In between Celluloid Strips and Codified Pixels
This chapter explores the spatial framework between the numerical and interactive screen and the spectator/user of celluloid. Before discussing digital spatiality, it considers the technical operations of the two technologies to highlight the sense of space, or the spatial regime, that they conjure up. Contrary to the unification of disparate spaces that celluloid film achieves, the digital organizes its information continually as a functional and consistently defined geometric fragmentation. Focusing on the forms and meanings of this fragmentation, the chapter examines the spatial configuration of the digital image, first by turning to celluloid constructions to determine where the difference between the numerical and interactive screen may lie. In particular, it explains how the two technologies form the spatial arrangement of their digital images, or how their images are shaped. To this end, Norman McLaren’s short movie Blinkity Blank (1955) is reviewed. The chapter also analyzes Georg Friedrich Bernhard Riemann’s notion of space in relation to Euclidean geometry, along with the concept of morphing within the context of digital space.
Minnesota Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.