# Ian Christie (2024) *Introduction–Phenomenologies of Screen Space*. : Amsterdam University Pres. > [!INFO] > Type:: [[]] > Title:: Introduction–Phenomenologies of Screen Space > Author(s): [[Ian Christie]] > Year:: 2024 > Tags:: > DOI:: > Citekey:: christie_introductionphenomenologies_2024 > ZoteroURI:: [Open in Zotero: Introduction–Phenomenologies of Screen Space](zotero://select/items/@christie_introductionphenomenologies_2024) > ReviewedDate:: [[2024-08-10]] > Related Note: 202408171224 ## Citation ```latex [@christie_introductionphenomenologies_2024] ``` ## Summary ## Annotation “But is it not equally, or even more fundamentally an art of space? Even before we have registered any sense of time, in front of a screen we are unavoidably “in another place.”” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 11) “Today, multiplatform media call into question the classical model of cinematic space, with its abstracted ideal spectator before a fixed screen.” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 11) “And during the worldwide closure of cinemas in 2021-2022 – which was also the period when this collection took shape – domestic viewing became a new norm, with streaming overtaking other forms of domestic viewing.” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 12) “Casey points to Martin Heidegger’s rejection of the “container model” early in the latter’s major text Being and Time (1927), transforming it into “more of an event than an entity.”” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 12) “Casey’s concern is to extricate specific senses of “place” from what he believes has been a dominant abstract sense of space running through Western philosophy – typified by the opening of Immanuel Kant’s Critique of Pure Reason (1965), with its dove “cleaving the air in her free flight [that] would be still easier in pure space.”” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 13) “it is certainly important to disentangle space from time.” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 13) “immersive spectacle” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 14) “Mark Cosgrove writes from the experience of a career in film exhibition, programming a variety of specialist or “art house” venues in Britain, and arguing that spaces of exhibition do significantly impact the experience of the works shown.” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 14) “As this book appears, we seem to be living through a media revolution, which may prove no less dramatic than that of the 1890s, when moving pictures first reached screens around the world (Christie 2017-2018).” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 199) “Here, in confronting “real objects in real spaces,” as distinct from their virtual forms, we are perhaps encountering a new phase of what has long been known in aesthetics as the “medium specificity thesis” (Carroll 1985).” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 204) “Rather than rehearse the current state of this long-running debate, it may be more useful to observe that the long history of creating spatial illusion, whether by optical devices or by “mixed media,” has provoked relatively consistent hostility from arbiters of aesthetic taste – except perhaps in stage design or when practiced by noted artists.” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 204) “In cinema, stereoscopy has long had a contested history. One of the key figures in film aesthetics, Sergei Eisenstein, was confident at the end of his life in 1948 that the future of cinema would be stereoscopic – prompted by having seen the USSR’s first 3D feature, Robinson Crusoe (1947), but also on the basis of a substantial review of the history of theater (Eisenstein 2013).” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 205) “here were persistent challenges dating back to Ancient Greece, and renewed during the Baroque period.” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 205) “Rather than suggest that museums and galleries are underselling “the emotional impact of the art they show,” he and other skeptics might pause to consider the significance of “immersive” exhibitions as a new genre, closely linked to the pervasive use of digital technologies to enhance many forms of entertainment.” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 209) “Yet it’s important to recognize that none of this is really “new,” even if it is undergoing renewal in the digital era.” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 209) “Does it need to be said that today’s immersive presentations about popular artists such as Van Gogh, Dalí, and Kahlo are clearly not claiming the status of museum exhibitions, although Hockney’s Bigger and Closer builds upon his previous digital work exhibited in gallery spaces such as the Royal Academy in London, and does carry his artistic imprimatur despite Jones’s denial of this. P” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 210) “Today’s immersive displays themed around familiar artists belong to a much wider spectrum of recreational popular culture, which includes television programs, printed magazines and partworks, and cultural tourism – elements of which have been in play since the Victorian fin de siècle (when stereograph sets and early travelogue lectures using lantern slides and eventually films anticipated many later television formats). They are also serving to attract audiences to the “discovery platforms” of new media entrepreneurs, and to initiate many of these into the cultural experience of cyberspace and the metaverse” (“Spaces: Exploring Spatial Experiences of Representation and Reception in Screen Media”, 2024, p. 210) ### Related ```dataview LIST FROM [[@christie_introductionphenomenologies_2024]] and -"Plans" and -"resources" ```