{"id":614,"date":"2016-02-15T11:10:05","date_gmt":"2016-02-15T11:10:05","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/sequence\/?p=614"},"modified":"2016-02-15T11:14:59","modified_gmt":"2016-02-15T11:14:59","slug":"presenting-sequence-four-analogue-digital","status":"publish","type":"post","link":"https:\/\/reframe.sussex.ac.uk\/sequence\/presenting-sequence-four-analogue-digital\/","title":{"rendered":"Presenting SEQUENCE Four: Analogue-Digital"},"content":{"rendered":"<p><strong><a href=\"http:\/\/reframe.sussex.ac.uk\/sequence4\/about\/\" target=\"_blank\">SEQUENCE Four: Analogue-Digital\u00a0(2016-present<\/a><\/strong>)<\/p>\n<ul>\n<li><strong><em>NEW!<\/em>\u00a0Paul Atkinson, \u2018THINKING WITH DIGITS: Cinema and\u00a0the Digital-Analogue Opposition\u2019,\u00a0<em>SEQUENCE<\/em>, 4.1, 2016. Online at:\u00a0\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence4\/archive\/sequence-4-1\/\" target=\"_blank\">http:\/\/reframe.sussex.ac.uk\/sequence4\/archive\/sequence-4-1\/<\/a><\/strong><a href=\"http:\/\/reframe.sussex.ac.uk\/sequence3\/archive\/sequence-3-1\/\" target=\"_blank\">.<\/a><\/li>\n<\/ul>\n<blockquote>\n<p style=\"padding-left: 30px;\">The digital and analogue are always co-present in every film and this co-presence operates at a number of levels from the composition of the film to spectatorship. [&#8230;]\u00a0These issues extend well beyond the appreciation of film and in many ways are at the very centre of humanities research where we must always ask, to what degree do we insert ourselves into the temporal particularity and haecceity of the world and to what degree do we reconstruct the world as data.<\/p>\n<\/blockquote>\n<p>We are delighted to present the latest issue of\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence\/about-sequence\/\" target=\"_blank\">SEQUENCE<\/a><em>:<\/em>\u00a0Serial Studies in Media, Film and Music,\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/\" target=\"_blank\">REFRAME<\/a>\u2018s experimental, peer-reviewed, and\u00a0<em>sequential<\/em>\u00a0edited-collection format.<\/p>\n<p><a href=\"http:\/\/reframe.sussex.ac.uk\/sequence4\" target=\"_blank\">SEQUENCE Four:<\/a>\u00a0<em>Analogue-Digital<\/em>\u00a0offers its readers, and potential interlocutors,\u00a0space for reflection on, and discussion of, notions of the &#8216;analogue&#8217; and the &#8216;digital&#8217; in relation to media (and other) cultures. The inaugural contribution to\u00a0this\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence4\" target=\"_blank\">issue<\/a>, and to this topic,\u00a0is by <a href=\"http:\/\/reframe.sussex.ac.uk\/sequence4\/about\/contributors\/\" target=\"_blank\">Paul Atkinson<\/a>, a specialist in the philosophy of science, media theory and visual culture, based at Monash University in Melbourne.<\/p>\n<p>Atkinson\u2019s essay for\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence\/about-sequence\/\" target=\"_blank\">SEQUENCE<\/a>\u2014&#8217;\u00a0\u2018THINKING WITH DIGITS: Cinema and\u00a0the Digital-Analogue Opposition&#8217; (<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence4\/archive\/sequence-4-1\/\" target=\"_blank\">4.1 [2016]<\/a>)\u2014offers a compelling exploration of what is at stake when we deploy these, now binary terms. He\u00a0sets out to clarify the representational differences between them, among other distinctions:<\/p>\n<p style=\"padding-left: 30px;\">It is often pronounced that we live in a digital age and that our social and aesthetic beliefs are underpinned by the concept of digitality. But when a term is used to herald a broad cultural change it loses much of its specificity and critical purpose. The digital becomes a shibboleth of the new and its counterpart, the analogue, a locus for nostalgia and a presumed indexical connection with the real. We are at a point now in the study of media and cinema, when it is important to rethink both the analogue and the digital if they are to continue to have any critical value. This is not a plea to limit discussion to technological affordances, for the terms precede the many recent technologies to which they are applied. Rather it is a call to reconsider the digital-analogue distinction as a mode of representation and how this might apply to cinema. This is not just a matter of providing a clear definition in the manner favoured by philosophy, because any theoretical repositioning has to bear some relationship to the material, aesthetic and spectatorial aspects of cinema. The representational differences must affect the way we watch films as well as provide a means for understanding distinct filmmaking practices. In short, it is about redeploying the analogue-digital distinction as a mode of thinking in cinema \u2013 in terms of both reason and aesthetics \u2013 that extends well beyond the application of specific technologies.<\/p>\n<div class=\"entry-content\">\n<p>As usual, as we are sequentially inviting responses to the first entry in this iteration of SEQUENCE, Atkinson\u2019s article also constitutes a\u00a0<em>Call for Contributions<\/em>\u00a0for further\u00a0<em>Analogue-Digital\u00a0<\/em>sequences. If you\u2019re inspired to respond, especially if you have research work in progress on any of the topics raised by his essay, and\/or the SEQUENCE title, in relation to any relevant cultural or communications medium (not just cinema or audiovisual media), please get in touch with us at\u00a0<a href=\"mailto:sequenceserial@gmail.com\" target=\"_blank\">SEQUENCEserial[at]gmail[dot]com<\/a>. Multimedia responses of all kinds are also very much encouraged. But it would be worthwhile to discuss any substantial idea\u00a0with us at an early stage in your planning. All contributions need to comply with UK copyright law and the current understanding of fair dealing. Contributors should note that their submissions will be formally peer-reviewed. But there are no editorial prescriptions on length or content, except that your work should be some kind of \u2018sequential response\u2019. If you don\u2019t want to take part\u00a0right away, you can still enter the \u2018chain\u2019 of responses later on.<\/p>\n<p>If you\u2019d like to offer a more concise response, there is also the option of leaving a comment in the moderated stream at the foot of each SEQUENCE Four entry. SEQUENCES may be long and short in all sorts of ways.<\/p>\n<p><em>Catherine Grant<\/em><\/p>\n<p><em><strong><a href=\"http:\/\/reframe.sussex.ac.uk.sequence4\/\" target=\"_blank\">SEQUENCE Four<\/a><\/strong>\u00a0is being\u00a0co-edited by\u00a0<strong><a href=\"http:\/\/reframe.sussex.ac.uk\/sequence\/about-sequence\/sequence-editors\/\">Catherine Grant<\/a>\u00a0<\/strong>(founder and\u2014with\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence\/about-sequence\/sequence-editors\/\">Russell Glasson<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.sussex.ac.uk\/profiles\/330584\" target=\"_blank\">Katherine Farrimond<\/a>\u2014co-editor of the\u00a0<a href=\"http:\/\/reframe.sussex.ac.uk\/sequence2\/about-sequence-two\/reframe.sussex.ac.uk\/sequence\/\" target=\"_blank\">SEQUENCE\u00a0<\/a>project), with\u00a0<strong><a href=\"http:\/\/reframe.sussex.ac.uk\/sequence\/about-sequence\/sequence-editors\/\">Russell\u00a0Glasson<\/a><\/strong>\u00a0and <strong><a href=\"http:\/\/reframe.sussex.ac.uk\/sequence4\/about\/contributors\/\" target=\"_blank\">Tanya Kant<\/a>.<\/strong><\/em><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>SEQUENCE Four: Analogue-Digital\u00a0(2016-present) NEW!\u00a0Paul Atkinson, \u2018THINKING WITH DIGITS: Cinema and\u00a0the Digital-Analogue Opposition\u2019,\u00a0SEQUENCE, 4.1, 2016. Online at:\u00a0\u00a0http:\/\/reframe.sussex.ac.uk\/sequence4\/archive\/sequence-4-1\/. The digital and analogue <a class=\"more-link\" href=\"https:\/\/reframe.sussex.ac.uk\/sequence\/presenting-sequence-four-analogue-digital\/\">Continue Reading<span class=\"screen-reader-text\">Presenting SEQUENCE Four: Analogue-Digital<\/span><span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":615,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[5],"tags":[],"class_list":["post-614","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/reframe.sussex.ac.uk\/sequence\/files\/2016\/02\/slider_SEQUENCEFOUR.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2GJOL-9U","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/posts\/614","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/comments?post=614"}],"version-history":[{"count":4,"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/posts\/614\/revisions"}],"predecessor-version":[{"id":620,"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/posts\/614\/revisions\/620"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/media\/615"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/media?parent=614"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/categories?post=614"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence\/wp-json\/wp\/v2\/tags?post=614"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}