Samantha Krukowsi wrote:
>no, i don't think so, since we don't know what they are either, but i
>like the term because it increases reach...cinema outside the box,
>visualization outside the terms of the scientific, etc...we're really
>just starting.
A most admirable design ambition, post-cinematics. The parallels of
cinema, camera and video and modern architecture and design
(A/D) have been often explored -- the MoMA's coverage has been
voluminous if not stultifying, but what A/D would become in a
post-cinematic world is intriguing, perhaps a consequence would
be less mesmerization of the mono-ideational visual in A/D,
and less media simulacra of A/D, even less celebrity A/D,
for it might not be as easy to simulate A/D if they were by
popular desire required to give a full-bodied presentation
not merely a photo album (brochure) memento.
Moreover, it is questionable that computers would play their
starring role in simulating full-scale and fully-perceptible A/D
if the narrow-perceptive visual were not so hegemonic in limiting
the public's perceptival constriction to the eye, in particular
the Photoshopped-burnished vision, the virtually vulgar.
This pipedream presumes that Post-cinematics is indeed going
outside the camera, the stage set, the collapsing of distance
and time, the shrinkage of reality to a linear, filmic imagination,
promotional celebratory vicariousness -- subjects in adoration
of faith in royalty, blind faith in historical panoply.
What tools would a post-cinematistes employ, what matrix
of perceptions? Hopefully, more than one or two and a half
-- eye and ear and refreshment narcotics. And more than
flaunting proprietary techniques to audiences forbidden
to use them, priests alone protected by copyright cartels.
The monstrous coverage of movies in newspapers rival automobile
ads on TV. None of the ads are believable except as inducements
to lop off most of your senses.
It is a looming tragedy that computers in schools of architecture
have supplanted slide shows as means to cripple students'
unaided perception, imagination and apprehension of A/D.
As someone noted, Atta and his fellow designers probably
envisioned their intervention as a cinematic spectacular,
superior to the sweltering, degrading obligatory to Mecca,
itself now run as a sacriligeous Islamic Disneyland,
illusory security for the faithful included.
>no, i don't think so, since we don't know what they are either, but i
>like the term because it increases reach...cinema outside the box,
>visualization outside the terms of the scientific, etc...we're really
>just starting.
A most admirable design ambition, post-cinematics. The parallels of
cinema, camera and video and modern architecture and design
(A/D) have been often explored -- the MoMA's coverage has been
voluminous if not stultifying, but what A/D would become in a
post-cinematic world is intriguing, perhaps a consequence would
be less mesmerization of the mono-ideational visual in A/D,
and less media simulacra of A/D, even less celebrity A/D,
for it might not be as easy to simulate A/D if they were by
popular desire required to give a full-bodied presentation
not merely a photo album (brochure) memento.
Moreover, it is questionable that computers would play their
starring role in simulating full-scale and fully-perceptible A/D
if the narrow-perceptive visual were not so hegemonic in limiting
the public's perceptival constriction to the eye, in particular
the Photoshopped-burnished vision, the virtually vulgar.
This pipedream presumes that Post-cinematics is indeed going
outside the camera, the stage set, the collapsing of distance
and time, the shrinkage of reality to a linear, filmic imagination,
promotional celebratory vicariousness -- subjects in adoration
of faith in royalty, blind faith in historical panoply.
What tools would a post-cinematistes employ, what matrix
of perceptions? Hopefully, more than one or two and a half
-- eye and ear and refreshment narcotics. And more than
flaunting proprietary techniques to audiences forbidden
to use them, priests alone protected by copyright cartels.
The monstrous coverage of movies in newspapers rival automobile
ads on TV. None of the ads are believable except as inducements
to lop off most of your senses.
It is a looming tragedy that computers in schools of architecture
have supplanted slide shows as means to cripple students'
unaided perception, imagination and apprehension of A/D.
As someone noted, Atta and his fellow designers probably
envisioned their intervention as a cinematic spectacular,
superior to the sweltering, degrading obligatory to Mecca,
itself now run as a sacriligeous Islamic Disneyland,
illusory security for the faithful included.