Movement as Meaning : In Experimental Film.

By: Barnett, DanielSeries: Consciousness, Literature and the Arts SerPublisher: Amsterdam : BRILL, 2008Copyright date: ©2008Description: 1 online resource (238 pages)Content type: text Media type: computer Carrier type: online resourceISBN: 9789401205740Subject(s): Experimental films.;Motion picturesGenre/Form: Electronic books. Additional physical formats: Print version:: Movement as Meaning : In Experimental FilmDDC classification: 791.43611 LOC classification: PN1995.9.E96Online resources: Click to View
Contents:
Intro -- Movement as Meaning: In Experimental Film -- Table of Contents -- Foreword: What this book is, what this book isn't… -- Preface: Arriving at the scene ... -- Introduction: Two pictures of a rose in the dark... -- Part I: Modes of Perception and Modes of Expression -- 1. First ideas in new media: the cinematic suspension of disbelief… -- 2. Describing how the mind moves toward understandings… -- 3. New paradigms for viewing experience and new ways of creating meaning… -- 4. Theories of meaning: media, messages and how the mind moves… -- 5. The relevance of the mechanism: lessons to carry forward from an already ancient medium... -- 6. Frames vs. shots, surface vs. window... -- 7. What the surface of the screen can tell us about language... -- 8. Language integrates our perceptions as surely as the nervous system integrates our sense data - Hallucination or Metadata?... -- 9. Letting the mind surround an idea: an introduction to Wittgenstein... -- 10. Ascertaining understanding: What one language must evoke, another may stipulate (and vice versa)... -- 11. Dynamic and static theories of meaning... -- 12. Color, types of reference and the inveterate narrative... -- 13. The polyvalence of the picture... -- 14. Meaning and mutual experience - kinds of reference redefined... -- 15. What has art got to do with it... -- 16. A whole new way of reading - the surface of the screen and the modulation of self consciousness... -- 17. The anteroom of meaning and our conception of space... -- 18. Meaning and mental habits... -- 19. Assumed and earned meaning... -- 20. The spectrum of shared reference... -- 21. The story sequence and the montage - prologue... -- 22. When the editor learns about meaning... -- 23. Montage and metaphor... -- 24. The imitation of perception... -- Part II: Dynamic And Syntactic Universals -- 25. Non-Verbal Universals...
26. The polyvalence of the picture and the omnivalence of the movie -- 27. The description of omnivalence as a floating target... -- 28. Dynamic universals: beginning, middle and end - a prologue... -- 29. Language and the momentum of the body... -- 30. Syntactic universals: interval, context and repetition... -- 31. The synergy of symmetry... -- 32. Sidebar - another parallel model and another speculative future... -- 33. Formal references in music and cinema... -- 34. The developmental leap - keeping the referent a mystery... -- 35. Resemblance and resonance... -- 36. The subliminal pull of the flicker... -- 37. Aural and visual cadence... -- 38. The frame of the experience... -- 39. Resonance among frames... -- 40. Ancient history - the medium as the model... -- 41. Illustration, induction and repetition... -- 42. The material and the medium... -- 43. Sonics and seamlessness... -- 44. The private language machine and the evolution of a medium... -- 45. Illusions and ontological linchpins... -- 46. Delimiting an audience... -- 47. Summarizing the singular window en route to the panoramic view... -- Part III: The Moving Target -- 48. Digital ubiquity - the memosphere & the mediasphere... -- 49. Compression and consciousness... -- 50. Indeterminacy of translation revisited and context reconsidered... -- 51. The reconfigured attention span... -- 52. The synergy of the mediasphere… -- 53. The search engine and the editor-in-chief... -- 54. A sidebar on consciousness... -- 55. So, where is the screen?... -- 56. Definitions and boundaries... -- 57. The meaning is the metaphor (or not)... -- 58. The raw and the cooked... -- 59. A final reflection on method... -- 60. The grain and the pixel… -- Appendix A: The Paillard Bolex Movie Camera And the J-K Optical Printer -- Acknowledgements -- Bibliography -- Filmography -- Index.
Summary: This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery's concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness.Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning.
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Intro -- Movement as Meaning: In Experimental Film -- Table of Contents -- Foreword: What this book is, what this book isn't… -- Preface: Arriving at the scene ... -- Introduction: Two pictures of a rose in the dark... -- Part I: Modes of Perception and Modes of Expression -- 1. First ideas in new media: the cinematic suspension of disbelief… -- 2. Describing how the mind moves toward understandings… -- 3. New paradigms for viewing experience and new ways of creating meaning… -- 4. Theories of meaning: media, messages and how the mind moves… -- 5. The relevance of the mechanism: lessons to carry forward from an already ancient medium... -- 6. Frames vs. shots, surface vs. window... -- 7. What the surface of the screen can tell us about language... -- 8. Language integrates our perceptions as surely as the nervous system integrates our sense data - Hallucination or Metadata?... -- 9. Letting the mind surround an idea: an introduction to Wittgenstein... -- 10. Ascertaining understanding: What one language must evoke, another may stipulate (and vice versa)... -- 11. Dynamic and static theories of meaning... -- 12. Color, types of reference and the inveterate narrative... -- 13. The polyvalence of the picture... -- 14. Meaning and mutual experience - kinds of reference redefined... -- 15. What has art got to do with it... -- 16. A whole new way of reading - the surface of the screen and the modulation of self consciousness... -- 17. The anteroom of meaning and our conception of space... -- 18. Meaning and mental habits... -- 19. Assumed and earned meaning... -- 20. The spectrum of shared reference... -- 21. The story sequence and the montage - prologue... -- 22. When the editor learns about meaning... -- 23. Montage and metaphor... -- 24. The imitation of perception... -- Part II: Dynamic And Syntactic Universals -- 25. Non-Verbal Universals...

26. The polyvalence of the picture and the omnivalence of the movie -- 27. The description of omnivalence as a floating target... -- 28. Dynamic universals: beginning, middle and end - a prologue... -- 29. Language and the momentum of the body... -- 30. Syntactic universals: interval, context and repetition... -- 31. The synergy of symmetry... -- 32. Sidebar - another parallel model and another speculative future... -- 33. Formal references in music and cinema... -- 34. The developmental leap - keeping the referent a mystery... -- 35. Resemblance and resonance... -- 36. The subliminal pull of the flicker... -- 37. Aural and visual cadence... -- 38. The frame of the experience... -- 39. Resonance among frames... -- 40. Ancient history - the medium as the model... -- 41. Illustration, induction and repetition... -- 42. The material and the medium... -- 43. Sonics and seamlessness... -- 44. The private language machine and the evolution of a medium... -- 45. Illusions and ontological linchpins... -- 46. Delimiting an audience... -- 47. Summarizing the singular window en route to the panoramic view... -- Part III: The Moving Target -- 48. Digital ubiquity - the memosphere & the mediasphere... -- 49. Compression and consciousness... -- 50. Indeterminacy of translation revisited and context reconsidered... -- 51. The reconfigured attention span... -- 52. The synergy of the mediasphere… -- 53. The search engine and the editor-in-chief... -- 54. A sidebar on consciousness... -- 55. So, where is the screen?... -- 56. Definitions and boundaries... -- 57. The meaning is the metaphor (or not)... -- 58. The raw and the cooked... -- 59. A final reflection on method... -- 60. The grain and the pixel… -- Appendix A: The Paillard Bolex Movie Camera And the J-K Optical Printer -- Acknowledgements -- Bibliography -- Filmography -- Index.

This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery's concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness.Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2019. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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