It’s been slow here because I am hard at work on the manuscript of Ecologies of the Moving Image, which I had hoped to finish this summer. The first three chapters are complete or close to it; the last three and final epilogue are in various stages of semi-completion. Until they are complete, blogging may continue to be slow. (And the current heat wave, hitting 90+ F. (30s C.) temperatures in Vermont’s Green Mountains, and encouraging swimming rather than writing, doesn’t help.) Here’s a little information about the book. (This has been slightly modified from the original post, to clarify a few things.)
There are six chapters, a brief Foreword, and a brief-to-medium length Epilogue. Chapter titles, at the moment, are as follows:
1. Introduction: Journeys into the Zone of Cinema
2. Ecologies, Morphologies, Semiosics: A Process-Relational Model of Cinema
3. Territorialities: The Geomorphology of the Visible
4. Encounters: First Contact, Utopia, & the Ethnographic Impulse
5. Anima Moralia: The Ethics of Perception
6. Terra, Trauma, & the Geopolitics of the Real
Epilogue: Digital Life in a Biosemiotic World
As the Introduction suggests, the journey metaphor looms prominently in the book. This is because I conceptualize the cinematic experience as a journey into cinema worlds. The book presents a philosophy — specifically an ecophilosophy — of the cinema. It brings a “process-relational” approach (indebted to Peirce, Whitehead, Deleuze, and others) to three sets of relational processes: (1) the constitution, becoming, or “worlding” of film-worlds themselves (conceived as morphogenetic processes), (2) the processes by which viewers are drawn into film-worlds, and (3) cinema’s interaction with the extra-cinematic earth-world.
Each of these is a triad, conceived more or less along the lines of Peirce’s categories. With the film-world (#1), there is its geomorphism, the givenness of its objectscapes; there is the biomorphism of its interperceptual dynamics, which include the seeing/hearing/feeling that is at the heart of cinema (i.e., its relational event-ness); and there is the anthropomorphism, by which agency, the capacity to act, is distributed within the film-world. With the film-event (#2), there is its spectacle, its immediate, shimmering ‘thisness’ and ‘thereness’; there is its narrativity, which weaves us into its causal-effective web as it surges forward in time; and there is the semiosic productivity or signness of the meanings that proliferate out of the encounter between us — with our prior experiences, expectations, desires, and so on — and the film. And with the earth-world (#3), there are its material ecologies (for which cinema is a material process), its perceptual ecologies (for which it is a perceptual process), and its social ecologies (for which it is a social process).
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