathan, Author
Harris, Christopher, Committee Chair
University of Central Florida, Degree Grantor
Type of Resource: text
Date Issued: 2012
Publisher: University of Central Florida
Language(s): English
Abstract/Description: Our impressions of this lifeworld are contingent upon our ability to see (in every conflicting meaning of the word). This paper reviews a body of scholars who often share disparate, "incompatible" ontological commitments in effort to examine how their ordering of concepts may reveal a deeper fluidity and permeability between all states of inquiry, creation and investigation into Being and Time. It begins with perspective, examining our subjective presence in the context of the camera apparatus and considers how the mirroring of mechanical instrumentation, namely the rotary shutter and optics of the camera has limited the true function of the cinema to a narrow, representational form. It considers the spiritual implications of the apparatus, exploring, regardless of what is filmed, what the method of inscription from still photos into motion means in regards to consciousness. The paper then investigates what the role of abstraction is in the context of a spiritually minded camera apparatus and attempts to reconcile Deluzian and phenomenological perspectives about film consciousness. All of this is, after all, is in the conceptual support of the four channel video installation Phase Space. The paper does not seek to, or claim to apply readymade philosophical concepts to cinema, rather it explicitly attempts to examine and discuss cinema on its own virtues and investigate how it can express itself as an experimental form of philosophy.
Identifier: CFH0004219 (IID), ucf:44966 (fedora)
Note(s): 2012-05-01
B.F.A.
Arts and Humanities, Dept. of Film
Bachelors
This record was generated from author submitted information.
Subject(s): Deleuze
Phenomenology
Abstraction in Cinema
Video Installation
Persistent Link to This Record: http://purl.flvc.org/ucf/fd/CFH0004219
Restrictions on Access: public
Host Institution: UCF

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