Digital culture, taken etymologically, means a culture of the fingers (from the Latin digitus). Although our contemporary times are still envisioned through the lens of an over-reigning visual paradigm, our media practice has become mainly bodily, since the role of hands has proven ever more decisive and as gestures have increasingly been constructed as tools for thinking and conceptualization. This issue presents crucial case studies in film and visual culture, ranging from classic to experimental cinema, from science visualization to esoteric culture. In every field, filmed hands come to be extraordinary operators of visibility: they depict imaginary worlds which do not rely upon eye perception, they make visible the intimacy of the human being, they give shape to the spectator’s gaze and, in a more concrete fashion, to the image itself through gestures of care and restoration of the filmstrip as well as by anchoring vision through data visualization processes. A hypnotic and a powerful motif, hands represent the corporeal grounds of the cinematic medium and the indelible crystallization of the human in technique.

Mediatic Handology. Shaping Images, interacting, magicking / A. Ackerman, B. Grespi, A. Pinotti. - In: CINÉMA & CIE. - ISSN 2035-5270. - 20:35(2020), pp. 1-104.

Mediatic Handology. Shaping Images, interacting, magicking

B. Grespi
Co-primo
Membro del Collaboration Group
;
A. Pinotti
Co-primo
Membro del Collaboration Group
2020

Abstract

Digital culture, taken etymologically, means a culture of the fingers (from the Latin digitus). Although our contemporary times are still envisioned through the lens of an over-reigning visual paradigm, our media practice has become mainly bodily, since the role of hands has proven ever more decisive and as gestures have increasingly been constructed as tools for thinking and conceptualization. This issue presents crucial case studies in film and visual culture, ranging from classic to experimental cinema, from science visualization to esoteric culture. In every field, filmed hands come to be extraordinary operators of visibility: they depict imaginary worlds which do not rely upon eye perception, they make visible the intimacy of the human being, they give shape to the spectator’s gaze and, in a more concrete fashion, to the image itself through gestures of care and restoration of the filmstrip as well as by anchoring vision through data visualization processes. A hypnotic and a powerful motif, hands represent the corporeal grounds of the cinematic medium and the indelible crystallization of the human in technique.
English
2020
No
Si, OA ibrido
Mimesis International
20
35
1
104
104
978-88-6977-370-9
DIGITAL CULTURE; TOUCH; CINEMA; MEDIA
Settore L-ART/06 - Cinema, Fotografia e Televisione
Periodico con rilevanza internazionale
Ricerca di base
Pubblicazione scientifica
   An-Iconology: History, Theory, and Practices of Environmental Images (AN-ICON)
   AN-ICON
   EUROPEAN COMMISSION
   H2020
   834033
manual
Aderisco
Mediatic Handology. Shaping Images, interacting, magicking / A. Ackerman, B. Grespi, A. Pinotti. - In: CINÉMA & CIE. - ISSN 2035-5270. - 20:35(2020), pp. 1-104.
A. Ackerman, B. Grespi, A. Pinotti
info:eu-repo/semantics/other
284
Journal volume (editor)
3
reserved
Prodotti della ricerca::17 - Curatela di numero monografico di rivista
File in questo prodotto:
File Dimensione Formato  
C&C 35 ST.pdf

accesso riservato

Tipologia: Post-print, accepted manuscript ecc. (versione accettata dall'editore)
Dimensione 5.41 MB
Formato Adobe PDF
5.41 MB Adobe PDF   Visualizza/Apri   Richiedi una copia
Pubblicazioni consigliate

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2434/911567
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus ND
  • ???jsp.display-item.citation.isi??? ND
social impact