Movement as Meaning in Experimental Cinema offers sweeping and
cogent arguments as to why analytic philosophers should take
experimental cinema seriously as a medium for illuminating
mechanisms of meaning in language. Using the analogy of the movie
projector, Barnett deconstructs all communication acts into
functions of interval, repetition and context. He describes how
Wittgenstein's concepts of family resemblance and language games
provide a dynamic perspective on the analysis of acts of reference.
He then develops a hyper-simplified formula of movement as meaning
to discuss, with true equivalence, the process of reference as it
occurs in natural language, technical language, poetic language,
painting, photography, music, and of course, cinema. Barnett then
applies his analytic technique to an original perspective on
cine-poetics based on Paul Valery's concept of omnivalence, and to
a projection of how this style of analysis, derived from analog
cinema, can help us clarify our view of the digital mediasphere and
its relation to consciousness. Informed by the philosophy of Quine,
Dennett, Merleau-Ponty as well as the later work of Wittgenstein,
among others, he uses the film work 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 illustrate the power of his
unique perspective on meaning.
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