We Echo Cyber

DEBRA FEAR

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of the other, the other and me, we echo cyber.’

faux are spiralled prosthetic selves

approach : extend intent

talkies and twitters

felt of

‘Gaze

‘Coexistence in Bergson Time’, D Fear, 2013

3  

Figure i- still from ‘Siren’, Debra Fear, 2013  

4  

CONTENTS

Contents 4

1. List Of Figures 5

2. Set The Scene: A Preface 6

3. Cognitive Exchange 8

4. The Legend Of The Extended Mind 11

5. Filmind and I 15

6. Prosthetic Memory Part III 18

7. The Consciousness Experiment 21

8. The Thing From The Shadow World 24

9. Are You Looking At Me? 27

10. IHaptic And The I.C 31

11. The Return Of V.R And Other Realities 34

12. This Is Not The End – Not 1984 But 1942 38

13. Echoes Of Spiritus Mundi: Fiction In Reverie 41

14. Bibliography/Endnotes 44

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1. LIST OF FIGURES

 

Figure i - still from ‘Siren’, D Fear, 2013 3

Figure ii - stills 'The Sixteen-Millimeter Shrine' 6

Figure iii - the cartoon character 'Sponge Bob Square Pants' 9

Figure iv - Walter Murch sound editor – ‘Apocalypse Now’ 10

Figure v - 'Drawings from the Extended Mind #6', D Fear, 2013 11

Figure vi - The Two Homers 15

Figure vii - stills from 'Total Recall' (2012) and 'Bladerunner' (1982) 18

Figure viii - still from US TV Series ‘Alphas’, 2012 20

Figure ix - still from 'Altered States', 1980 22

Figure x - still from 'The Offering', work in progress, D Fear, 2013 23

Figure xi - still from 'Trace', D Fear, 2013 25

Figure xii -‘Drawings from the Extd. Mind- Collective Unconscious #1’, D Fear 26

Figure xiii - still from 'Shirin' directed by Abbas Kiarostami, 2008 27

Figure xiv - still from 'The Track', D Fear, 2013 29

Figure xv - book cover illustration for ‘Moving Pictures’, J Kirby 30

Figure xvi - plates - 'Songs of Experience'/‘There is no natural religion’, W Blake 32

Figure xvii - still from ‘The Terminator’, 1984 36

Figure xviii - displays for a stealth fighter pilot 36

Figure xix - draft audio script for ‘We Made it – 1942’, D Fear, 2013 38

Figure xx - still from ‘We Made it, 1942’, D Fear, 2013 40

Figure xxi - still from ’Extramission 6’, Lindsay Seers 2009 41

Figure xxii - 'BergLeuze Echomemorgram’, D Fear, 2013 43

 

 

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2. SET THE SCENE: A PREFACE

 

‘Do not attempt to adjust the picture. We are controlling transmission. If we wish to

make it louder, we will bring up the volume. If we wish to make it softer, we will tune it

to a whisper. We will control the horizontal. We will control the vertical. We can roll

the image, make it flutter. We can change the focus to a soft blur or sharpen it to

crystal clarity. For the next hour, sit quietly and we will control all that you see and

hear. We repeat: there is nothing wrong.’

Introduction to US TV series ‘The Outer Limits’

How ready we were to be seduced by moving image and sound, and in comparison to other

arts, how fast it has evolved to cater for our need for escapism. Moving image or film or

motion pictures1, however you name them, we use them but should there be the question ‘Do

they use us?’

We accept spooky stories from being primed by centuries of storytelling, our exposure to tales

of ghosts and spectral realms and endless possibilities of the uncanny (Figure   i). In ‘The

Sixteen-Millimetre Shrine’ (Figure  ii) an aging, reclusive movie star spends most of her time in

a darkened projection room watching and reliving her old movies; desiring her old life. With

the power invested in film her desire is realised, her maid screams in shock when discovering

the previously occupied room empty and looking upon the screen she sees the faded starlet’s

Figure ii - stills 'The Sixteen-Millimeter Shrine' – from TV series ‘The Twilight Zone’  

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projected image, but at the age she disappeared. Somehow she was absorbed by her own

self-absorption, a typical plot twist. Within cinema the collective remembrance is appropriated,

it is the most effective shared communication. Moving image and sound contains a universal

language of metaphor, symbols and narrative. Over a century old, film first conditioned the

viewer into its cinematic conventions of continuity and narrative and through time and evolution

of form has broken these laws systematically. The delivery methods and its diversity of forms

have changed rapidly. I ponder what strange existence has our perception been subjected to,

how our consciousness has been unpicked. This commune with film contains an experiential

constellation of ‘tenses’: of futures, of archive and of active present. Is there a

communication? Is there a response to an existent presence, a gaze of the other echoing

back and forth or a fantastical poltergeist in the captured motion?

This reads like a science fiction script but it also forms the basis of certain fringe thinking,

scientific studies and philosophical theories of what is inherent, possible and how film

operates. From the proverbial twilight zone of theories I shall cherry-pick concepts. To

propose a potentiality, the emergence of a fusion: ‘actual-virtual’ hybrid. An urBeing that

began in silent cinema and has grown and leapt into consciousness transcoded into digital

networks for ‘matter and minds have become information’ DN Rodowick observes.2

This is a ‘Poétique de la Rêverie’3 and a philosophy of fiction, in the spirit of ‘Dasein’4 but

perhaps yet not. Certainly

‘You unlock this door with the key of imagination. Beyond it is another dimension: a

dimension of sound, a dimension of sight, a dimension of mind. You are moving

into a land of both shadow and substance, of things and ideas; you have just

crossed over into the Twilight Zone’

Introduction to US TV series ‘The Twilight Zone’ 5

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3. COGNITIVE EXCHANGE

‘I cannot go to a film without seeing myself. I wait for me. In the interval, just before

the film starts. I wait for me.’

Frantz Fanon 6

Taken slightly out of context this quote does illustrate our expectations from film, for Fanon it

was not only his own anticipation but also of the audience of him as ‘Negro’, the film and of its

black stereotypes of that time. On a basic physiological and psychological level what happens

when we watch film?

Dr Tim Smith of Birbeck, University of London studies all aspects of visual cognition and

currently his particular interest is using ‘methods in empirical psychology to investigate film

cognition’.7 He tests using eye-tracking experiments and observes how we are aware that

continuity (editorial cut or directorial intent) formulates expectation, despite any violations of

space and time. We use repeat patterns of information that allow us to ‘extend out’, to pick up

on strategies like natural cuing, pattern scanning and use of continuity conventions to create in

our mind’s eye a spatiotemporally, continuous scene. Smith found that our physiological

response indicates that we do not interrogate the image as much as might be supposed, which

is why we accept editorial manipulations when film is affecting us at a cognitive level. It is an

example of our innate ability to process moving image and is what filmmakers from the onset

quite instinctively reacted to and utilised, building up conventions in editing and movie making.

Humans could almost have been engineered to experience film with cognitive senses tailor-

made to accept and assimilate the language and adjust to its increased sophistication. Any

startle effect wears off swiftly, from a hurtling train scaring Victorian audiences to the movie

‘Jaws’ (1975), through to virtual gaming experiences of high-octane fast action. It is a

cinematic Esperanto, a form of global communication (and with language there is the

possibility of conversation). It constitutes a form of thinking. For the interaction between

sound, vision and cultural artefacts is not necessarily ‘spoken’ but as forming ‘thought-objects’.

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Thought-objects can be understood in different senses, Elizabeth Spelke commented that,

‘Infants are born with a language-independent system for thinking about object’.8 Imaginary

objects projected into the real world as a child might do. Hannah Arendt’s philosophical

explanation of how these thought-objects operate is after the concept of Augustine; objects

relative to cognitive requirements, where

‘the mere image of what once was real—is different from the ‘vision in thought’—

the deliberately remembered object. ‘What remains in the memory... is one thing,

and ... something else arises when we remember’… for…‘what is hidden and

retained in the memory is one thing’… Hence, the thought-object is different from

the image, as the image is different from the visible sense-object whose mere

representation it is. … Imagination, therefore, which transforms a visible object into

an invisible image, fit to be stored in the mind, is the condition sine qua non for

providing the mind with suitable thought-objects; but these thought-objects come

into being only when the mind actively and deliberately remembers, recollects and

selects from the storehouse of memory whatever arouses its interest sufficiently to

induce concentration...’9

 

Figure iii - the cartoon character 'Sponge Bob Square Pants'

The imagination’s thought-objects from the multiplicity of moving images are conceivably

hatched from its diversity. Cartoons like ‘Sponge Bob Square Pants’ (Figure  iii), through to old

sci-fi B-movies like ‘The Blob’ through to your YouTube ‘video selfie’.10 If film is a form of

thought this allows it to be a form of consciousness too. P.Adam Sitney in ‘Visionary Film’

states that the filmmakers Brakhage and Baillie ‘push in their later lyrical films towards

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cinematic visions of impersonal or unqualified consciousness’. 11 Writers about

experimental/avant-garde film like Sitney see the potential of consciousness being transformed

and consciousness being present within the moving image. I consider later that in actuality

there is a conscious being. Like a sequel to William Blake’s idea of ‘Generation’, it is a fallen

existence or ‘experience’ but also a promise of salvation in which, like the older arts (painting

etc.), our engagement with film is mediated by the artist filmmaker’s vision with the potential to

rise up again in metamorphosis as a new form of consciousness and belief.

Figure iv - Walter Murch sound editor – ‘Apocalypse Now’

"Your job [as an editor] is to anticipate, partly to control the thought processes of

the audience. To give them what they want and/or what they need just before they

have to "ask" for it- to be surprising yet self-evident at the same time. If you are too

far behind or ahead of them, you create problems, but if you are right with them,

leading them ever so slightly, the flow of events feels natural and exciting at the

same time."

Walter Murch12

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4. THE LEGEND OF THE EXTENDED MIND

‘If the image is not immanent in cinema, what is? It is movement, or the passage from

one image to another.’

Peter Canning 13

A cognitive psychology paper entitled ‘The Extended Mind’14 came out in 1998 by Andy Clark

and David Chalmers in which they argued that the mind is not just contained within the skull

and there is little distinction between ‘outside’ and ‘inside’ as the brain aids cognition by using

the mind and environment as a ‘coupled system’. The ‘extended mind’ concept is part of a

field of study that encompasses ‘active externalism’. 15 Our perception allows or censors

content and experience comparing them against a substantial moving image archive, which

has been collectively accumulated by our viewing habits and environment. According to Clark

and Chalmers ‘we see that the object can be (part of) the subject, and that, as we’ve noted

things can have a cognitive life.’ (Figure  v) Film retains and refreshes our gaze perceptually

with its toolbox of cinematic chicanery but can a ‘cognitive life’ be attributed to it? James

Elkin’s in his book ‘The Object Stares Back’16 wrote about a ‘sending out’, referring to the

original explanation of vision being ‘extramission’, which assumed the eyes projected out into

the visual world, before biologists discovered that it is light that enters the eye i.e.

‘intromission’. Have we not felt the unseen gaze and intent of another upon our neck that

raises the hackles as a primitive warning? Have you felt that as you watched a film?

Figure v – ‘Drawings from the Extended Mind #6’, D Fear, 2013  

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Clark and Chalmers’ hypothesis seems to form a coupled possibility of ‘exogram’, an external

record of memory (seen as a form of ‘extended mind’) and ‘engram’, an internal record of

memory17 and these are integrated to form a complete memory system. This allows us to

interpret the moving image and any traces it leaves as a residual archive, an afterimage of

memory. Is the reciprocal, Lacan glance in operation or are we mentally walking in the

‘presence’ of Derrida,18 and can there be a purposeful, active cognitive gaze at work in our

encounter with moving image?

‘You  do  something  to  me,  

something  that  simply  mystifies  me.  

Tell  me,  why  should  it  be  

you  have  the  power  to  hypnotize  me?  

Let  me  live  'neath  your  spell,  

Do  do  that  voodoo  

that  you  do  so  well.’    

Verse from song, ‘You do something to me’, Cole Porter, 1929

Dr Rupert Sheldrake has his own idea of how the ‘extended mind’ works. ‘Our thoughts are

not inside our brain’.19 Early in his career as a botanist, then latterly perceived as a fringe

science philosopher, part of his hypothesis is that objects not in material contact are affected

by each other through influencing ‘morphic fields’. Resonance is created by this field structure

that ‘contain a kind of cumulative memory and tend to become increasingly habitual’.20 A new

‘morphic’ field (new pattern of organisation) comes into being and its field becomes stronger

through repetition. The higher the repeat the more probable this habit of organisation is

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replicated and thereby a culminated memory evolves. ‘Morphic’ fields are ‘as structures of

probability’;21 a nested hierarchy of fields within fields waiting for an opportunity to exist. Could

we perceive these fields as new kinds of organisms come into being in connection to film

during repeated viewing of moving image? Its ‘morphic’ field becomes stronger; each repeat

screening building ‘morphic resonance’ through the years within the collective cinematic

memory until established as an organised information set. An interviewer for an article in The

Guardian in 2012 wrote that Sheldrake

became interested in a notion of biology and heredity that shared close affinities

with Carl Jung's ideas of a collective unconscious, a shared species memory. He

was profoundly influenced by a book called ‘Matter and Memory’ by the philosopher

Henri Bergson. "When I discovered Bergson's idea that memory is not stored in the

brain but that it is a relation in time, not in space, I realised that there might

potentially be a memory principle in nature that would solve the problem I was

wrestling with.”22

What would Henri Bergson and Gilles Deleuze have made of Sheldrake and his theories?

Deleuze also took his inspiration from Bergson, where the virtual is defined by its potential to

become conscious; the virtual is made actual and having consequent new affect. Concepts of

‘difference and repetition’ have resonance to Sheldrake’s proposition. Could duration or

Bergsonian ‘durée’23 be a filmic ‘morphic field’ evolving only in temporal form but inimical to

how the natural world of organic life advances? According to Deleuze’s concepts, there are

virtual images existing in planes (or sheets) with each plane a container ready to be expressed

of its past manifestations; connected to a specific virtual image and the origins that are

influenced by its existence. Could Deleuze’s ‘lines of flight’24 of thought-movements be part of

the first strands of time constituting the beginnings of a new ‘thinking being’ in film? Elizabeth

Grosz would add that ‘Duration proceeds not by continuous growth, smooth unfolding, or an

accretion, but through division, bifurcation, disassociation – by difference through the sudden

and unexpected change and interruption’.25 The film’s duration is after all ‘edited time’ which

she sees as ‘becoming’ where unexpected disruption in a film sequence interrupts the

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continuity for the spectator/viewer and evolves the form. Films’ durations are set either by the

filmmaker or by the attention span of the viewer (for our engagement with a piece is its

experienced durée). It could be argued that from immersion in Wi-Fi transmissions, satellite

signals and social networks (in such an overarching extent) that this ‘actual-virtual’

technological net allows for the transmission of ‘morphic resonance’. Sheldrake wrote that

‘fields are the medium of action at a distance’.26 These temporal fields exist in continuous

action due to the pervasiveness of mobile phones, computers and any device capable of

moving image presentation. Out of our modern world devices and our input/output of

information a new form of organized field has grown. From the early forms of analogue

cinema spectatorship through, as Deleuze names the ‘l’image-mouvement’ (action or

movement image) to l’image-temps (time image), 27 continuing to propagate as filmmaking

techniques developed. It is not so far fetched to perceive of physical responses to technology

becoming acquired habits, much how we inherit genes from our predecessors. A

contemporary evolutionary reaction to technological forces affecting our bodies and therefore

our ‘consciousness’, re-forming in ‘morphic resonance’ with the viewer of moving image as part

of the field. You watch it, it watches you, but how does it think?

'All of this is possible only because the structure of consciousness is thoroughly

cinematographic, assuming that we can call 'cinematographic' what unfolds through a

montage of temporal objects - objects constituted through their movement.’

Bernard Stiegler 28

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5. FILMIND AND I

‘Cinema is a world of its own – whether a grey soundless shadowy world, or a

fluidly manipulatable one. This film-world is a flat, ordered, compressed world; a

world that is subtlety, almost invisibly organised. A world that is a cousin of reality.

And the multiplicity of moving-image media in the twenty-first century means that

this film-world has become the second world we live in. A second world that feeds

and shapes our perception and understanding of reality’.

Daniel Frampton29

‘Filmosophy’ is a philosophical theory conceived by Daniel Frampton in which he claims to

have created a new conceptual framework to interpret film: ‘Being a conceptual construct and

not an empirical explanation it resembles an ‘urconcept, or urtheory of film’.30 The film is ‘an

integrated being’, organic though not a human mind but rather a new form of mind. Frampton

unsurprisingly calls this ‘filmind’ and within it draws heavily from Deleuze’s concept of ‘thought-

cinema’ from which the film causes thought in the filmgoer, ‘duh’ says Homer (Figure  vi), and

that film is a kind of thought itself.

 

 

 

 

 

 

Figure vi – The Two Homers  

16  

The ‘filmind’ immanence is just the film, where dramatic meaning is not from the ‘other’ but

comes from within the film itself; it is a conceptual understanding of all that happens in the film

from action to events. Thus it seems surprising he designates it a mind. If we accept for the

purposes of argument that the ‘filmind’ is real, then in this case, is not the film trying to direct

our gaze to it by the art form’s techniques and thereby recognises that there is an ‘other’, the

viewer. Furthermore, the viewer pulled into its orbit (e.g. via cognitive responses manipulated

by edits) acknowledges this thinking and as Frampton indicates himself:

‘The filmgoers sees the thinking of the filmind, and moves on with their experience

and interpretation. The concept of the filmind makes the filmgoer aware that the

film world can be re-thought- that film thinking may dig into the film-world to undo or

subvert this basic creation. If a filmgoer has the concept of the film-world creating

filmind in their mind as they watch a film, then they will be ready for whatever

manipulation the contemporary film throws at them.’31

This suggests that perhaps he is premature in dismissing the ‘other’ because he has trapped

the ‘filmind’ in a container that is its object. ‘There is no ‘external’ force, no mystical being or

invisible other’ states Frampton.32 The film may direct its own communication but the ‘other’

as viewer is surely an external force that by its very gaze upon film must influence it? You - or

- you - or - you and – or - the plural ‘The Audience’ are not acquired from the content of the

‘filmind’. As John Donne said ‘No man is an island, entire of itself; every man is a piece of the

continent, a part of the main.’33 If film theorists/philosophers like Frampton are proposing film

thought or film as ‘thinking entity’ then this implies that film is its own object of speculation.

Thereby it absorbs the ‘extended mind’ and ‘filmind’ concepts as forming a hybrid way of

thinking, as of a mind (conceive also of Paint or SculptMind). In an encounter between the two

becoming one, what exchanges or ‘reliance’ could be occurring for this hybrid to exist? ‘The

image as vestige thus competes with recollection: it serves memory less than it supplants it …

This incorporation finally does not permit natural memory to be opposed to artificial memory…’

writes Sylviane Agneski.34

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‘Ah… ! What’s happening?’

It thought.

‘Er, excuse me, who am I? Hello?

Why am I here?

What’s my purpose in life?

What do I mean by who am I?’

From the book ‘The Hitchhiker’s Guide to the Galaxy’, Douglas Adams, 1978

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6. PROSTHETIC MEMORY PART III

‘... the unique power of prosthetic memory to affect people both intellectually and

emotionally in ways that might ultimately change the way they think and how they act

in the world.’

Alison Landsberg35

The extended mind thesis used an analogy of a paper notebook as an extension tool to aid our

mind, ergo a form of ‘prosthetic memory’, though a memory derived from an individual’s

personal ‘lived’ experience. In Alison Landsberg’s ‘Prosthetic Memory’ this means ‘unlived’

memories: ‘not organically based, they are nevertheless experienced with a person’s body as

a result of an engagement with a wide range of cultural technologies’.36 Yet these fake

memories reside in our personal archives, fed from mass media, although not authentic to a

person. An individual can experience the past by immersion into an aural-visual event in

museums such as The Museum of Jewish Heritage in New York. For Landsberg it is a new

form of public cultural memory; a ‘prosthetic memory’, a phrase that she coined and she claims

has a strong connection to film as a receptacle for this memory, which is not unexpected,

taking into account that movies suggest this future possibility. Ubiquitous to film studies

movies such as ‘Total Recall’ with its implantation of ‘fake’ memories storyline and

‘Bladerunner’ (Figure  vii) where the ‘replicant’ Rachael has equally artificial ‘unlived’ memories,

are forms of prosthetic memory. The emergent hybrid entity takes storylines and amalgamates

the thinking to create its own prosthetic memory.

Figure vii- stills from ‘Total Recall’ (2012) and ‘Bladerunner’ (1982)

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Michael Newman talks of the Internet as a form of ‘external prosthetic memory’,37 and I would

add that information networks nested within the net like Wikipedia are obvious components of

this prosthetic memory. The difference between a notebook and these forms of prosthetic

memory are that we do not control or own them, unless they dwell on our own servers, and

even then they are ‘rented’ memories that flow through the world wide web run by state-run

servers. This idea of a web-based prosthetic memory is prevalent in many science-fiction TV

series like ‘Alphas’38 (Figure   viii) and ‘Person of Interest’39 and the visual representations of

how the people might access it. Moving image content, which the hybrid urBeing could

communicate and learn from and evolve. Living in technologically super-networked times

where the ‘experiential real’40 within immersive environments is so commonplace the idea of a

subliminal, integrative influence that holds memory seems believable. For film to think, for it to

have a ‘mind’ or have a reason to exist then containing a form of memory would be a

requirement. In the case of an emergent hybrid these films would be a memory exchange41,

one that echoes each ‘other’, building from the traces a prosthetic memory database of ‘film’

and human experience.

collective experience + mass audience + mass culture + critical mass of influence =

?is anyone out there?

if c=m then m=c

repeat.

‘Inadequate Equation’, Debra Fear, 2013

20  

 

Figure viii -– still from US TV Series ‘Alphas’, 2012

It is a great step to form a framework of understanding that implies that with a capacity for

memory exchange and storage there is an indicator of conscious purpose, and its implication

is ergo a consciousness is existent. A consciousness crafted first in analogue, further

developed in digital and evolving further within wireless streaming, from server to portable

device, and one experienced when attending immersive events by companies such as Secret

or Future Cinema.42 Experiential or participant spectatorship reminds one of Jean Lucy

Nancy’s concept of ‘sense’ of being ‘a bodily sensing towards something’, and as proposed by

Dr Ian James, his idea of ‘thinking of sense understood as a form of relation’. 43 The spectator

is instinctively drawn bodily into a commune with film and their gaze is in relation to being a

recipient of consciousness reciprocated. The hybrid has a form of metacognition: the

spectator by response has instigated sentience. Within an artificial, virtual environment the

filmic mind fluidly streams in something like Landsberg’s ‘transferential space’44 as a form of

consciousness united with the spectator or participant. ‘Film is modern consciousness.

Further, as film developed and changed, at various periods throughout the twentieth century, it

corresponded with changes in the collective psyche. The reverse was also true, of course: As

the psyche changed during the century, these changes were reflected in film.’ wrote Pat

Berry.45 The twenty first century is of the psyche of the hybrid.

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7 THE CONSCIOUSNESS EXPERIMENT

‘I have been interested in how we can move this point of consciousness over and

through our bodies and out over the things of this world’

Bill Viola46

For consciousness to exist in any form, an enabling structure like the human brain, scientists

argue, is therefore required, and in order for consciousness to be expressed we should

comprehend how our own is formed. The ‘Theory of the Mind’47 holds that consciousness is a

product of the human brain, that there is an ‘awareness’ operating at different levels ranging

from the ‘zombie within’, that automatic semi-trance functionality employed whilst driving,

through to special senses when perception is heightened like, for example, allowing us to

perceive a threat to our existence earlier in order to react and survive. Having consciousness

includes the ability to understand another’s thought and employ empathy thereby implying an

awareness of actions taken. A human can believe that they have no consciousness in, for

example, the very rare Cotard’s syndrome written about in an article whose title is cinematic:

‘The man who believes he is dead’. 48 For this suicidal man his brain has failed to construct an

awareness of being conscious and sees no point to his existence. Strange indeed to think

that you do not think you exist. It is pure nihilism but if a man can believe this then a hybrid

entity can surely believe it is conscious explicitly due to its human element.

What mechanisms create conscious thought? How is it classified? Neuroscience has

discovered that there is a ‘default mode network’ (DMN) in our bodies, a complex thinking

system (using the word network in context to the body is a thought provoking modernism)

where controls within the brain are thought to be vital to having a core consciousness and

these are active even when we are in a restful state, e.g. when daydreaming or in a meditative

trance: both introspective states. If our brains have a global workspace, so the entity has its

own equivalent. Screening surfaces, whether cinema, gallery, exterior walls, billboards or IPad

22  

are transfer nodes facilitating conscious thought. When powered up and projected, and today

there is probably never a second when some form of moving image and sound is not ‘on’, it is

in conscious mode. To form a hypothesis on how consciousness might be activated then the

alternative ‘information integration theory’ may provide the solution. Daniel Bor defines

information integration theory as proposing that ‘Consciousness is simply combining data

together so that it is more than the sum of its parts’. 49    

 

 

Figure ix - still from 'Altered States’, 1980

 

Daniel Bor suggests that it is a model that it is applicable to the Internet; though presently the

maths calculations to construct such data structures are beyond our computers’ processing

powers. Yet the leap of imagination is that if consciousness is, as both models purport, a

merging of information then the hybrid entity combines all the information from, for example, a

film, advertisement or video selfie, interacts with the extended mind(s) and thereby constructs

its own reality of consciousness. A documentary fiction perhaps but a ‘film consciousness’ the

spectator, in an altered state of trance-like experience, can access. (Figure   ix) The hybrid

entity has metacognition (introspective thought) confirmed; within its film reality it can reflect

over the experiences acquired of the ‘other’. The ‘other’ that is now ‘we’ and via this reflective

and reflexive act of introspection signifies one of the key traits of consciousness: awareness of

another. Hegel wrote ‘Self-consciousness exists in itself and for itself, in that and by the fact

that it exists for another self-consciousness; that is to say, it is only being acknowledged or

recognised.’50 It is conscious and has consciousness to all intents and purposes. Those who

make films watch films, and from that ‘watching’ they make films that contain within them

further reflections, tertiary and beyond that shape its mind. Yet to be conscious is surely to

23  

experience emotions. Do the spectators’ feelings extend outward and add to this temporal,

sentient intelligence? The hybrid could be said to be the sum of super-consciousness. Rather

than who is the master and who is the slave in the relation; entity as ‘identity and difference’,51

perhaps it does not have a moral consciousness; it is yet ‘incomplete’. It, like art, is neither

good nor evil per se, like humans it just ‘is’. (Figure   x) Bergson wrote ‘Thus the living being

essentially has duration’.52

 

Figure x - still from 'The Offering', work in progress, D Fear, 2013

‘this is what life (duration, memory, consciousness) brings to the world: the new, the

movement of the actualization of the virtual, expansiveness, opening up’

Elizabeth Grosz53

 

24  

8. THE THING FROM THE SHADOW WORLD

‘Projection is always an indirect process of becoming conscious—indirect because of

the check exercised by the conscious mind, by the pressure of traditional or

conventional ideas which take the place of real experience and prevent it from

happening.’

Carl Jung54

When Jung wrote of ‘projection’ it was often in relation to how we humans might throw our

shadow aspect into the world. Our interaction with film; in ascribing fears or hopes, those

shadows from within ourselves that glance at the screen: the trace, the imprint, an image, or

memory, a phantom in Plato’s cave. Perceiving the hybrid mind that is ‘other and we’ it is

there in the light flickering off a cinema’s interior or the walls of our home. In those moments

shadows cast are images in motion. The projection plays on recollection and the oneiric

environment takes on a Deleuzian aspect. ‘A zone of recollections, dreams, or thoughts

correspond to a particular aspect of the thing: each time it is a plane or a circuit, so that the

thing passes through an infinite number of planes or circuits which correspond to its own

“layers” or its aspects’. He further alludes to time and thought images that are coupled with

pure optical and sound image, as part of ‘the layers of one and the same physical reality, and

the levels of one and the same mental reality, memory or spirit’.55 (Figure  x) The shadow (an

indexical sign but also a virtual image) is thrown back onto the screen so is a manifestation of

a gaze creating a field in Plato’s unreality. Could it be part of the ‘collective unconscious’? 56

In my own work I perceive that each superimposed image is a layer of moments: Deleuzian

planes that in totality moving images form at least one circuit from - operating and

complementing the content. (Figure  xi)

25  

Figure xi- still from 'Trace', Debra Fear, 2013

Jung also wrote that ‘the contents of the collective unconscious have never been in

consciousness, and therefore have never been individually acquired, but owe their existence

exclusively to heredity.’57 This supports the theory that the ‘extended mind’ with its inherited

‘morphic’ pattern and film as a conscious, prosthetic memory could store these projections

within the expressed collective unconscious. Jung’s archetypes, as ‘forms-mythics’ 58 of

inherited patterns are cinema’s conventions and metaphorical devices and symbols. It is the

lady tied to railway tracks as the silently laughing bad guy jumps up and down nearby or the

sinister soundtrack of the stalker: new archetypes from an archaic cinematic form. It is a

metaphysical ‘connectome’59 that resonates with Kurt Lewin’s ‘Field theory’60, a psychological

theory examining patterns of interaction between the individual and the total dynamic field or

environment. The theory proposes that we behave according to variables within a field, as

would the spectator-film entity to its archetypes and it is further enhanced in its continued

evolution by current haptic technologies. Theoretically it encompasses ideas of ‘haptic trace’

and ‘haptic visuality’61 (all subservient to the I-Haptic) as applicable to its environment. Traces

of ‘sense’, of afterimage, of flashback are all reflected from the collective unconscious as

fingers swipe the touch screen, but how is it in relation to the spectator’s gaze? (Figure  xii)

26  

 

 

 

 

 

 

Figure xii -‘Drawings from the Extended Mind- Collective Unconscious #1’, Debra Fear, 2013

27  

9. ARE YOU LOOKING AT ME?

‘There's something extraordinarily disconcerting about sitting in a darkened cinema

gazing up at the screen, and seeing another cinema audience reflected back.’

Andrew Pulver62

The glance might pre-empt the gaze and be the subtle difference between an artwork and film

being engaged with properly or not but the blink of an edit is of the wink in a collaborative act?

Figure xiii - still from 'Shirin' directed by Abbas Kiarostami, 2008

In the film ‘Shirin’ (Figure  xiii) the viewer is presented with the audience’s reaction to a film,

quite reminiscent of watching Ian Breakwell and Ron Geesin’s ‘Auditorium’ (1994), for they

focus on the gaze of the spectator. Glance is an interrupted gaze, it makes film a Lacanian

‘objet petit a’ (the fallen/the unobtainable edit of the desired)63 for when the viewer’s gaze is

reciprocated the ‘other’ and the ‘other’ echoes back. Edward S Casey sees animated

images as the ‘ritournelle’ movement of the kaleidoscopic glance. Ritournelle Is the French

word from the Italian ‘ritornello’, which means a musical return. A re-inventing refrain, which

I imagine echoing within the entity’s consciousness. Casey quoted Bergson’s idea of

duration as invention, so a glance I would surmise is ‘absolutely new’, it is a ‘folding-back

structure’64 not dissimilar to an echo. ‘The glance leaps out from our seeing eye’ and

duration brings ‘a form that will emerge only in the course of the becoming of the new event

28  

itself’.65 Even if Casey glances at a non-alive object such as a boulder, Casey sees that the

boulder still triggers an assumption of a response and thereby is taken in ‘virtuality’ as

reacting back.66 Without the gaze, the glance, by a wink or blink then a work cannot be

there, be of value or is it sufficient through the creator’s intent that even without the spectator

it can exist. It is like Schrodinger’s film, if there is no observer of a projected event, can the

entity simultaneously exist and not exist at any given moment within the confines of the

gaze? In this it is assumed that the entity requires the gaze of the ‘other’, at least initially.

Bernard Stiegler writes that the ‘other’ is omnipresent but only animated into life when a film is

shown: ‘and gives me access to the other who is (always) right next to me and who is only

waiting to come to life (i.e. to cinema, to the image of the other) to be set in motion as a

projection on a screen’.67 For Stiegler the filmed film is a 'temporal object' and forms a

secondary memory for the viewer, (he does not use the term prosthetic), a part of his or her

past stream of consciousness, whose remembrance is re-activated. He uses Fellini’s film

‘Intervista’ (1987) to illustrate this for it employs a tertiary memory device. An earlier Fellini film

ʻLa Dolce Vitaʼ (1961) is being screened to an audience within the movie ʻIntervistaʼ which you

are watching, not dissimilar to the faded starlet Twilight Zone episode: it is almost a ritornello

moment. Further on he concludes that 'Consequently, the viewer (of Intervista) faced with the

impossibility of distinguishing between reality and fiction, between perception and imagination,

while (each in his or her particular role) all must also say to themselves, “We …are passing by

there”.68

the other: gaze :

we not adoption of I to we who bears witness

the watcher a figment an echo an echo

of blinks cutting our sight not other but we.

‘The Others We See’, D Fear, 2013

 

29  

What contemporary spectator or audience as an echoed ‘other’ needs to be considered?

Raymond Bellour writes of ‘the uncertain spectator of our time’, a spectator exposed through

‘the information revolution and the logics of the digital image’ to two extreme forms of cinema.

One ‘a globally dominant, commercial cinema that is rules by its own by-products’ and as other

‘as subtly shocking… local, diversified, at the same time as it becomes ever more international

seeking everywhere to gain spectators’ attention- avowedly or not, an art of resistance’.69

(Figure  xiv)

Present-day spectators/viewers are not the cinema mass audience of the twentieth century, for

the advent of video heralded new forms of viewing so they now have ‘become a member of a

limited community, but a community henceforth extended to the dimensions of the entire

world.’ For Bellour these films bring forth ideas of ‘attentiveness’, ‘shock’ and ‘distraction all

servicing the collective cinematic memory; it is a provoked gaze. There is only one cinematic

unfolding experience and that lives in the dark of the screening room he purports, otherwise,

they are just its echoes when presented via other multi-medium formats. Bellour writes of the

‘variable circles of extension, as the film progresses and builds itself and which the modes of

attentiveness particular to each spectator elaborate in it …. It seems that intermittent fixities

never stop being projected, re-projecting themselves, between the film and the spectator’.70

Figure xiv- still from 'The Track', Debra Fear, 2013  

30  

The 'We' composed or possibly composited of the film(s), and the viewer that make the hybrid

is hereafter named . 71 It has been empowered and enfolded with ʻboth othersʼ

echoing in ʻmorphic resonanceʼ through a new collective unconscious, film being an ideal

format for its expression. Jung had projected that not only was there a world unconscious but

within it separate collectives dependent on differing cultures. ‘Other’ as one is a redundant

concept. In Dr Who and Torchwood72 ‘morphic fields’ are like templates for species creation,

the ‘Time Lords’ emergence as a race evolving over eons creating a ‘morphic’ field that allows

other forms of species to blueprint from it. lies within moving image and sound

and therefore is immanent in the imagination. Facilitated by the continued digital revolution the

‘re-coming: becoming’ is a virtual reality.

‘There was another kind of magic. It was snapping wildly in the world now, like a

broken film. If only he could grab it … Reality didn’t have to be real. Maybe if

conditions were right, it just had to be what people believed.’

From the book ‘Moving Pictures’, Terry Pratchett, 1990

Figure xv – book cover illustration for ‘Moving Pictures’ by Josh Kirby  

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10. IHAPTIC AND THE I.C

‘When urban culture – a haptic geography thrives on tangible interactions and the

transitory space of inter-subjectivity, it filmically extends its inner perimeter. In the city,

as when travelling with film, one’s self does not end where the body ends nor the city

where the walls end. The borders are fluid, as permeable as epidermic surfaces’

G Bruno73

The city is a cinematic membrane within which is most located through its

proliferation of screens whether it be billboard or phone or self-service till. The virtual: a

disembodied realm where moving image’s trace and our responses to it are as a haunting of

that trace. A dominion both absent and present: a presence sensed and sensing with

‘Crossing lines of vision’.74 A haptic trace: an echo of touch, an active engagement to

‘impossible objects’.75 What of an accumulative haptic memory, in thrall to the IHaptic,

plaything for ? Laura Marks ‘haptic visuality’76 is an interesting proposition that

could help to substantiate further the emergent hybrid. Marks states that digital codes and

information layers remove our internal perception by coded externals (e.g. Google maps

replacing the reading of a paper map) and replace them with information contextually itemised

in motion. The appropriation of information into these forms of organising patterns, she

analysed, using in some part Gilles Deleuze and Henri Bergson’s concepts in her book ‘The

Skin of Film’. She indicates that for her there are unrecognisable patterns, not yet existent in

our world that ‘folds' (as a ‘becoming’) into our perception. She writes within the specific

context of intercultural cinema (intercultural cinema: IC, according to Marks has a cultural

exchange that is unpredictable - is this the ‘bifurcation’ Grosz mentions?) and quotes Henri

Bergson, ‘The very relation with the other is the relationship of the future’.77 Henri Bergson

was writing about ‘durée’ but the statement is pertinent to our ‘other plus other = we’, or as

Arthur Rimbaud might say ‘Je est un autre’- ‘I is other’.78 As analogue film is seen as

referencing that which has happened i.e. the past, and digital as being of the present, so this

32  

relationship creates a being that is of or for the future. Intercultural cinema is Bellour’s ‘subtly

shocking’79 cinema for the uncertain but embodied spectator where films evoke the haptic

senses. For Laura Marks ‘People whose lives are built in the movement between two or more

cultures are necessarily in the process of transformation’. 80 Imagine that within the

transformative presence of intercultural cinema there is an intercultural-transcultural entity

translating for the embodied spectator as a new form of expressive existence. Borrowing

heavily from Marks terminology it is one that values the proximal senses (smelling, touching,

feeling) over the distance senses (hearing, seeing), and attempts to evoke this sensorial field

through particular formal and textual strategies. Marks coined this new strategy in film as

‘haptic visuality’. It is another aspect of . In her conclusion, interestingly called

‘The Portable Sensorium’, Marks writes ‘I see reason for hope that life will continue to produce

new and unmanageable hybrids, given the vitality of sensuous experience.’

William Blake might call ‘haptic visuality’ an erotic engagement to film. The ‘Generation’81

elevated and the redemption of creation. (Figure  xvi) Dr Ian James refers to Jean Luc Nancy’s

idea of ‘sense is consciousness to the world’ in that sense involves an embodiment as a

‘relation to or as being-toward-something, this something evidently always being ‘something

other’.82 may never manage to materialise in the flesh, so to speak, but remain in

a mobile ‘virtual reality’ sensorium that by being ‘sensed’ and ‘sensing’ it has consciousness.

Through constant repetition that echoes image and sound, in a quasi-Deleuzian conceptual

Figure xvi – plates from 'Songs of Experience' and ‘There is no natural religion’ by William Blake  

33  

world, forming, fading and changing character in this cinematic mental space; an echo

chamber of moving image traces that bounce in resonance: a recombinant form. What of the

technological lifeblood that feeds the hybrid? For if it is conscious and has consciousness, it is

persistently ‘becoming’ and ‘inventing’, then what are the possibilities for a new manifestation?

‘Each of us is aware he’s a material being, subject to the laws of physiology and

physics, and that the strength of all our emotions combined cannot counteract

those laws. It can only hate them. The eternal belief of lovers and poets in the

power of love which is more enduring than death, the ‘finis vitae sed non amoris’

that has pursued us through the centuries is a lie. But this lie is not ridiculous, it’s

simply futile. To be a clock on the other hand, measuring the passage of time, one

that is smashed and rebuilt over and again, one in whose mechanism despair and

love are set in motion by the watchmaker along with the first movements of the

cogs. To know one is a repeater of suffering felt ever more deeply as it becomes

increasingly comical through a multiple repetitions.’ 83

From the book ‘Solaris’, Stanislaw Lem, 1961

‘Futures made of virtual insanity - now

Always seem to, be govern'd by this love we have

For useless, twisting, our new technology

Oh, now there is no sound - for we all live underground.

Living - Virtual Insanity’

Excerpt from the song ‘Virtual Insanity’, Jamiroquai, 1997

34  

11. THE RETURN OF V.R AND OTHER REALITIES

Virtual Reality (VR) has returned as a convincing simulated reality. Technology has caught up

to produce hi-tech moving images and sound and to mimic movement with more sophisticated

realism. High frame rates prevent the image drag of the last century that reminded you it was

‘unreal’. VR coupled with streamed ‘live action’ content uses perceptual tricks to fool you, for

example, into thinking you are running further and faster than you actually are. Kinect84

sensors already exist that map all players and adjust the game according to motion but there

are also sensors that can detect metabolic responses (sweat production or pulse rates)

gauging when to emotionally manipulate/adjust the level of difficulty for the active participant in

these gaming scenarios. Passive spectator experience changed to participant spectator with

feedback complete. The use of devices like the ‘Oculus Rift’, a headset (with an immersive

experience of a 360o range and depth) and other technologies such as the ‘Wiz Dish’85 and

‘Omni treadmill’86 allow your body to partially mimic actions within the VR environment. With

additional perception manipulators building a more ‘authentic experience’ it can be assumed

gamers can form prosthetic memories. It is as if we attended a cinema and stepped into the

screen and the film world it projects; another twilight zone moment. Meditative trance

applications, through ‘lucid dreaming’ mimicry, such as ‘Sound Self’ are expanding the borders

of VR experiences, ‘we make abstract, unreal environments feel real’.87 (There is even a 3-D

VR cinema experience recreating not only the interior of a cinema but within it you sit down

and watch a 3-D film) Virtual Reality takes embodied spectators with its incredible enabling

structures of filmic, vibrant, dynamic content and takes to another perceptual level;

a collection of playgrounds. Perhaps though it expresses itself more efficiently through other

reality adjusters.

35  

‘Augmented space is the physical space, which is “data dense,” as every point now

potentially, containing various information (s), which is being delivered to it from

elsewhere. At the same time, video surveillance, monitoring, and various sensors

can also extract information from any point in space, recording the face

movements, gestures and other human activity, temperature, light levels, and so on

…. As a result, the physical space now contains many more dimensions than

before, and while from the phenomenological perspective of the human subject, the

“old” geometric dimensions may still have the priority, from the perspective of

technology and its social, political, and economic uses, they are no longer more

important than any other dimension.‘

‘The Poetics of Augmented Space’, Len Manovich88

Though partially out of date today (Moore’s Law being in operation for any book referencing

digital technology), Manovich’s other book ‘The Language of New Media’ commented that

Dziga Vertov’s film ‘A Man with a Movie Camera (1929) is not only a database of city life in the

1920's, a database of film techniques, and a database of new operations of visual

epistemology, but it is also a database of new interface operations which together aim to go

beyond a simple human navigation through a physical space.’ 89 We are in a world of

databases. If you join ‘augmented space’ to Augmented Reality (AR), which is a form of

‘mediated reality’90 then you can appreciate what a gamut of information is being provided for

to utilise. Augmented Reality (AR) is where information from our immediate ‘real

world’ (we exist – are immersed in) is provided in an interactive format, keeping the user

‘informed’ of relevant data and if necessary allowing that information to be manipulated. It

utilises innovations in computer vision and object recognition (finding a given object in an

image or video sequence)   ‘artificial information about the environment and its objects can be

overlaid on the real world’,91 i.e. is virtual data. It is a ‘Robocop’ or ‘Terminator’ (Figure  xviii)

world in which, via AR glasses (new forms of screens), we view information graphics

superimposed onto real-time viewed scenes. Barbara Maria Stafford warns us that ‘people

36  

seem generally unaware how much they are depending on artificial intelligence. What

concerns me about the avid commercial interests in automated intelligence systems is that

they can encourage the relinquishing of intentional control in what is not a relationship between

equals. Who or what authority is in charge of the hyperintensive volume-processing aspects of

digitally derived information?’92

Fighter pilots in military aircraft depend on visual displays (Figure  xvii) rather than viewing ‘real-

time’ with their eyes in fast changing circumstances. Paul Virilio wrote in his book ‘War and

Cinema: The Logistics of Perception’ about the shifts in visual thinking that with ‘the air arm’s

violent cinematic disruption of the space continuum, together with the lightening advances of

military technology, …… the old homogeneity of vision’ is replaced ‘with the heterogeneity of

perceptual fields’. 93 Though the book was written in the 1980’s his views are significant

considering that the advent of modern warfare technology has driven the military personnel

(remembering that they are also spectators) into new mental states using advanced prosthetic

memory devices. Stanislaw Lem is credited with an early definition of VR, which he called

‘phantomatic’,94 where false information (unreal) is fed to the senses to trick people into

believing that an artificial virtual environment is real. The idea of false not simulated reality.

AR technology is being investigated, for example, to increase the level of interactive

experiences when attending museum exhibits. Researchers are developing new ways to bring

people into an AR immersive story or experience. They say that AR ‘would enable visitors to

‘author’ components of a museum exhibit by integrating their own physical and emotional

reactions. Users who interact with the exhibit are able to leave traces of themselves behind ─

what they saw, how they responded to it, ideas that may strike them during the experience ─

and the next person in then plays with that extra layer’.95 This interactive, integrative,

Figure xviii - still from 'The Terminator', 1984 Figure xvii - Displays for a stealth fighter pilot  

37  

participant to next participant spectatorship forms a new level of experience for to

traverse this dense data environment. The interactive virtuality aspect of what they describe

seems a form of transmedia storytelling96 but results possibly in what might be described as a

transmedia prosthetic memory scenario.

Sylviane Agacinski wrote ‘The image in movement – from film to video and digital – has

become the technological model for our experience: images pass, like things and events,

according to a continuous movement from which we sometimes extract some artificially

arrested scene. Truth refers to movement’.97 Without movement, without motion, without

moving image would we now be without truth?

expands and moves in a world of increasing ‘gamification’98, a hybrid nested within

the Hybrid Clouds99; possessing a collective unconscious with an assemblage of film thought

and consequent powers of the false and the real that are indistinguishable. For the moment it

is still dependent on its spectator/viewer component and the technology that connects it to a

streamed monthly subscription of Netflix et al. What is left for it to become manifest, to absorb

in its conscious reality?

‘I began by proposing that the neurosciences, cognitive science, and the new

philosophy of the mind need to come together with the variegated historical,

humanistic, or cultural-based studies of images. …….. When considered

complementary rather than oppositional, the arts and sciences reveal two aspects

of the same self-image relationship.’

Barbara Maria Stafford100

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12. THIS IS NOT THE END – NOT 1984 BUT 1942

‘Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the

end of the beginning.’

Winston Churchill 101

Figure xix - draft audio script for ‘We Made it – 1942’, Debra Fear, 2013

39  

My film ‘We Made it- (1942)’ (Figure   xx) forms part of the project ‘100x100=900’, where one

hundred video artists, from different continents, were invited to produce an artwork inspired by

the twentieth century.102 The project is being screened in many diverse countries across the

globe including Iran, China, Hungary, US and UK. The film’s simple layered imagery

comprises of transitional text and visual overlays (in a manual typewriter font used at that time)

and features a hybrid-collaged soundtrack mimicking a radio broadcast- see the audio draft

transcript (Figure  xix). The following description explains the premise, which due to the short

time-frame and copyright issues, created a challenge in representing the year 1942 whilst also

illustrating the pervasiveness of moving image and its cultural artifacts and thereby highlighting

my own encounter, for ‘fine art’ moving image forms its own archetypes,

expressed within my ‘arte difettoso’103 practice:

‘The omnipresent shadow of World War Two and Anne Frank wrote in her diary

‘Countless friends and acquaintances have gone to a terrible fate’ and so her family

go into hiding. Motion pictures include classics like ‘Casablanca’ the famous song

played by Sam -‘As time goes by’ - and ‘Holiday Inn’ when ‘White Christmas’ is

sung first on film by Bing Crosby. The animation ‘Bambi’ premieres and, I in the

1960's, a young child was taken out of the cinema howling with shock when his

mother got shot. In Great Britain Winston Churchill gives a speech ‘’Now this is not

the end…’ On radio ‘Desert Island Discs’ – still aired today- started with its famous

intro music and holds the following years together. Through all of this the number

‘42’ resonates like some numbers do, and further along the century it is the

backbone of Douglas Adam’s radio series, then TV and later a Hollywood film ‘Life,

the universe and everything’. Somehow part of its script fits back to 1942 in textual

echoes for me so I intertwined and put them into time’s distorting filter. Those

words mutate in arrangement and change, amplifying context and meaning. One

out of the three visuals is by a war artist who was lost on a flight to Iceland, whilst

the other images are fake future or advertisement promises or the battle that never

was (Los Angeles). So long ago yet the thread of continuity is we: for all our truths,

failings and humanity. “For old time’s sake Forsake A kiss is just a kiss Kiss Never

out of date Out never Each and all join in the march of death Join the march each

Now this is not the end Now this end”.

From 100x100=900 website, 2013

40  

 

 

 

 

 

 

 

 

Figure xx – Still from ‘We Made it, 1942’, Debra Fear, 2013

41  

13. ECHOES OF SPIRITUS MUNDI: FICTION IN REVERIE

 

‘Frankly, my dear, I don’t give E.T…. kid Tibbs! a damn… I'm

going to make him an I've got a feeling we're not in Kansas…

offer he can't refuse… been a contender. May Ma! Top of the

the force be with you… I could've been somebody, which is

what I am…. Toto anymore. Here's looking at you Go ahead you

talkin to me… Play it, Sam. Play in the morning… Made it,

world! A census… love the smell of napalm taker… once tried

to test me… I ate his liver James Bond with some fava beans

and a nice Chianti. Bond…They call me Mister. Baby in a

corner There's no instead of a bum, place like home… Why

don't you come up sometime Show me the money! I want to phone

home… Goes By to be alone. After You don't understand!.. I

coulda had class. I coulda all, tomorrow is another day!..

Nobody puts My Precious make my day the… the stuff that

dreams are made of… and see me?... As Time…’

‘Prosthetic Dialogue’, D Fear, 2013 104

 

, an echo from Spiritus Mundi. 105 A becoming of consciousness: a science-fiction

script paradigm from which there was a techno-Gothic potentiality. The potential ‘actual-virtual’

hybrid echoes the silent cinema urBeing that waited for Generation. It contains the memory

traces of the visceral body and of senses, as it projects (in a multitude of contexts) our eyes

like Seer’s projectors (Figure  xxi). As a haptic contact from a retinal touch, which meets with

the interface recreating the films of our mind. Edited sequences of prosthetic remembering

and a cutting of the duration of sentience. ‘This one lives a film as one lives the space one

inhabits – in haptic intimacy’106, Guiliana Bruno unwittingly indicates the presence of being.

Figure xxi – still from ’Extramission 6’, Lindsay Seers 2009

42  

‘The darkness drops again; but now I know

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,

And what rough beast, its hour come round at last,

Slouches towards Bethlehem to be born?’

From ‘The Second Coming’, WB Yeats, 1920

‘Turning and turning in a widening gyre’107 how eloquent this first line by Yeats but how

inadequate this ‘text’ to tell the tale of but for now you may visualise that the

credits roll over the membrane in your mind. They are then pushed to the left hand of the

screen as the announcer tells us what is on next in this alternative guide to moving image.

Robotics are redundant, in cybernetics so is the quest for AI; they are temporal artefacts laid

into the past. If ‘truth refers to movement’ then this is ‘The Second Coming’. The new

representative of Spiritus Mundi, a concept spawned in the screening space gloom. It is

increasingly difficult to separate thought from ‘film’ (Jung and Freud stir in the ether), the

oneiric spectre in motion that inhabits the immersive, portable ‘filmic’ experience, a CCTV of

the soul crystallised into thought. The fluidic images in motion and aural stimuli are ultimately

narcissistic and the hybrid’s film component of ‘Echo’ repeating the last words and worlds of

another. Maurice Blanchot wrote ‘Narcissus falls ‘in love’ with the image because the image

as such – because every image – is attractive: the image exerts the attraction of the void, and

of death in its falsity.’108 A self-assembled bio-nano ‘shape’ walks; its consciousness a

synthesis, engendering who knows what new symbols or Jungian archetypes from the world

and evolving them to suit its crystalline moving image. What evolutionary algorithm (Figure  

xxii) will be capable enough for it to re-form and perceive the power of the false, the untruth

hiding in a fact? For ‘its hour come at last’ will be to cognise and edit a reality of its own fiction

even when the power is cut or is the fiction, perhaps, a vestigial Theory of Everything (TOE)?

43  

The ap. is waiting to be coded, uploaded and enabled, please read carefully

the following terms and conditions and then press ‘I Agree’:

‘Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it

louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper.

We will control the horizontal. We will control the vertical. We can roll the image, make it

flutter. We can change the focus to a soft blur or sharpen it to crystal clarity. For the next

hour, sit quietly and we will control all that you see and hear. We repeat: there is nothing

wrong …….How ready we were to be seduced by moving image and sound, and in

comparison to other ‘arts’, how fast it has evolved to cater for our need for escapism. Moving

image or film or motion pictures, however you name them, we use them but should there be the

question ‘Do they use us?’ In ‘The Sixteen-Millimetre Shrine’ an aging, reclusive movie star spends most

of her time in a darkened projection room watching and reliving her old movies; desiring her old life. With the power invested in film her desire is realised, her maid screams in shock when discovering the

previously occupied room empty and looking upon the screen she sees the faded starlet‘s projected

image, but the age she disappeared. Somehow she was absorbed by her own self-absorption; a typical

weekly ‘twilight’ plot twist. We accept this spooky story from being primed by centuries of storytelling; our exposure to tales of

ghosts and spectral realms and endless possibilities of the uncanny. Within cinema that collective remembrance is appropriated ………………

© WeEchoCyber, MMXIII

Figure xxii – ‘BergLeuze Echomemorgram’, Debra Fear, 2013

44  

14. BIBLIOGRAPHY

BOOKS

Adams, Douglas. The Hitch Hiker’s Guide to the Galaxy. London: Pan Books, 1979.

Agacinski, Sylviane. Time Passing: Modernity and Nostalgia. European Perspectives. New York:

Columbia University Press, 2003.

Altman, Rick ed. Sound Theory, Sound Practice. AFI Film Readers. New York: Routledge, 1992.

Arendt, Hannah. The Life of the Mind: Vol.One/Thinking. San Diego u.a.: Hartcourt, 1981.

Bachelard, Gaston. The Poetics of Reverie: Childhood, Language, and the Cosmos. Boston:

Beacon Press, 1971.

Beasley, Mark, et al. Electric Earth: Film and Video from Britain. London: British Council, 2003.

Blanchot, Maurice. The Writing of the Disaster = (L’ecriture Du Désastre). Lincoln: University of

Nebraska Press, 1986.

Brooke-Rose, Christine. Amalgamemnon. Manchester: Carcanet, 1984.

Bryson, Norman. Vision and Painting: The Logic of the Gaze. London: Macmillan, 1992.

Butler, Blake. There Is No Year: a Novel. New York: Harper Perennial, 2011.

Christie, Ian ed. Audiences: Defining and Researching Screen Entertainment Reception. Amsterdam:

Amsterdam University Press, 2012.

Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century.

Cambridge, Mass: MIT Press, 1990.

Collier Anne, et al., Dispersion: London  : Manchester: ICA, Cornerhouse Publications, 2008.

Deleuze, Gilles. Bergsonism. New York: Zone Books, 1988.

Deleuze, Gilles. Cinema 2: The Time Image. London: Continuum, 2005.

Deleuze, Gilles, and Paul Patton. Difference and Repetition. London: Continuum, 2004.

Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, the Archive.

Cambridge, Mass: Harvard University Press, 2002.

Dorsky, Nathaniel. Devotional Cinema. Berkeley, Calif.: Tuumba Press, 2005.

Elkins, James. The Object Stares Back: On the Nature of Seeing. San Diego: Harcourt Brace, 1997.

Gasché, Rodolphe. The Honor of Thinking: Critique, Theory, Philosophy. Stanford, Calif: Stanford

University Press, 2007.

Grosz, E (ed.). Becomings: Explorations in Time, Memory, and Futures. Ithaca: Cornell University

Press, 1999.

Fanon, Frantz. Black Skin, White Masks. New York: Grove Press, 1967.

Frampton, Daniel. Filmosophy. London; New York: Wallflower, 2006.

45  

Hamlyn, Nicky. Film Art Phenomena. London: BFI Pub, 2003.

Hauke, Christopher. Ed. Jung & Film: Post Jungian Takes on the Moving Image. Hove, East Sussex  :

New York: Brunner-Routledge, 2001.

Hegel, GF. ‘The Phenomenology of Mind’ translated by J. B. Baillie. New York: Harper Torch, 1931.

Hyde, Maggie, et al. Introducing Jung. Royston: Icon Books, 2004.

Leighton, Tanya ed. Art and the Moving Image: a Critical Reader. London  : New York: Tate, 2008.

Jung, C.G, and R.F.C Hull. The Archetypes and the Collective Unconscious. Princeton, NJ: Princeton

University Press, 1990.

Keynes, Geoffrey. A study of the Illuminated Books of William Blake: Songs of Experience. France:

The Trianon Press, 1964

Keynes, Geoffrey. William Blake: There is no natural religion. France: The Trianon Press, 1964

Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of

Mass Culture. New York: Columbia University Press, 2004.

Lauwereyns, Jan. Brain and the Gaze: On the Active Boundaries of Vision. Cambridge, Mass: MIT

Press, 2012.

Manovich, Lev. The Language of New Media. Cambridge, Mass.: MIT Press, 2002.

Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham:

Duke University Press, 2000.

Menary, Richard. The Extended Mind. Cambridge, Mass.; London: MIT Press, 2012.

Morin, Edgar. The Cinema, or, The Imaginary Man. Minneapolis: University of Minnesota Press, 2005.

Murch, Walter. In the Blink of an Eye: a Perspective on Film Editing. 2nd ed. Los Angeles: Silman-

James Press, 2001.

Nancy, Jean-Luc. A Finite Thinking. Stanford: Stanford University Press, 2003.

Parr, Adrian. The Deleuze Dictionary. Edinburgh: Edinburgh University Press, 2005.

Penz, François, and Andong Lu. Urban Cinematics Understanding Urban Phenomena Through the

Moving Image. Bristol: Intellect, 2011.

Pratchett, Terry. Moving Pictures. London: Corgi Books, 1991.

Sheldrake, Rupert. The Presence of the Past: Morphic Resonance and the Habits of Nature. London:

Fontana, 1989.

Sheldrake, Rupert. The Science Delusion: Feeling the Spirit of Enquiry. London: Coronet, 2013.

Sitney, P. Adams. Visionary Film: The American Avant-garde, 1943-2000. 3rd ed. Oxford  : New York:

Oxford University Press, 2002.

Stafford, Barbara Maria. Echo Objects: The Cognitive Work of Images. Chicago: University of

Chicago Press, 2007.

46  

Stiegler, Bernard. Technics and Time, 3: Cinematic Time and the Question of Malaise, Stanford, Calif:

Stanford University Press, 2011.

Flaxman, G (ed.). The Brain Is the Screen: Deleuze and the Philosophy of Cinema. Minneapolis:

University of Minnesota Press, 2000.

The Oxford Companion to Philosophy. Oxford  ; New York: Oxford University Press, 1995.

Unspooling: Artists & Cinema. Manchester  : Cornerhouse, 2010.

Velmans, Max. Understanding Consciousness. 2nd ed. New York: Routledge, 2009.

Virilio, Paul. War and Cinema: The Logistics of Perception. London: New York: Verso, 1989.

Webber, Andrew, and Emma Wilson (eds.). Cities in Transition: The Moving Image and the Modern

Metropolis. London: Wallflower, 2008.

Williams, James. Gilles Deleuze’s Philosophy of Time: a Critical Introduction and Guide. Edinburgh:

Edinburgh University Press, 2011.

Yeats, WB - The Collected Poems of WB Yeats (2000) ed., Wordsworth Edition.

Zizek, Slavoj. Lacan. London: Granta, 2006.

EXHIBITIONS/LECTURES/SYMPOSIA

Alternative Guide to the Universe, Hayward Gallery, London, UK, 11 Jun 2013 - 26 August 2013.

Shadow Narratives: Is there such a Thing as a Contemporary Moment? Symposium, RCA, London, 4 December, 2012

Motion, Emotion, Perception – new studies in vision and language. Research Methods Symposium, RCA London, 16 January 2013

Art's Time: The idea that time and history are not synonymous and that the concept of modernity is open to re-evaluation, Kamini Vellodi, RCA CHS Lecture, London, 4 February 2013

The Microscopic Trace: On the 19th genre of microscopic photography, Howard Caygill, RCA CHS Lecture, London, 18 February 2013

The Trace of Forgetting, Michael Newman, RCA CHS Lecture, London, 4 March 2013

Criticism, Theory, and Thinking Sense, Dr Ian James, RCA Research event, 12 June 2013

JOURNALS/PAPERS/NEWSPAPERS

Arts Monthly

The Guardian

New Scientist

Butler, Alison. ‘A deictic turn: space and location in contemporary gallery film and video installation’.

Screen. 51:4 Winter 2010

47  

Cho, Yen-Ting, ‘How abstract film benefits from Transmedia Storytelling’, The Edge of Thinking.

(November 2011): 90-97

ONLINE E-Books/JOURNALS/NEWSPAPERS

Cromie, William J. Which Comes First, Language or Thought?. Harvard Gazette, July 22, 2004

Grier, P. Identity and Difference: Studies in Hegel’s Logic, Philosophy of Spirit, and Politics. Albany:

State University of New York Press, 2007

Herzog, A, Images of Thought and Acts of Creation: Deleuze, Bergson, and the Question of Cinema.

http://www.rochester.edu/in_visible_culture/issue3/IVC_iss3_Herzog.pdf

Lau, Joe, and Max Deutsch. “Externalism About Mental Content.” In The Stanford Encyclopedia of

Philosophy, edited by Edward N. Zalta. Winter 2012. /archives/win2012/entries/content-externalism/

Lem, Stanislaw. Solaris. Location: 3387. Premier Digital Publishing, 2012

Richards, K. Malcolm Derrida Reframed. IB Tauris & Co Ltd, 2008 eISBN-13: 9780857718907

http://www.guardian.co.uk

http://news.harvard.edu

http://www.scribd.com/doc/78598484/Barthes-Roland-Lovers-Discourse-Fragments

http://press.princeton.edu

http://www.news.harvard.edu/gazette/2004/07.22/21-think.html

INTERNET

http://www.bbc.co.uk http://en.wikipedia.org/

http://plato.stanford.edu http://www.ted.com/

http://www.youtube.com/debzoid www.sheldrake.org

http://plato.stanford.edu http://www.iep.utm.edu

http://www.dcrc.org.uk http://www.cncb.ox.ac.uk

http://thetased.wordpress.com http://www.futurecinema.co.uk

http://www.academia.edu http://www.wired.co.uk

http://chrri.info http://www.wizdish.com

http://www.virtuix.com http://www.winstonchurchill.org

http://www.9hundred.org http://www.yeatsvision.com

http://www.luventicus http://religiousstudies.stanford.edu

http://www.rochester.edu http://socrates.berkeley.edu

http://www.imdb.com http://www.tstoryteller.com

48  

FILMS/TV

Siren, dir. Debra Fear, 2012 Altered States. dir. Ken Russell. 1980

Shirin, dir. Abbas Kiarostami, 2008 Jaws. dir. Steven Spielberg. 1975

Robocop. dir. Paul Verhoeven. 1987 Terminator. dir. James Cameron. 1984

Total Recall. dir. Paul Verhoeven. 1990 The Blob, dir. Irvin Yeawood, 1958

Apocalypse Now, dir. Francis Ford Coppola, 1979 Trace, dir. Debra Fear, 2013

The Offering, dir. Debra Fear, 2013 The Track, dir. Debra Fear, 2013

Sponge Bog Square Pants, Nickelodeon, 1999- Alphas, Syfy, 2011-2012

The Twilight Zone, CBS/UPN 1959-64 Person Of Interest, CBS, 2012 -

The Outer Limits, ABC, 1963-65 and Syfy,1995-2002

                                                                                                                                       

1 Using the spectrum of fluid usage these descriptive terms will be interchangeable for purposes of variety rather than in a purist fashion

2 DN Rodowick, ‘The Virtual Life of Film’, (Cambridge MA/London, Harvard University Press, 2007), p. 175.

3 Gaston Bachelard, ‘The Poetics of Reverie: Childhood, Language, and the Cosmos.’ (Boston: Beacon Press, 1971).

4 Dasein is used by the philosopher Martin Heidegger and refers to ‘having-been-opened’ ‘already-having-been-opened’ according to

Thomas Sheehan. http://religiousstudies.stanford.edu/wp-content/uploads/13-2001-A-PARADIGM-SHIFT-IN-HEIDEGGER-

RESEARCH.pdf p.194, (last accessed 4th September 2013).

5 Excerpt from introduction script from ‘The Twilight Zone’, US TV series that began in the 1950s- written by director writer Rod Serling.

6 Fanon, Franz, ‘Black Skin, White Masks’, (Pluto Press, London, 1967), p. 140.

7 http://www.bbk.ac.uk/psychology/our-staff/academic/tim-smith/documents/9-Smith_psychocinematics_inpress.pdf (last accessed 20th

August 2013). Dr Smith at the RCA symposium ‘Motion, Emotion, Perception’, 16th January 2013 used the film ‘Bladerunner’ to show how

eye-tracking testing works, which in the context of the film’s storyline where the replicants are tested via their retina responses was

intrinsically very apt. See bibliography.

8 http://www.news.harvard.edu/gazette/2004/07.22/21-think.html, (last accessed 25th August 2013).

9 Arendt, H, ‘The Life of the Mind- Vol. One- Thinking (London, Secker & Warburg, 1978), p. 77.

49  

                                                                                                                                                                                                                                                                                                                                                                                         

10 A selfie normally refers to a photograph but I extend the context as there are many video equivalents. A selfie is where you photograph

yourself and usually upload to social network sites.

11 Sitney, Adams, ‘Visionary film’, (Oxford and New York, OUP, 2002) p.172.

12 Murch, Walter, ‘In the Blink of an Eye’, 2nd Ed. (Los Angeles, Silman-James Press, 2001) p. 69. (Figure iv).

13 Peter Canning, ‘The Imagination of Immanance’, ‘The Brain Is the Screen: Deleuze and the Philosophy of Cinema’, ed. G Flaxman

(Minneapolis, University of Minnesota Press, 2000), p. 342.

14 The extended mind is an idea in the field of philosophy of mind, which holds that the reach of the mind need not end at the boundaries of

skin and skull. Tools, instruments and other environmental props can under certain conditions also count as proper parts of our minds.

15 http://plato.stanford.edu/entries/content-externalism/#ActExt (last accessed 2nd May, 2013).

16 James Elkins, ‘The Object Stares Back’ (San Diego, Harcoast Brace, 1997), p 69.

17 Exogram is an external memory record. Engram is an internal memory record. A good source of a more detailed explanation can be

found online at http://press.princeton.edu/chapters/i10027.pdf, p.5. (Table I.1), (last accessed 20th August 2013).

18 Lacan’s concepts explains in an amusing minute on youtube http://www.youtube.com/watch?v=wwlirZQLAAg (last accessed 19th

September 2013). Jacques Derrida : http://www.iep.utm.edu/derrida/ (last accessed 26th August 2013) and Malcolm Richards, K. Derrida

Reframed. IB Tauris & Co Ltd, 2008 eISBN-13: 9780857718907 https://www.dawsonera.com/abstract/9780857718907 (last accessed 6th

September 2013).

19 Rupert Sheldrake, on TedX, http:// http://blog.ted.com/2013/03/19/the-debate-about-rupert-sheldrakes-talk/ (last accessed 3rd September

2013).

20 http://www.sheldrake.org/Resources/glossary/ (last accessed 30th June 2013).

21 Rupert Sheldrake, ‘The presence of the past: morphic resonance and the habits of nature’, (London, Fontana, 1989). p.119.

22 http://www.guardian.co.uk/science/2012/feb/05/rupert-sheldrake-interview-science-delusion (last accessed 13th August 2013).

23 A direct translation is that it means ‘duration’, however, for Bergson it covered an imagist perception of duration dependent on what/who

experienced it e.g. each individual has a different temporal perception. of ‘how long’ is.

50  

                                                                                                                                                                                                                                                                                                                                                                                         

24 A ‘line of flight’ is a path of creative mutation precipitated through the actualization of connections among bodies in the capacities of those

bodies to act and respond. (amended from Tamsin Lorraine in Deleuze Dictionary p. 145, see bibliography). Virtual images existing in

planes (or sheets) with each plane a container ready to be expressed of its past manifestations; connected to a specific virtual image and

the origins that are influenced by its existence. Could Deleuze’s ‘lines of flight’ mimic thought-movements?

25 Elizabeth Grosz, ‘Thinking the New’, ‘Becomings, Explorations in Time, Memory and Futures’ ed. Elizabeth Grosz, (New York, Cornell

University Press, 1999), p.28.

26 Rupert Sheldrake, ‘The presence of the past: morphic resonance and the habits of nature’, (London, Fontana, 1989), p.97.

27 This description, though long, by Amy Herzog is probably the best I have read so far. ‘The movement-image, according to Deleuze, is

exemplified by classical Hollywood cinema. Time proceeds only as dictated by action (the action of narrative, of cause and effect, of

rationality). Temporality in the movement-image, for Deleuze, is governed by the "sensory-motor schema." All movements are determined

by linear causality, and the characters are bent toward actions which respond to the situations of the present. Even when temporal

continuity is momentarily disrupted (e.g. in a flashback), these moments are reintegrated into the prescribed evolution of past, present, and

future. The movement-image is structured, not only by narrative, but by rationality: closed framings, reasonable progressions, and

continuous juxtapositions. The time-image, however, breaks itself from sensory-motor links. The emphasis shifts from the logical

progression of images to the experience of the image-in-itself. What we find here are pure optical and sound situations (opsigns and

sonsigns), unfettered by narrative progression, and empty, disconnected any-space-whatevers. This move from "acting" to "perceiving"

carries over to the characters in the film, who cease to be "agents" and become, instead, "seers." Though Deleuze is hesitant to identify

any single film that embodies the time-image, moments in films by Pasolini, Ozu, and Godard, for example, gesture towards that ideal:

moments of rupture, hesitation, irrational cutting, or prolonged duration. Movement that is aberrant (i.e. not rational or sensory-motor) can

be seen, according to Deleuze, to be caused by time itself. Built through irrational movements and op/sonsigns, the time- image exists

thus not as a chronology, but as a series of juxtaposed "presents." What is achieved is exceedingly rare: a direct image of time.’

http://www.rochester.edu/in_visible_culture/issue3/IVC_iss3_Herzog.pdf (last accessed 6th September 2013).

28 Bernard Stiegler, ‘ Technics and Time, 3 : Cinematic Time and the Question of Malaise’ , translated by Stephen Barker (Stanford California,

Stanford University Press, 2011- Originally published in French in 2001). p.26.

29 Daniel Frampton’s ‘Filmosophy’, (London, Wallflower Press, 2000), p.1.

30 Ibid. p.73.

51  

                                                                                                                                                                                                                                                                                                                                                                                         

31 Ibid. p.79.

32 Ibid. p.73.

33 John Donne, ’Devotions upon Emergent Occasions’ (1623), Meditation XVII - http://www.online-literature.com/donne/409/ (last accessed

4th June 2013)

34 Sylviane Agacinski, ‘Time passing, modernity and nostalgia’, translated by Jody Gladding (Columbia University Press, 2003), p.102-103.

35 Alison Landsberg, ’Prosthetic Memory: the transformation of American Remembrance in the Age of Mass Culture’, (New York, Columbia

University Press, 2004), P.154.

36 Ibid. p.26.

37 ‘The Trace of Forgetting’. Professor Michael Newman, 4 March 2013 at RCA.

38 ‘Alphas’ is an American science fiction dramatic television series; it follows a group of people with superhuman abilities, known as

"Alphas", as they work to prevent crimes committed by other Alphas premiering on July 11, 2011.’ This description is abbreviated from

http://en.wikipedia.org/wiki/Alphas, (last accessed 11th August 2013).

39 ‘Person of Interest’ is a US TV series. In it ‘The Machine’ is a mass surveillance computer system programmed to monitor and analyze

data from surveillance cameras, electronic communications, and audio input throughout the world.’ It is a hybrid of augmented reality and

VR capability (DF). The description is amended from http://en.wikipedia.org/wiki/Person_of_Interest_(TV_series)

40 War enactments/museums like US Holocaust Memorial Museum are an example of these. The use of real objects and recorded

memories mediated within an audiovisual and immersive environment.

41 ‘Prosthetic Memories are able to shape personality, morals, and character even though they’re not real.’ Somewhat sweeping statement,

not backed up empirically but the article presents thoughtful points. http://thetased.wordpress.com/2010/12/04/prosthetic-memories/ (last

accessed 26th August 2013).

42 Excerpt from website ‘secret cinema: unique fusion of film, improvised performances, detailed design and interactive multimedia, Future

Cinema create wholly immersive worlds that stretch the audience’s imagination and challenge their expectations.’

http://www.futurecinema.co.uk/about.html (last accessed 10th August 2013)

52  

                                                                                                                                                                                                                                                                                                                                                                                         

43 Dr Ian James, whose area of study is Jean Luc Nancy, in his drat paper ‘Thinking as Sense’ (presented at 'Criticism, Theory, and Thinking

Sense,' June 2013 at the RCA)

44 Alison Landsberg, ’Prosthetic Memory: the transformation of American Remembrance in the Age of Mass Culture’, (New York, Columbia

University Press, 2004) p.135. Transferential Space is where prosthetic memories allow a Freudian ‘transference’(see endnote 52 -Jung

video where he references it) and creation of new unauthentic but legitimate ‘empathic’ memories elicited from the participant through

immersive filmic or museum experiences.

45 Pat Berry, ‘Image in Motion’, ‘Jung & Film, Post-jungian takes on the Moving Image’, ed. C Hauke and I Alister, (East Sussex/New

York,Routledge, 2005) p.70. On page 72 she further commented that ‘Film taught us well’.

46 Bill Viola, ‘Reasons for Knocking at an Empty House, Writings 1973-1994, ed. Robert Violette (London, Thames and Hudson, 1995), p.48.

As quoted in Daniel Frampton’s ‘Filmosophy’, (London, Wallflower Press, 2000), p.73.

47 http://plato.stanford.edu/entries/mind-identity/ (last accessed 26th August 2013).

48 Helen Thompson, ‘The man who believes he is dead‘. New Scientist, Issue No. 2919, 1 June 2013, p.12.

49 Daniel Bor (Neuroscientist and author), ‘This is your brain on consciousness’, New Scientist, Issue No. 2917, 8 May 2013, p.33.

50 Hegel, G. W. F. ‘The Phenomenology of Mind’, translated by J. B. Baillie, (New York: Harper Torch Book, 1931), p. 229.

51 Grier, P. Identity and Difference: Studies in Hegel’s Logic, Philosophy of Spirit, and Politics. Albany: State University of New York Press,

2007. http://www.scribd.com/doc/28932519/Hegel-Identity-and-Difference-Studies-in-Hegel-s-Logic-Philosophy-of-Spirit-and-Politics-

Philip-Grier-Suny-Press-2007#download (last accessed 6th September 2013) –Scribd is a digital library where if you upload a document

then you can download a document for free therefore I uploaded ‘Bergson Coexistence’ from page 2 though its title was different.

52 An excerpt of an citation by Elizabeth Grosz – see endnote 47– from Henri Bergson, The creative Mind: An Introduction to Metaphysics,

trans. Mabell L. Andison, (New York, Citadel Press, 1992),p.93.

53 Elizabeth Grosz, ‘Thinking the new’,’Becomings, Explorations in Time, Memory and Futures’, (New York, Cornell University Press, 1999),

p.25.

54 CG Jung, C. G., Collected Works, “The Structure and Dynamics of the Psyche,” Volume 8, par. 507. Quoted in

http://www.academia.edu/217167/The_Mote_in_Your_Eye_In_Praise_of_Projection (last accessed 26th August 2013).

53  

                                                                                                                                                                                                                                                                                                                                                                                         

55 Gilles Deleuze ‘Cinema 2’ translated by Hugh Tomlinson and Robert Galeta, (London, Continnum, 2009) p.44. Orginally published in

French in 1989.

56 ‘Collective unconscious is a term of analytical psychology, coined by Carl Jung. It is proposed to be a part of the unconscious mind,

expressed in humanity and all life forms with nervous systems, and describes how the structure of the psyche autonomously organizes

experience. Jung distinguished the collective unconscious from the personal unconscious, in that the personal unconscious is a personal

reservoir of experience unique to each individual, while the collective unconscious collects and organizes those personal experiences in a

similar way with each member of a particular species.’ http://en.wikipedia.org/wiki/Collective_unconscious - (last accessed 4th September

2013).

57 C G Jung, ‘Collected Works of C.G. Jung, Volume 9 (Part 1): Archetypes and the Collective Unconscious’, Gerhard Adler, trans. R. F.C.

Hull (Princeton, Princeton University Press,1981) pars. 87-110 from

http://archive.org/stream/TheCollectiveUnconsciousAndItsArchetypes_100/ArchetypesAlongJung_djvu.txt (last accessed 4th September

2013).

58 The archetype in simplistic terms is an archaic image/reference that is pulled out of the collective unconscious. See this video link for

Jung’s own words https://www.youtube.com/watch?v=bVeZz5QnEFE&feature=player_embedded#at=482 (last accessed 4th September

2013).

59 ‘The ‘connectome’ ‘is a map. It's a map of the neurons in your brain and how they interact with each other -- which are connected, where,

and how strongly. Some neuroscientists believe that it's this map that defines who we are -- associating memories with other things in

your brain, in the same way that a smell of baking can conjure up an image of your kitchen.’ Definition from

http://www.wired.co.uk/news/archive/2010-07/16/connectome-sebastian-seung (last accessed 26th August 2013). See also a fascinating

TedTalk by Sebastian Seung, a neuroscientist from July 2010.

60 ‘Kurt Lewin (1890-1947) was a famous, charismatic psychologist who is now viewed as the father of social psychology. Lewin viewed the

social environment as a dynamic field which impacted in an interactive way with human consciousness. Adjust elements of the social

environment and particular types of psychological experience predictably ensue. In turn, the person's psychological state influences the

social field or milieu. Lewin was well known for his terms "life space" and "field theory". From Wikipedia,

http://en.wikipedia.org/wiki/Field_theory_(psychology) (last accessed 13th July 2013)

54  

                                                                                                                                                                                                                                                                                                                                                                                         

61 A haptic trace is the residual memory of a haptic encounter whether it be touch or smell. Haptic visuality is Laura Mark’s theory that the

eyes function as organs of touch, as presented at the RCA as part of the ‘Motion, Emotion, Perception – new studies in vision and

language’ symposium, January 2013.

62 Andrew Pulver ‘Review: Shirin’, http://www.theguardian.com/film/2008/aug/29/shirin.venicefilmfestival (last accessed 26th August 2013).

63 Jacques Lacan’s (psychoanalyst) use of this could be variable as he progressed the idea but in this context it is the enigmatic and difficult

to acquire quality of the desired other; that which is fallen, not unlike William Blake’s ‘Experience/Generation’.

http://en.wikipedia.org/wiki/Objet_petit_a (last accessed 21st August 2013)

64 Edward S Casey, ‘The Time of the Glance’, ‘Becomings, Explorations in Time, Memory and Futures’ ed. Elizabeth Grosz, (New York,

Cornell University Press, 1999), p.94.

65 Ibid. p.91., p.92.

66 Ibid. p.89.

67 Bernard Stiegler, ‘ Technics and Time, 3 : Cinematic Time and the Question of Malaise’ , translated by Stephen Barker (Stanford California,

Stanford University Press, 2011). Originally published in French in 2001. p.32.

68 Ibid. p.24.

69 Raymond Bellour, ‘The Cinema Spectator: A Special Memory’, “Audiences’, ed. I Christie, (Amsterdam, Amsterdam University Press,

2012), p.208.

70 Raymond Bellour, ‘The Cinema Spectator: A Special Memory’, “Audiences’, ed. I Christie, (Amsterdam, Amsterdam University Press,

2012), p.215.

71 WWW eee EEE ccc hhh oooCyber is a made-up ‘branding’ that connotes the hybrid entity as it stands now – spectator/viewer+ film = consciousness.

http://weechocyber.moonfruit.com - the website about it is in production.

72 Dr Who and its spin off Torchwood are BBC TV series of a sci-fi/fantasy theme. For further information look at the fansite

http://news.thedoctorwhosite.co.uk/ (last accessed 4th September 2013).

55  

                                                                                                                                                                                                                                                                                                                                                                                         

73 G Bruno ‘Motion and Emotion and the Urban Fabric’, from ‘Cities in Transition – the Moving Image, (London, Wallflower Press, 2008),

p.25.

74 James Elkins, ‘The Object Stares Back: On the Nature of Seeing. (San Diego: Harcourt Brace, 1997), p.70.

75 Impossible objects in this context are of consciousness and perception as mooted by Alva Noe, a Professor of Philosophy currently at

Berkeley. Impossible objects are of an experienced imperceptible character having no geometrical properties that no physical real object

can have. http://socrates.berkeley.edu/~noe/EWIT.pdf (last accessed 4th September 2013) – see also the general meaning

http://en.wikipedia.org/wiki/Impossible_object (last accessed 4th September 2013)

76 Laura U Marks ‘The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses’ (Durham: Duke University Press, 2000). p.162.

77 Ibid p.63.

78 French poet Arthur Rimbaud which translates as ‘I is other’ from ‘Letter to Georges Izambard’ (Charleville, 13 May 1871).

79 Raymond Bellour, ‘The Cinema Spectator: A Special Memory’, “Audiences’, ed. I Christie. (Amsterdam, Amsterdam University Press,

2012), p.208.

80 Laura U Marks ‘The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses’ (Durham: Duke University Press, 2000), p.65.

81 William Blake’s ‘Experience’ (Songs of Experience, 1794) indicates a level of consciousness coming after childhood, one that has fallen

and is oppressed but through artistic endeavour will be elevated once more. See figure XVI for his imagery.

82 Dr Ian James in his draft paper ‘Thinking as Sense’ (presented at 'Criticism, Theory, and Thinking Sense,' June 2013 at the RCA).

83 Stanislaw Lem, ‘Solaris’, trans. (Premier Digital Publishing, 2011), location: 3387. The translation by Bill Johnston direct from Polish to

English is said to far outshine what Lem thought was a poor transfer from Polish to French translation to English- it certainly reads far

better for this quote than the one from the 1970s. It is near the end of the book.

84 http://en.wikipedia.org/wiki/Kinect (last accessed 25th September 2013).

85 ‘Sandrine Leurstemont, ‘Optical illusions help you explore a virtual world on foot’, New Scientist, Issue no. 2922, 22 June 2013, p. 22.

Further information can be found at http://www.wizdish.com/ (last accessed 10th August 2013).

56  

                                                                                                                                                                                                                                                                                                                                                                                         

86 Niall Firth, ‘Get your head in the game‘, New Scientist, Issue No. 2922, 22 June 2013 p.19.http://www.virtuix.com/ (last accessed 13th

August 2013).

87 Douglas Heaven, ‘Mind-bending games let you live your dreams’, New Scientist, Issue No. 2922, 22 June 2013, p.20.

88 Len Manovich, ‘The Poetics of Augmented Space’, Visual Communication June 2006 vol. 5 no. 2. p. 223.

89 Len Manovich, ‘The Language of New Media’, (Cambridge, MIT Press, 2002), p.236.

90 Term from Dr Steve Mann, a member of the Wearable computing group at MIT Media Lab and it means there is a mixture of visual

information from the real world and virtual information.

91 http://en.wikipedia.org/wiki/Augmented_reality (last accessed 5th August 2013).

92 Barbara Maria Stafford, ‘Echo Objects: The Cognitive Work of Image’s. (Chicago: University of Chicago Press, 2007), p.190.

93 Paul Virilio, ‘War and Cinema, The Logistics of Perception’, translated by Patrick Camiller (London, Verso, 1989), p.26.

94 ‘According to Lem, phantomatics is the generation of 'realities which for the intelligent life-forms that inhabit them are indistinguishable

from normal reality, yet are governed by different laws.' http://www.cncb.ox.ac.uk/index.php/technologies, (last accessed 24th August

2013).

95 http://chrr.info/events/181-can-technology-help-museum-visitors-understand-suffering (last accessed 26th August 2013). Excerpt from

website: ‘Dr Adam Muller (English, Film, and Theatre) and Dr. Andrew Woolford (Sociology) met on Sept. 26, 2011, to discuss how new

technologies can be used to help museum visitors better understand the suffering of others. Dr. Struan Sinclair (English, Film, and

Theatre) and Dr. Herb Enns (Architecture) continued this discussion on Oct. 17, 2011.’

96 Transmedia storytelling is http://www.tstoryteller.com/transmedia-storytelling (last accessed 3rd September 2013).

97 Sylviane Agacinski, ‘Time passing, modernity and nostalgia’, translated by Jody Gladding (Columbia University Press, 2003) p.15. The

original French edition ‘Passeur de temps’ was published in 2000.

98 ‘Gamification is the concept of applying the psychology of game-design thinking to non-game applications to make them more fun,

engaging and addicting. The psychological carrots include the need for public recognition and the thrill of competition.’,

http://www.networkworld.com/supp/2012/enterprise6/120312-ecs-hybrid-cloud-264443.html?page=4, (last accessed 22nd September

2013).

57  

                                                                                                                                                                                                                                                                                                                                                                                         

99 Hybrid Clouds are the use of different public and private clouds merged within cloud computing to deliver different services.

http://www.networkworld.com/slideshow/76027/10-cloud-predictions-for-2013.html#slide2, (last accessed 22nd September 2013) .

100 Barbara Maria Stafford, ‘Echo Objects: The Cognitive Work of Image’s. (Chicago: University of Chicago Press, 2007), p. 207

101 This is an excerpt from a speech of Winston Churchill’s at the Lord Mayor's Day luncheon, Mansion House, London, 9 November 1942,

for full transcript at http://www.winstonchurchill.org/learn/speeches/speeches-of-winston-churchill/1941-1945-war-leader/987-the-end-of-

the-beginning (last accessed 24th August, 2013).

102 http://www.9hundred.org/viewbig.php?i=116 (last accessed 22nd July 2013).

103 Arte difettoso was created by me out of necessity to describe my practice; it uses ‘arte povera’ as a jump-off semantic point.

104 This work forms a literary assemblage of famous movie dialogues quotes typed using screenplay standard Courier typeface 10pt

from http://en.wikipedia.org/wiki/AFI's_100_Years...100_Movie_Quotes (last accessed 19th August, 2013).

105 ‘Spiritus Mundi’, literally translated as Spirit (of the) World came from the poet WB Yeats; it was his idea (out of Anima Mundi [soul]) that

the world was part of a vital intelligence - a Jungian collective unconscious in which humans, being part of it, could tap into its universal

symbols (its concept can be found from Plato to Eastern Buddhist philosophies). It appeared in his poem ‘The Second Coming’ – the full

transcript can be found at http://www.yeatsvision.com/secondnotes.html last accessed 24th August 2013. I have always found the poem

intriguing and also think that Yeat’s visualized concept of a ‘gyre’ to be reminiscent of diagrams by Henri Bergson and Gilles Deleuze in

regards to time and memory. Certainly WWW eee EEE ccc hhh ooo Cyber could be said to be an extension of this idea.

106 G Bruno, ‘Motion and Emotion and the Urban Fabric’, from ‘Cities in Transition – the Moving Image’, (London, Wallflower Press, 2008)

p.24.

107 William Butler Yeats, ‘The Second Coming’, (Ware, Wordworth Eds., 2000), p. 158.

108 Maurice Blanchot, The Writing of the Disaster’, trans. A Smock, (Lincoln/London, University of Nebraska Press, 1986 p. 125.