Article ID: CBB393527071

Blind Windows (2018)

unapi

This article analyses Camille Henrot’s 2013 film Grosse Fatigue in relation to the histories of hypermedia and modes of interaction with the World Wide Web. It considers the development of non-hierarchical systems for the organisation of information, and uses Grosse Fatigue to draw comparisons between the Web, the natural history museum and the archive. At stake in focusing on the way in which information is organised through hypermedia is the question of subjectivity, and this article argues that such systems are made ‘user-friendly’ by appearing to accommodate intuitive processes of information retrieval, reflecting the subject back to itself as autonomous. This produces an ideology of individualism which belies the forms of heteronomy that in fact shape and structure access to information online in significant ways. At the heart of this argument is an attention to the visual, and the significance of art as an immanent mode of analysis. Through the themes of transparency and opacity, and order and chaos, the article thus proposes a defining dynamic between autonomy and automation as a model for understanding the contemporary subject.

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Authors & Contributors
Nell Haynes
Włodzimierz Gogołek
Pirone, Jane
Bonastre, Oscar M.
Jeff Kosseff
John Cheney-Lippold
Concepts
Internet
Motion pictures; cinema; movies
Visual representation; visual communication
Computers and computing
Information science
World Wide Web
Time Periods
21st century
20th century, late
20th century
20th century, early
Places
United States
Japan
Greece
Chile
Africa
Institutions
IMAX Filmed Entertainment
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