Anne Friedberg The Virtual Window Pdf

Table of Contents • • page ix • page 1 • page 25 • page 50 • page 59 • page 94 • page 101 • page 140 • page 149 • page 182 • page 191 • page 240 • page 245 • page 249 • page 349 Reviews • Catalog record Title The virtual window: from Alberti to Microsoft / Anne Friedberg. Author Friedberg, Anne Extent 600dpi TIFF G4 page images E-Distribution Information MPublishing, University of Michigan Library Ann Arbor, Michigan Permission must be received for any subsequent distribution in print or electronically. Please contact info@hebook.org for more information. Source Version The virtual window: from Alberti to Microsoft / Anne Friedberg.

Friedberg, Anne Cambridge, Mass.: MIT Press, 2009, c2006. URL Subject Headings • Image (Philosophy) -- History • Mass media -- Philosophy -- History • Windows • Windows in art • Windows (Computer programs) Notes Originally published: 2006. Electronic access restricted; authentication may be required Encoding Description Project Description Header created via MARC-to-XML-to-TEI transformation on 2016-11-18 Editorial Declaration This electronic text file was created by Optical Character Recognition (OCR). No corrections have been made to the OCR-ed text and no editing has been done to the content of the original document.

In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window.

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This article includes a, related reading or, but its sources remain unclear because it lacks. Please help to this article by more precise citations. (September 2010) () Anne Friedberg was Chair of the Critical Studies Division in the School of Cinematic Arts at the and President-elect of the. An author, historian and theorist of modern media culture, Friedberg received her PhD. In Cinema Studies from. She was on the faculty of Film and Media Studies at, where she was the principal architect for a new interdisciplinary Ph.D.

Program in Visual Studies and the founding director and programmer of UCI's Film and Video Center. In 2003, she joined the USC faculty, where she was instrumental in the creation of the Visual Studies Graduate Certificate and the Ph.D. In 2009, she was named an Academy Scholar by the. She died in Los Angeles on October 9, 2009, at the age of 57. Friedberg lectured widely in the United States and elsewhere, including invited talks in Berlin, Frankfurt, Bonn, Vienna, Tokyo, Montreal, Bern, Lausanne, Stockholm, Prague, and at the Guggenheim Museum/NY, Art Institute/Chicago, and Getty Museum/LA. In 2001-2002, she was a Visiting Scholar at the Getty Research Institute.

During 2005-2006, she was a fellow at USC’s as a member of the Networked Publics research group. Fake Drivers License Picture Generator. Friedberg's research and teaching interests included: film and media histories and theories, old media/new media historiographies, critical theory/ feminist theory, nineteenth century visual culture and early cinema, theories of vision and visuality, architecture and film, global media culture. Her most important scholarly and theoretical work is generally considered to be the recent The Virtual Window: From Alberti to Microsoft, which synthesized her previous writing about movies, film, and television, and her long experience as a theorizer of forms of visual experience. Therein, she subjected the common linguistic tropes of visual representation, including 'window,' 'screen', and 'the virtual' to rigorous analysis, analysis that in many cases rendered commonly accepted definitions inadequate.

Drawing on philosophical and theoretical texts ranging from the art historian Erwin Panofsky to poststructuralists like Derrida, Friedberg proposed that forms of static-image, moving-image, and computer-modeled representation represented significantly different systems susceptible to rigorous analysis. Several of Friedberg's proposals lay at the center of a larger movement to more precisely and sustainedly interrogate and integrate philosophical, 'theoretical' (notably post-structural and French), and art-historical investigations of the nature of human representations and their roots in historical and cultural contexts.

Among the most notable of these were distinctions between human sight and photographic representation, proposals on the nature of Durer's 'veil,' and an argument that Alberti's treatise was misinterpreted due to a failure to read the original Latin. The publication of her book was accompanied by an interactive online companion, The Virtual Window Interactive, created in collaboration with designer.