The Demise of Digital (Print #1)
Usai maintains that digital is a questionable technology. However, as Brand pointed out, "the best way for doubters to control a questionable new technology is to embrace it, lest it remain wholly in the hands of enthusiasts who think there is nothing questionable about it". Usai sees two...
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| Veröffentlicht in: | Film quarterly 2006-03, Vol.59 (3), p.3-3 |
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| container_title | Film quarterly |
| container_volume | 59 |
| creator | Usai, Paolo Cherchi |
| description | Usai maintains that digital is a questionable technology. However, as Brand pointed out, "the best way for doubters to control a questionable new technology is to embrace it, lest it remain wholly in the hands of enthusiasts who think there is nothing questionable about it". Usai sees two ways of doing so in his own area of activity, including the contention that a fine arts museum--if that's where digital moving-image artworks end up--should be preoccupied as much with the apparatus that makes the exhibition of the digital work possible as with the work itself, and consider both as equal partners in its collections. |
| doi_str_mv | 10.1525/fq.2006.59.3.3 |
| format | Article |
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| fulltext | fulltext |
| identifier | ISSN: 0015-1386 |
| ispartof | Film quarterly, 2006-03, Vol.59 (3), p.3-3 |
| issn | 0015-1386 1533-8630 |
| language | eng |
| recordid | cdi_proquest_journals_212280408 |
| source | Jstor Complete Legacy |
| subjects | Berlioz, Hector Computer art Digital imaging Eastman, George Entertainment technology & design Film archives Fine arts High technology Movies |
| title | The Demise of Digital (Print #1) |
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