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
Davis, Dennis
Brownie, Stephen H
Jordan, Matt
McElroy, Ann
Tedlock, Barbara
Lykke, Nina
Journals
Polhem: Tidskrift för Teknikhistoria
Environmental History
Research in Philosophy and Technology
Public Understanding of Science
Archives of Natural History
Perspectives on Science
Publishers
Oxford University Press
Pickering & Chatto
Pennsylvania State University
State University of New York at Buffalo
Cornell University Press
MIT Press
Concepts
Internet
Motion pictures; cinema; movies
Visual representation; visual communication
Information science
Public understanding of science
Computers and computing
People
Dreyfus, Hubert L.
Prelinger, Rick
Snow, Charles Percy
Places
Africa
Greece
Japan
United States
Times
21st century
20th century, late
20th century
20th century, early
Institutions
IMAX Filmed Entertainment
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