The Cinema in the Map – The Case of Braun and Hogenberg’s Civitates Orbis Terrarum
01 Jan 2017-pp 23-46
TL;DR: This article explored a possible pre-cinematic reading of Braun and Hogenberg's Civitates Orbis Terrarum (1572-1617) by considering filmic notions such as the role of actors, the relationship between time and space, movement as well as aspects of screen language, in particular montage and continuity editing.
Abstract: This essay explores a possible pre-cinematic reading of Braun and Hogenberg’s Civitates Orbis Terrarum (1572–1617) by considering filmic notions such as the role of actors, the relationship between time and space, movement as well as aspects of screen language, in particular montage and continuity editing. Such general considerations of cinematic mechanisms applied to maps are then further considered in a case study, that of William Smith’s perspective map of Cambridge in 1575. A narrative layers methodology is applied to William Smith’s subjective rendering of Cambridge and reveals that it prefigures contemporary developments of the city in the twenty-first century.
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TL;DR: In this paper, a translation of the poem "The Pleasures of Philosophy" is presented, with a discussion of concrete rules and abstract machines in the context of art and philosophy.
Abstract: Translator's Foreword: Pleasures of Philosophy Notes on the Translation and Acknowledgements Author's Note 1. Introduction: Rhizome 2. 1914: One or Several Wolves? 3. 10,000 BC: The Geology of Morals (Who Does the Earth Think It Is?) 4. November 20th, 1923: Postulates of Linguistics 5. 587BC-AD70: On Several Regimes of Signs 6. November 28th, 1947: How Do You Make Yourself a Body Without Organs? 7. Year Zero: Faciality 8. 1874: Three Novellas, or "What Happened?" 9. 1933: Micropolitics and Segmentarity 10. 1730: Becoming Intense, Becoming-Animal, Becoming Imperceptible... 11. 1837: Of the Refrain 12. 1227: Treatise on Nomadology - The War Machine 13. 7000BC: Apparatus of Capture 14. 1440: The Smooth and the Striated 15. Conclusion: Concrete Rules and Abstract Machines Notes Bibliography List of Illustrations Index
14,735 citations
Book•
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01 Jan 1999
TL;DR: Translators' Foreword Exposes Paris, the Capital of the Nineteenth Century (1935) "Paris, the City of the Twenty-First Century" (1939) Convolutes Overview First Sketches Early Drafts "Arcades" "The Arcades of Paris" 'The Ring of Saturn" Addenda Expose of 1935, Early Version Materials for the Expose and Exposition of 1935 Materials for Arcades' "Dialectics at a Standstill," by Rolf Tiedemann "The Story of Old Benjamin," by Lisa Fitt
Abstract: Translators' Foreword Exposes "Paris, the Capital of the Nineteenth Century" (1935) "Paris, Capital of the Nineteenth Century" (1939) Convolutes Overview First Sketches Early Drafts "Arcades" "The Arcades of Paris" "The Ring of Saturn" Addenda Expose of 1935, Early Version Materials for the Expose of 1935 Materials for "Arcades" "Dialectics at a Standstill," by Rolf Tiedemann "The Story of Old Benjamin," by Lisa Fittko Translators' Notes Guide to Names and Terms Index
2,991 citations
TL;DR: Sobchack as discussed by the authors argued that the movie experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision.
Abstract: Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author proposes that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical and signifying nature of that embodied vision we each live daily as both "mine" and "another's". In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.
826 citations
Book•
01 Jan 2001
TL;DR: Harley as mentioned in this paper defines a map as a social construction and argues that maps are not simple representations of reality but exert profound influences upon the way space is conceptualized and organized, in which power - whether military, political, religious or economic - becomes inscribed on the land through cartography.
Abstract: Focusing on historical examples and the practises of modern cartography, J.B. Harley (1932-1991) offers an alternative to the dominant view that Western cartography since the Renaissance has been a progressive technological, scientific and objective trajectory of development. This traditional view asserts that maps produce an accurate relational model of terrain and, as such, epitomize representational modernism, which is rooted in the project of the Enlightenment; in sum, maps banish subjectivity from the image. Accordingly, cartographers have promoted a standard scientific model for their discipline, one in which a mirror of nature can be projected through geometry and measurement. Cartographers often mistakenly assess early maps by this modern yardstick, excising from the accepted canon of mapping not only maps from the premodern era but also those from other cultures that do not match Western notions of accuracy. In these essays, Harley draws on ideas in art history, literature, philosophy, and the study of visual culture to subvert the traditional, "positivist" model of cartography, replacing it with one that is grounded in an iconological and semiotic theory of the nature of maps. He defines a map as a "social construction" and argues that maps are not simple representations of reality but exert profound influences upon the way space is conceptualized and organized. A central theme is the way in which power - whether military, political, religious or economic - becomes inscribed on the land through cartography. In this reading of maps and map making, Harley undertakes a surprising journey into the nature of the social and political unconscious.
403 citations
Book•
01 Jan 2002
TL;DR: Bruno's Atlas of Emotion as discussed by the authors is a highly original endeavor to map a cultural history of spatio-visual arts, emphasizing that the voyeur must also be the voyageur, that "sight" and "site" are irrevocably connected.
Abstract: Choice: Outstanding Academic Title of the Year; Guardian: Book of the Year; 2004 Kraszna-Krausz Prize Winner Traversing a varied and enchanting landscape with forays into the fields of geography, art, architecture, design, cartography and film, Giuliana Bruno's Atlas of Emotion is a highly original endeavor to map a cultural history of spatio-visual arts. Throughout these pages Bruno insists on the inseparability of seeing and travelling. In an evocative montage of words and pictures she emphasizes that the voyeur must also be the voyageur, that "sight" and "site" are irrevocably connected. In so doing, she touches on the art of Gerhard Richter and Annette Messagem; the film-making of Peter Greenaway and Michaelangelo Antonioni; the origins of the movie palace and its precursors, the camera obscura, the curiosity cabinet, the tableaux vivant; and on her own journeys to her native Naples. Visually luscious and daring in conception, the journey for which Bruno is our cicerone opens new vistas and understandings at every turn. This is an affective mapping that ultimately puts us in touch with mental landscapes and inner worlds.
320 citations