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From Light to ByteToward an Ethics of Digital Cinema$
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Markos Hadjioannou

Print publication date: 2012

Print ISBN-13: 9780816677610

Published to Minnesota Scholarship Online: August 2015

DOI: 10.5749/minnesota/9780816677610.001.0001

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Spatial Coordinates

Spatial Coordinates

In between Celluloid Strips and Codified Pixels

Chapter:
(p.103) 3 Spatial Coordinates
Source:
From Light to Byte
Author(s):

Markos Hadjioannou

Publisher:
University of Minnesota Press
DOI:10.5749/minnesota/9780816677610.003.0004

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.

Keywords:   numerical screen, interactive screen, digital spatiality, celluloid film, digital images, Blinkity Blank, Georg Friedrich Bernhard Riemann, morphing, digital space

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