Works & Remarks by Students & Others
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Browsing Works & Remarks by Students & Others by Author "Crippen, Matthew"
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Item Open Access Art and Pragmatism: James and Dewey on the Reconstructive Presuppositions of Experience(2010) Crippen, MatthewDissertation by Matthew Crippen on the pragmatic construals by James and Dewey of how we experience works of art, supervised by EWC and defended in May of 2010, as submitted to the Faculty of Graduate Studies in partial fulfilment of the requirements for the degree of Doctorate of Philosophy, Graduate Programme in Philosophy, York University, Toronto, Ontario.Item Open Access Digital Fabrication and its Meaning for Photography and Film(2016) Crippen, Matthew; Ingram, SusanBazin, Cavell and other prominent theorists have asserted that movies are essentially photographic with more recent scholars such as Carroll and Gaut protesting. Today CGI stands as a further counter, in addition to past objections such as editing, animation and blue screen. Also central in debates is whether photography is transparent, that is, whether it allows us to see things in other times and places. I maintain photography is transparent, notwithstanding objections citing digital manipulation. However, taking a cue from Cavell—albeit one poorly outlined in his work—I argue this is not so much because of what photography physically is, but because of what “photography” has come to mean. I similarly argue digital technologies have not significantly altered what cinematic media “are” because they have not fundamentally modified what they mean; and that cinema retains a photographic legacy, even when it abandons photographic technologies to digitally manufacture virtual worlds.Item Open Access Performers Playing Themselves(2016) Crippen, MatthewAn enquiry by Matthew Crippen into how we encounter actors as we perceive them by means of a movies, having encountered them within other movies beforehand. After discussing how we use photographs, he concludes that we cannot help but register the actors as actors as we encounter them enacting rôles. Echoing what filmmakers have said and done and adding to classic accounts of Cavell, Santayana and others, he concludes that the very nature of movies well-nigh invites performers to play themselves.