New Philosophy for New media (Mark Hansen)

p6
The key notion here is that of the interval (as in montage cinema), which, in constituting a cut between shots, introduces "a gap between the action and the reaction." For Deleuze, this function of the cut, and of framing to which its is immediately related, is perfectly homologous with that of the body as a center of indetermination: the process by which the body islets certain aspects of images to generate perceptions is, Deleuze insists, "an operation.... exactly described as framing: certain actions undergone are isolated by frame and hence... are forestalled, anticipated." Yet, in order to assert this homology, Deleuze finds himself compelled to bracket Bergson's embodied concept of affection— affection as a constitutive impurity of this body' perception— and to offer in its place a formal understanding of affection as a specific permutation of the movement-image. Affection as a phenomenological modality of bodily life gives way to affection as a concrete type of image— the affection-image—defined exclusively by the protracted interruption of the sensorimotor circuit, the interruption, that is, of the form of the movement-image.

digital and indexical images
P8 Since the digital image culminates the transition from an indexical basis (photograph) to sequential scanning (radar), it substitutes for the image proper a procedural realization of information in time that appears as a traditional image only for contingent reasons .
what do we take recourse to a hybrid conception of the image as, at once, an analog surface and a digital infrastructure?
P9 the(digital) image does not comprise a representation of the preexistent and independent reality, but rather a means for the new media user to intervene in the production of the "real"


(Questions: isn't human body always framing images? duleuze doesn't not privilege digital in terms of the framing of the body      secondly the emphasis on digital images as information serialization seems ungrounded   are not digital images always already framed in some material interface before they reach human body? then in which sense digital images are new? in which way Hansen's philosophy is new?)


Vivian Sobchack Film and phenomenology
three metaphors have dominated film theory: the picture frame, the window, and the mirror. The mirror represents the synthetic conflation of perception and expression that characterizes most contemporary film theory.
(my notes: this mirror metaphor      and postmodernist building's use of mirror instead of glass      might be considered together in terms of architecture, visuality and cinema)