change mummified II

wrong assumptions: analog= indexicality index vs digital
p302 "In that case, indexicality becomes just a subset of analog inscription, for it is minimally defined as including some element of physical contact between referent and sign." "(n)ot the analog in general but the indexical becomes the opposing term, against which the digital may be defined and which it surpasses."-- digital utopia

hybridity -- confuses the opposition between digital and indexical
digital indexicality
p307 The "pure" of "pure data" cannot mean the obliteration of referential origins, for without referential entities or events preexisting the data itself, that data would have no informational value as survaillence. (note: he is talking about digital surveillance of military spy satellites)
p308 It (note : a digital camera)gathers light like a traditional camera but does not record its presence by chemical reactions on photosensitive substances. Instead, it is a machine for encoding light intensities as numbers on a magnetized substrate, and the perceived image is actually composed of pixels with assigned color values arranged along Cartisian coordinates.

P309-310
Andy Darley has proposed dividing this history up to the present into two phases, which overlap but are defined by different dominant tendencies. The early phase peaked during the 1960s, when cutting-edge developments in computer imaging technologies and techniques often partook of the rhetoric and rationales of high modernist abstraction. ....
But following this early period, according to Darley, the dominant tendency in computer imaging turned depictive, emphasizing forms of pictorial versimilitude to achieve what has come to be called simulation.


some references:
Timothy Corrigan, A Cinema without Walls: Movies and Culture after Vietnam (New Brunswick, N.J: Rutgers University Press, 1991)
Miriam Hansen, "Early Cinema,late Cinema: Transformation of the Public sphere," in Viewing positions: Ways of seeing film, ed. Linda Williams (New Brunswick, N.J: Rutgers University Press, 1994)

Andy Darley, "From Abstraction to Simulation: Notes on the history of computer imaging," in Culture, Technology, and creativity in the late Twentieth century, ed. Philip Hayward (London: John Libbey, 1990)

Gene Youngblood Expanded Cinema (New York: Dutton, 1970)