Anne Friedberg The Virtual Window Pdf Free. 7/11/2017 0 Comments Interview Questions and Answers, Job Interview Tips, Advice, Guide. Create a free website. Get this from a library! The virtual window: from Alberti to Microsoft. [Anne Friedberg] -- As we spend more time staring at TVs and computers - 'windows' full of. Anne Friedberg The Virtual Window Pdf Viewer. 5/6/2017 0 Comments Website Cardpostagegalateogalateo. Chicago, IL 6. Create a free website.
Anne Friedberg, The Virtual Window: From Alberti to Microsoft. Cambridge: MIT Press, 2006. ISBN: 978 0 262 06252 7 US$34.95 (hb) 448pp (Review copy supplied by MIT Press) What counts for the orientation of the spectacle is not my body as it in fact is, as a thing in objective space, but as a system of possible actions, a virtual body with its phenomenal ‘place’ defined by its task and situation. My body is wherever there is something to be done. (Maurice Merleau-Ponty, Phenomenology of Perception) For the philosopher, Maurice Merleau-Ponty, we never simply live embodiment as an abstract object within the world – the body is, rather, the fleshy grounds by which we can be said to have and interact with a world, through both real and virtual registers.
As Vivian Sobchack writes, the body that informs the work of Merleau-Ponty is the phenomenological concept of the lived-body, indicating how embodiment must always be lived “at once [as] an objective subject and a subjective object: a sentient, sensual, and sensible ensemble of materialized capacities and agency that literally and figuratively makes sense of, and to, both ourselves and others” (italics mine). In detailing how we experience space, for instance, Merleau-Ponty evocatively suggests how subjective experiences of the body-in-space entail a kind of physical negotiation between the realms of the actual and the virtual. According to Merleau-Ponty, a ‘virtual body’ exists alongside the lived-body, waiting to be actualized in space. “Consciousness is in the first place not a matter of ‘I think that’ but of ‘I can’”, he writes, for it is reliant upon a system of possible virtual actions (that of ‘I can walk, run, reach, grasp, speak, gesture, along with a thousand other intricate acts’) that can then be literalized by its corporeal base; indeed, it is through the dynamics of the lived-body and “by virtue of motility, [that] each [virtual] ‘there’ can become, hence potentially is, a [concrete] ‘here’ [and] space appears as the horizon for a multiplicity of possible movements, expressions, projects”. If, for Merleau-Ponty, the lived-body is the phenomenological constant by which we negotiate between actual and virtual possibilities of space, then, for Anne Friedberg, it is the representational space of the ‘virtual window’ that has provided the formal constant of many centuries of diverse visual entertainments.
In her stunningly researched study, The Virtual Window: From Alberti to Microsoft, Friedberg examines the ‘virtual window’ as a densely laden metaphor and a historic visual practice. As Friedberg so ably reminds us, we tend to “know the world by what we see: through a window, in a frame, on a screen how the world is framed may be as important as what is contained within that frame”, as she reasons (1). To that end, Friedberg insightfully argues for the tradition of the virtual window in light of its continued opening up of a virtual else where as well as a virtual else when for those standing or sitting before it; such windowed apertures serve to “ventilate the static materialities and temporalities of their viewers” (4). Taking her guiding premise from Leon Battista Alberti who, in his 1435 treatise, De pictura, once instructed the artist to treat painting as an ‘open window’, Friedberg systematically dismantles the misuse of the ‘window’ metaphor in film theory, art history, the visual arts and philosophy, where the association between single-point perspective and moving image media has so often been swamped by debates surrounding its inherent relation to the ideological/technological apparatus of the cinema, the Cartesian subject or the disincarnate body (26). One of the major contributions of Friedberg’s book, to both film studies and inter-related disciplines, is her examination of visual technologies of perspective through an intricate historiography that corrects entrenched fallacies. Advanced Kv Checker Download. To that end, she duly informs us of how, for Alberti, windows were actually translucent, not transparent; that Alberti’s emphasis on historia (“the subject to be painted”) lends itself to imaginative narrative mappings rather than to the production of a “window on the world”, as it has frequently been invoked (32, 35).