(Interactive) cinema as a model of mind
(Interactive) cinema is introduced as a model system for describing mind, inspired by Antonio Damasio's approach (1999, 2002) to emotions and the conscious self. Damasio harnesses 'movie' as a metaphor for the integrated, unified composite of sensory images-visual, auditory, tactile,...
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| Published in | Digital creativity (Exeter) Vol. 15; no. 1; pp. 14 - 17 |
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| Main Author | |
| Format | Journal Article |
| Language | English |
| Published |
Taylor & Francis Group
01.03.2004
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| Online Access | Get full text |
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| Summary: | (Interactive) cinema is introduced as a model system for describing mind, inspired by Antonio Damasio's approach (1999, 2002) to emotions and the conscious self. Damasio harnesses 'movie' as a metaphor for the integrated, unified composite of sensory images-visual, auditory, tactile, olfactory; the multimedia-show he calls mind. Assuming emotion to be the foundation of any cognitive act, cinema is discussed as a metaphoric externalisation of embodied mind. This discussion creates a novel dialogue between the contemporary philosophy of embodied mind by George Lakoff and Mark Johnson (1999), and the practice-based cinematic thinking of Russian film director Sergei Eisenstein (from the first half of the 20th century). The work Eisenstein did in order to construct an organic unity of cinematic form serves as the point of departure for an attempt to model the (interactive) film research project Obsession. |
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| ISSN: | 1462-6268 1744-3806 |
| DOI: | 10.1076/digc.15.1.14.28151 |