Sun 3 Jan 2010
“[In our era] the computer screen [becomes] the ultimate window, but a window [that] not so much allow[s] you to receive data as to view the horizon of globalization, the space of its accelerated virtualization…”
Paul Virilio, The Information Bomb, trans. Chris Turner (London: Verso, 2000), 16.
Sun 3 Jan 2010
“But while architectural changes in the window were coincident with changes in perspective in modern painting early in the twentieth century, the media of film and television retained a perspectival frame through the “modern” period. The moving image offered multiple perspectives through the sequential shifts of montage and editing; yet, aside from a few historical anomalies, it has only been with the advent of digital imaging technologies and new technologies of display in the 1990s that the media “window” began to include multiple perspectives within a single frame.
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.”
Anne Friedberg, “The Virtual Window” in Rethinking Media Change: The Aesthetics of Transition, ed. David Thorburn and Henry Jenkins. (Cambridge, MA: MIT Press, Kindle Edition, 2003), 4710-4714. (Cambridge, MA: MIT Press, Hardcover Edition, 2004), pp. 347-348.