scholarly journals Sublime Pixels: Exploring the Audience Experience in Digital Special Effects Cinema

2021 ◽  
Author(s):  
◽  
Torben Antonsen
Keyword(s):  
Digital Image ◽  
Basic Assumption ◽  
Special Effects ◽  
Digital Cinema ◽  
The Sublime ◽  
Perception Theory

<p>When exploring the audience perception of digital special effects cinema and the staggering success it has enjoyed, the explorer will often be left with a sense of confusion. They may ask: What is it that the audience is looking for or at when confronted with these pixilated illusions? This thesis attempts to answer that question. It starts with the basic assumption that what the audience is hoping to achieve when 'touched' by the phenomenal spectacle of the digital image is the very best feeling achievable, or the truly sublime. To do this, the thesis unravels the philosophical and theoretical quandaries that surround audience perception theory. It then examines digital special effects and digital cinema to understand, not only its attraction, but also its power over the viewer lost in its awesome potential. By exploring the governing theories behind the sublime and audience perception, the thesis is able to contend that the digital special effects image becomes carnally real or 'alive'. Through the examination of a number of seminal digital special effects movies the thesis tries not only to de-mystify the digital image, but to also create an aesthetic, situational 'map' to the feeling of the sublime.</p>

scholarly journals Sublime Pixels: Exploring the Audience Experience in Digital Special Effects Cinema

2021 ◽  
Author(s):  
◽  
Torben Antonsen
Keyword(s):  
Digital Image ◽  
Basic Assumption ◽  
Special Effects ◽  
Digital Cinema ◽  
The Sublime ◽  
Perception Theory

<p>When exploring the audience perception of digital special effects cinema and the staggering success it has enjoyed, the explorer will often be left with a sense of confusion. They may ask: What is it that the audience is looking for or at when confronted with these pixilated illusions? This thesis attempts to answer that question. It starts with the basic assumption that what the audience is hoping to achieve when 'touched' by the phenomenal spectacle of the digital image is the very best feeling achievable, or the truly sublime. To do this, the thesis unravels the philosophical and theoretical quandaries that surround audience perception theory. It then examines digital special effects and digital cinema to understand, not only its attraction, but also its power over the viewer lost in its awesome potential. By exploring the governing theories behind the sublime and audience perception, the thesis is able to contend that the digital special effects image becomes carnally real or 'alive'. Through the examination of a number of seminal digital special effects movies the thesis tries not only to de-mystify the digital image, but to also create an aesthetic, situational 'map' to the feeling of the sublime.</p>

scholarly journals The relation between the beauty and the sublime in Hartmann′s aesthetics

2020 ◽  
Vol 63 (3) ◽  
pp. 159-167
Author(s):  
Nebojsa Grubor
Keyword(s):  
Basic Assumption ◽  
The Core ◽  
The Sublime ◽  
The Relationship ◽  
Aesthetic Values

The text examines the relationship between the beauty and the sublime in Hartmann?s aesthetics. According to the basic assumption of Hartmann?s aesthetics, the sublime, like all other aesthetic values, are subordinated to the beauty. The text shows that the relationship between the beauty and the sublime in Hartmann?s aesthetics is complex and that beauty formally includes the sublime, but that the sublime in terms of fixing aesthetic content is the core of aesthetic issues.

scholarly journals The complete works and digitizing bpNichol: staging the written word in digital moving pictures.

2021 ◽  
Author(s):  
Justin Stephenson
Keyword(s):  
Digital Image ◽  
Digital Technology ◽  
Digital Images ◽  
Contemporary Poetry ◽  
Discrete Elements ◽  
Working Process ◽  
Avant Garde ◽  
Digital Cinema ◽  
Written Word ◽  
The Way

Through a digital cinema project based on the work of Canadian author bpNichol, this paper explores how contemporary poetry provides methods to create, investigate and critique digital images. By examining the way in which digital technology divides images into discrete elements, this report makes the claim that the methods of avant-garde and contemporary poetry align with the methods of digital image making. Using an active documentation methodology in which the working process of the project is documented and reflected upon, this discussion uses sequences from the project to explore how Nichol's writings and poetic methods provide ways to make and examine digital images.

Digital Cinema

2013 ◽  
pp. 11-44 ◽  
Author(s):  
Thomas Elsaesser
Keyword(s):  
Digital Media ◽  
Digital Age ◽  
Public Spaces ◽  
The Internet ◽  
Special Effects ◽  
The Public ◽  
Digital Cinema ◽  
The Past ◽  
Recorded Sound ◽  
Heterogeneous Ensemble

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. Given the dominance of television and the internet, how can the cinema hold its ground among the public spaces and private occasions where cinema, television, and digital media compete with each other for audiences and attention? Is “digital cinema” a radical break, a contradiction in terms, or merely cinema by other means, essentially the same heterogeneous ensemble of technologies, special effects, and broad public appeal it has been for the past hundred years? This essay considers these questions in a broader context, examining, among others, whether cinema, television, recorded sound, and digital media belong together at all, considering their very different histories. The first half of the essay deals with multimedia convergence; the second half takes up the contradictory dynamics of digital cinema. The conclusion briefly addresses the epochal or epistemic changes associated with terms such as renaissance or revolution that the digital age is usually associated with.

The Technological Sublime: Metropolis (1927)

2021 ◽  
Author(s):  
Katharina Loew
Keyword(s):  
Special Effects ◽  
Spiritual Dimension ◽  
The Sublime ◽  
Material Reality ◽  
Industrial Modernity ◽  
Technological Sublime ◽  
Technological Means ◽  
Mechanical Objects

Metropolis displays a deeply conflicting attitude toward industrial modernity. Conceived and marketed as a marvel of film technology, the film pursued the techno-romantic project of transcending material reality through technological means. What is more, the goal was to capture the unfathomability of technology itself. Metropolis simultaneously portrays technology as an agent of tyranny and dehumanization and flaunts it as spectacle. Special effects facilitate encounters with overpowering technological environments and omnipotent machines, which give rise to sentiments that are best described in terms of a “technological sublime.” The sublime characterizes experiences that go beyond the earthly and finite, to attain a spiritual dimension. In attributing transcendent qualities to mechanical objects, the technological sublime embodies the technoromantic paradigm.

The complete works and digitizing bpNichol: staging the written word in digital moving pictures.

2021 ◽  
Author(s):  
Justin Stephenson
Keyword(s):  
Digital Image ◽  
Digital Technology ◽  
Digital Images ◽  
Contemporary Poetry ◽  
Discrete Elements ◽  
Working Process ◽  
Avant Garde ◽  
Digital Cinema ◽  
Written Word ◽  
The Way

Through a digital cinema project based on the work of Canadian author bpNichol, this paper explores how contemporary poetry provides methods to create, investigate and critique digital images. By examining the way in which digital technology divides images into discrete elements, this report makes the claim that the methods of avant-garde and contemporary poetry align with the methods of digital image making. Using an active documentation methodology in which the working process of the project is documented and reflected upon, this discussion uses sequences from the project to explore how Nichol's writings and poetic methods provide ways to make and examine digital images.

Application of Digital Image Correlation in Fatigue Crack Analysis

2012 ◽  
Vol 726 ◽  
pp. 218-221 ◽  
Author(s):  
Tomasz Marciniak ◽  
Zbigniew Lutowski ◽  
Sławomir Bujnowski ◽  
Dariusz Boroński ◽  
Tomasz Giesko
Keyword(s):  
Digital Image Correlation ◽  
Digital Image ◽  
Basic Assumption ◽  
Image Correlation ◽  
Measurement Sensitivity ◽  
Displacement Analysis ◽  
Riveted Joints ◽  
High Measurement ◽  
Cracking Zone ◽  
Paper Method

In the paper method of displacement analysis in the cracking zone based on digital image correlation and advanced multi-processor graphic cards procedures was presented. The basic assumption for the discussed displacement and strain measurement method under time variable loads was obtaining high measurement sensitivity by simultaneously minimizing the measurement time consumption. The developed digital procedures for correlation of images has been used for an example of displacement analysis in the crack propagation testing in airplane riveted joints.

Digital image-digital cinema

1990 ◽  
Vol 33 (7) ◽  
pp. 30-37 ◽  
Author(s):  
Thomas E. Linehan
Keyword(s):  
Digital Image ◽  
Digital Cinema
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