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Introduction Framing Attention 1. Charles Baudelaire, Prose and Poetry, trans. Arthur Symons (New York: Albert and Charles Boni, 1926) 63. 2. Baudelaire, Prose and Poetry 64. 3. Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA: MIT Press, 2000) 65. 4. “First of all, on the surface on which I am going to paint, I draw a rectangle of whatever size I want, which I regard as an open window through which the subject to be painted is seen.” Leon Battista Alberti, On Painting and On Sculpture: The Latin Texts of “De Pittura” and “De Statua,” trans. Cecil Grayson (London: Phaidon, 1972) 55. 5. Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (Chicago: University of Chicago Press, 1983). 6. W. J. T. Mitchell, Iconology: Image, Text, Ideology (Chicago: University of Chicago Press, 1986) 17. 7. Quoted in Lawrence Wright, Perspective in Perspective (London: Routledge and Kegan Paul, 1983) 87. 8. Erwin Panofsky, Perspective as Symbolic Form, trans. Christopher S. Wood (New York: Zone Books, 1997). 9. Marshall McLuhan, Understanding Media: The Extensions of Man (New York: McGraw-Hill, 1964). 10. “Through much of the Western tradition oil paint is treated primarily as an erasive medium. What it must first erase is the surface of the picture-plane: visibility of the surface would threaten the coherence of the fundamental technique through which the Western representational image classically works the trace.” Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983) 92. 11. For more on windows in painting, see among others Lorenz Eitner, “The Open Window and the Storm-Tossed Boat,” Art Bulletin 37.4 (1955): 281–290. See also Thomas Grochowiak, ed., Einblicke-Ausblicke: Fensterbilder von der Romantik bis heute (Recklinghausen: Städtische Kunsthalle Recklinghausen, 1976); Carla Gottleib, The Window in Art: From the Window of God to the Vanity of Man (New Notes 269 270 York: Abaris Books, 1981) 287–305; and Suzanne Delehanty, ed., The Window in Twentieth-Century Art (Purchase, NY: Neuberger Museum, 1986) 17–28. 12. For more on windows in literary fiction, see Massimo Fusillo, “Metamorphosis at the Window,” Elephant and Castle, October 26, 2004, http://dinamico .unibg.it/cav/elephantandcastle/. 13. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction ,” Illuminations: Essays and Reflections, trans. Harry Zohn, ed. Hannah Arendt (New York: Schocken, 1969) 236. 14. Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, MA: MIT Press, 1992) and Suspensions of Perception : Attention, Spectacle, and Modern Culture (Cambridge, MA: MIT Press, 1999); Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA: Harvard University Press, 2002). 15. Doane, The Emergence of Cinematic Time 80. 16. Doane, The Emergence of Cinematic Time 11. See also T. J. Clark, Farewell to an Idea: Episodes from a History of Modernism (New Haven: Yale University Press, 1999) 10–11. 17. Leo Charney, Empty Moments: Cinema, Modernity, and Drift (Durham, NC: Duke University Press, 1998) 7. 18. Guy Debord, The Society of the Spectacle, trans. Donald Nicholson-Smith (New York: Zone Books, 1994) 24. 19. For such a celebratory account, see for instance Mark Poster, What’s the Matter with the Internet (Minneapolis: University of Minnesota Press, 2001). 20. Franz Kafka, “The Street Window,” The Complete Stories, ed. Nahum N. Glatzer (New York: Schocken Books, 1971) 384. Thanks to Jennifer Kapczynski for drawing this passage to my attention. 21. Kafka, “The Street Window” 384. 22. Erwin Panofsky, “Style and Medium in the Motion Pictures,” Film Theory and Criticism: Introductory Readings, ed. Leo Braudy and Marshall Cohen, 6th ed. (New York: Oxford University Press, 2004) 292. 23. For more on Kafka’s obsession with cinema, see Hanns Zischler, Kafka Goes to the Movies, trans. Susan H. Gillespie (Chicago: University of Chicago Press, 2003). 24. John Zilcosky, Kafka’s Travels: Exoticism, Colonialism, and the Traffic of Writing (New York: Palgrave Macmillan, 2003) 153–174; Lutz Koepnick, “Kafka Calling on the Camera Phone,” Journal of Visual Culture 2.3 (2003): 353–356. 25. Ivan E. Sutherland, “The Ultimate Display,” Proceedings of International Foundation of Information Processing, ed. Wayne A. Kalenich (Washington, D.C.: Spartan, 1965) II, 506. 26. Gene Youngblood, Expanded Cinema (New York: E. P. Dutton, 1970) 189. 27. Thierry Bardini, Bootstrapping: Douglas Engelbart, Coevolution, and the Origins of Personal Computing (Stanford: Stanford University Press, 2000) 143. Notes to Pages 10–20 [3.133.149.168] Project MUSE (2024-04-24 23:33 GMT...

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