Movement as Meaning: In Experimental Film (Consciousness, Literature and the Arts)

Movement as Meaning: In Experimental Film (Consciousness, Literature and the Arts)


This booklet deals sweeping and cogent arguments as to why analytic philosophers may still take experimental cinema heavily as a medium for illuminating mechanisms of which means in language. utilizing the analogy of the motion picture projector, Barnett deconstructs all conversation acts into services of period, repetition and context. He describes how Wittgenstein's strategies of family resemblance and language games offer a dynamic standpoint at the research of acts of reference. He then develops a hyper-simplified formulation of movement as meaning to debate, with precise equivalence, the method of reference because it happens in average language, technical language, poetic language, portray, images, track, and naturally, cinema. Barnett then applies his analytic strategy to an unique viewpoint on cine-poetics in accordance with Paul Valery's thought of omnivalence, and to a projection of the way this form of research, derived from analog cinema, will help us make clear our view of the electronic mediasphere and its relation to cognizance. knowledgeable through the philosophy of Quine, Dennett, Merleau-Ponty in addition to the later paintings of Wittgenstein, between others, he makes use of the movie paintings of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to demonstrate the facility of his exact point of view on which means.

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