This article tackles the current debate dealing with the possibilities of expansion of contemporary cinema, trying to provide theoretical tools in order to build a framework, which takes into account the delicate relationship between space, image, and cinematic experience. Based on the background of researches devoted to cinema’s medium-specifity, the author identifies some possible contribution from Cultural, Media and Visual Studies, with the aim of formalizing some key-concept for the study of contemporary “cinematic forms”.
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Cinéma & Cie. Film and Media Studies Journal
Image, Space, and the Contemporary Filmic Experience
Text.Serial.Journal
https://riviste.unimi.it/index.php/cinemaetcie
12
New Studies
2012-10-01
2021-09-09
2012-10-01
2024-02-14
Cinéma & Cie
Miriam De Rosa
2012/10/01
Università Cattolica del Sacro Cuore, Milano
2036-461X
19
en
Image, Space, and the Contemporary Filmic Experience
https://riviste.unimi.it/index.php/cinemaetcie/article/download/16321/17183
12
IMAGE, SPACE, AND THE CONTEMPORARY FILMIC EXPERIENCE
Miriam De Rosa, Università Cattolica del Sacro Cuore




  Abstract
                                                                                                 -

  account the delicate relationship between space, image, and cinematic experience.




Settling the research

  After a century-long history, one of the main issues of cinema theory seems to neglect its ex-


studying, and the subsequent approach to various disciplines led to a widening of the theoretical

explore.

                        represents the main and most explicit contribution in this sense, but it is
                          1

just one of the voices emanating from a larger choir. For a long time, scholars and intellectuals
have been dealing with the idea of a moving image able to go beyond its own precinct, spreading
itself in space, conquering alternative situations and surfaces. This is an opening process, which
broadens the traditional linguistic possibilities and allows cinema to mix itself with other arts, in
a sort of contamination, which turns different territories into cinematic ones. In the last years a

or institutional explorations.2
expanded forms of cinema and those hybrid productions, which test the use of moving images in
                                          3
                                                                                            -

in the most contemporary studies.

CINÉMA & CIE, vol. XII, no. 19, Fall 2012                                                        119
MIRIAM DE ROSA

  In fact, the presence of screen media and the use of the cinematic element are increasingly fre-
quent in the most diverse situations, establishing themselves as typical aspects of the communi-
cative processes and as assumed tool of everyday practices. Moreover, the artistic production and

survive), where languages mix, expressive forms tend to converge, codes and arts end up hybridis-
ing.4
gives birth to complex platforms and to superimpositions among dispositifs, which often complete
one another and sometimes even collide. Codes and media are constantly subject to a mechanism
                                                                                            5
                                                                                              . In this
                                                                                                      -
ing” territory from other cultural productions. The unstability of such a scenario is self-evident.6
In this environment, media are literally invested by convergence, which plays a central role in
leading to a medial “explosion”. The same dynamics obviously involve cinema as well, enlarging
the pertinence of the moving image domain.
  Such an expansion implicitly raises a theoretical urge: being conscious of such an enlargement
obliges to revise the aesthetic and medial status of cinema, that is to say to establish what is to be




  medium gains at the expenses of its rivals. A less reductive, comparative approach would recognize the
  complex synergies that always prevail among media systems, particularly during periods shaped by the
  birth of a new medium of expression.7

                                                                                                -
ing up, because of the current blurring of medial boundaries. The strong remediation process,8
which characterizes the contemporaneity, causes a sort of repetition, an extension and a critical
re-examination of styles, texts and cultural products. The distribution mechanism of content is

up a wide range of possibilities which are now reserved to spectators/users, allowing them to act

and the conventional behaviours connected to them are reshaped. This does not simply represent
our time as “media transition time,”9
terms of imaginary, since the symbolic construction of media undergoes a massive renovation. In
                                                                                                      -
                                10
                                   In other words, a series of aesthetic choices gives birth to a brand
new language, able to answer the questions of convergence and its systemic, structural needs.
  From a theoretical point of view, this implies a methodological necessity: in order to study cine-
                                                                                                      -


the contemporary “extended cinema” scenario, the research approach should consider the width


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                                          IMAGE, SPACE, AND THE CONTEMPORARY FILMIC EXPERIENCE




providing the opportunity to frame them, focusing on their connections with those processes that
produce and regulate the whole media system. The devices, the practices and the contexts, which
get increasingly closer to the cinematic element depicting a new medial and visual geography, are
programmatically included in the domain of the post-cinema debate.



How to explore post-cinema: Some methodological hints



cinematic precinct. This will be useful at least to identify its potential developments, observe its
products and results, describe its ruling principles and – possibly – try to give an interpretation of

the theoretical urge to update the debate, encompassing the forms that shape and reshape moving
images. The ambition is thus to propose a sort of taxonomy of those forms.
  To focus on the unconventional cinematic forms means here to choose a particular observation


                                                                                                     -
tices, exploring the phenomena from the inside.



Cultural studies


into consideration the processes which progressively involve moving images on the one hand, and
                                                                                              -

linguistic characters together with the fruition patterns imposed by a “cinematic attitude” to reali-

                                                                                                  -
inition which is touching cinema, in terms of its symbolic meaning, of its cultural position within

  The value assumed and the practices developed by moving images are the centre of interest of


to become cinematized component of our visual system. This research perspective shares with
cultural studies a special attention reserved to social praxis, intended as an important component

                                                                                                  121
MIRIAM DE ROSA

of culture and an accumulation of values and shared imagery. To assume such an approach allows
a wide exploration, which succeeds in including a number of mechanisms that would otherwise
                                                                                                 -
portant experimental materials for the construction of a media aesthetic of transition. In fact,
the deep sociocultural uncertainty and the strong technological development characterizing the
present historical period are accompanied by a bidirectional response: the effort to pragmatically


of “culture” in its full potentiality is fundamental: it is “something much larger than the arts,

explored – identity, cohesion, direction – media assumed increasing prominence.”11
reasons, the centrality reserved to culture is clear. The culturological perspective guarantees this
attention12 and moreover, it does underline the structural connection between culture and media.
Cultural and media studies are set side by side by the belief that both perspectives can offer a set of

of moving images today.



Media studies

   Media, and cinema among them, play a central role in the articulation of cultural practices.
They represent essential elements, which concur to the construction of a complex scenario. This
complexity is the result of governance policies, experiences and the fragile balance between ed-
itors and users/spectators that are connected by a set of highly embedded relations. The junction

of media [that] requires an embrace of multiplicity, complexity and even contradiction if sense
is to be made of such a pervasive cultural experience.”13 In order to face the intertwining nature
of such a scenario the most suitable methodological perspective seems to be an interdisciplinary
one. The explicit choice is not to close the research within rigid theoretical constraints. On the
contrary, it is important to deal with the cinematic element in its “environmental” condition, trying

contemporary mediascape, emphasizing their potential as representational strategies and visual
experiences.



Visual studies

                                                                                                      -

order to highlight both their origin and developments. The notion of visual culture gives syntheti-
cally the idea of the importance of the environmental aspect: the visual element inevitably features

with the scenario it enters and the individuals it addresses.

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                                           IMAGE, SPACE, AND THE CONTEMPORARY FILMIC EXPERIENCE


functions, their ways of transmission and distribution – mechanisms characterized by a central
role played by media.14 Moreover, this research perspective reserves a deep attention – once again
– to the concept of culture, emphasizing the shift which characterized it: the huge development
of mass media, combined with a number of variables, not only granted a progressively larger im-
portance to the visual element, but also encouraged the production of different visual expressive
forms, that are part of culture and are spread and reproduced as products of the cultural industry.15
On a conceptual level, this implies a broadening of the idea of culture, which is not reserved to the
élite anymore but opens up to alternatives or non-institutional forms.16 The classical cultural mod-

in museums collections and symbol of “high culture”, gives way to a new conception of culture.
This renovated approach directs the attention to visual language; in other words, towards objects
                                                                                                 -
nitely standardized ones. The focus shifts to a more basic meaning of culture, where the aesthetic

accessible: the core concern for a visual culture model is the visual nature of objects, which rep-

                                                                       17
                                                                            The strength and pregnancy
                                                                                                     -

an element able to intersect reality, users, their imagery and the traditional producers of content.
In practical terms, the attention is drawn to cultural objects, which are part of a wider discourse,




modality, in which the eye assumes a sort of “touching” ability; a haptic perception, where the eye
activates a tactile prehension. This dynamic triggers the subject embedment in the visual space of
                                                                                                   -
ing is involved, and the senses seem to merge in order to emphasize an intense corporeal feeling.18
  Images, with their meanings, values, aims, and their fruition patterns give birth to what has
recently been named “contemporary iconosphere”.19 The subjects who are responsible for the in-
terpretation of images are also part of this context, because they are in charge of the construction
of the symbolic establishment connected to the visual element, that is to say they formalize its

the image underlines the passing from a simple visual “data” to a more complete visual “instance”.
                                                                                                 -
lateral and structural relation between visual and social elements.20
  A big part of the explorations developed within visual studies considered the object of their
                                                                                                 -

medial, cultural element) redirected the whole approach. More precisely, this has been possible

that a visual text always sets itself at the intersection of different practices, means to focus on the

                                                                                                   123
MIRIAM DE ROSA


element, on the synesthetic predisposition of the image to produce sensory overloads. For these
reasons, the visual culture perspective is nowadays a dynamic project, which tries to mirror socio-
cultural trends, aesthetic choices, and the most innovative technological offer. This opens up the
approach towards a research, which neither only studies the pure image, nor the image producer in
an exclusive way, but on the contrary, addresses the creative intersections and the fruitful relations

the ability of the image to signify something, and on the other, on the individual’s capability to
interpret a certain meaning.
   To see the research object as a simple “visual sign” is a limited interpretation. Indeed, the visual
culture perspective guarantees an extended set of objects, explicitely including in its debate prac-
tices and processes concerning the visual instance in its complexity. First of all, this legitimates
the focus not (only) on what is seen, but on the act of seeing. Emphasizing practices and processes
does not mean to focus just on vision, because it does not encompass the whole set of mechanisms
connecting the object and the subject of observation. The concept of visual experience comes

the arena.




  Gunning uses the word “experience” instead of “perception” to describe the situation when “visual
  stimuli […] have multiplied enormously, often outside of the regimes that are usually thought of as
  culture, such as the museum or the gallery”. These stimuli are simultaneously part of our experience

  experience.21

  After the iconic and the cultural turn, the visual culture perspective seems to face a further shift
– an experiential turn
humanities. This is the sign of an overall urge towards a “restoration of experience as a central
concern of cultural theory at the present time.”22



Analytical perspective and research hypothesis

                                                                                                      -
ma23 and semiotics24 theories assuming an experiential approach. It is precisely in these contexts that
scholars have explicitely referred to an “experiential turn,”25 which does not refer to a strict disci-
plinary precinct, rather opens up an interdisciplinary exchange. In this perspective, those discourses


and re-articulated. In fact, the essence of the expanded forms of cinema represents something which
is continuously subject to reorganization, reformulation, since its mise en forme                 -
enced by sociocultural trends, technological innovation, evolution of aesthetic and medial codes.

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                                           IMAGE, SPACE, AND THE CONTEMPORARY FILMIC EXPERIENCE



into consideration cinema in its expanded dimension, diverse analytical perspectives should inter-
sect, assuming precisely their junction as the vantage point where the observation has to be settled.
This clearly implies a hybridization of method, based on a programmatic blurring of disciplinary
boundaries and an intense dialogue among the inquiry directions. According to this idea, such re-
search perspective should be founded on a threefold frame, set right in the area where media, cultural
and visual studies overlap, emphasizing continuities and discontinuities among them.
  The second consequence is the urge not to separate theory from the phenomena it wants to de-
scribe. Moving images are thus to be considered as part of experience, since this gives the chance
to seize their true nature and their full potential in the very moment in which they are moving.
Even visual culture literature shares a similar point of view: in his Introduction to Visual Culture,

interaction between viewer and viewed, which may be termed the visual event,”26 that is to say “an
interaction of the visual sign, the technology that enables and sustains that sign, and the viewer.”27
  To stress the dynamic element of the process means to underline the sensory and meaningful

to collect components from the context where it is settled, earning vitality and shaping itself from
it, whilst feeding it at the same time. The context itself does not simply contain the image; on the
contrary it also gains new substance through it. The idea of an image displaying itself en train
de se faire is something important preluding a progressive mechanism along which a visual and
                                                                                                      -
izing the concept of experience,28 and thus legitimates the methodological choice of according to
an experiential research frame.
                                                                                                      -
thing grounded on a phenomenological conception of experience,29 and on a certain philosopical
tradition which examines the two essential faces of experience itself, that is to say its nature of
manifestation and encyclopaedia.30
   On a conceptual level, dealing with such an experiential turn means to divide the visual element
from its textual medium, supporting its substance in itself. As I have already pointed out, the expe-
riential perspective turns the traditional visual text into visual instance, not neglecting the textual

shift, seeing becomes a full interpretative practice, contributing to the composition of experience
as many other social, symbolic and aesthetic mechanisms do. Obviously, the image plays a central
role in this dynamic, since it is still the representing core, but many other elements are added to

                                                                                            -
sumers traversing the grids of modernism.” Therefore, I would argue that visual experience is
                                              31




inside the precinct of its classical pertinence or – on the contrary – going outside of it, exploring
new strategies and thus creating those very expressive forms which are the center of this analysis.
  My main hypothesis is that the proliferation of screens and the wide variety of occasions in


                                                                                                   125
MIRIAM DE ROSA

collocation of cinematic experience. A relocation32

place, and the moving image does not just enter new contexts but merges with them. It becomes


space, which gives birth to a complex visual and experiential texture. A space-image materializes,

representative environment and physical one.


function. These variables can be useful in order to reconstruct the context framing those partic-


the possible research directions and to systematize them. The attempt is to understand the reg-

(i.e. space-image and the city, space-image and the gallery, space-image and everyday practices,
space-image and performance, space-image and surveillance, etc.).
   A second hypothesis is tightly related to these dynamics: the main idea is that the interpretation
                                                                      design. This notion of design
originally includes a manipulation, an operative and a projectual attitude, which is here to be
directed towards space. Design becomes thus synonym for an action on space able to connote,
furnish and dwell a certain environment.
   The question which arises refers to the very experience of this manipulation: where does it come




set of contextual features and a particular aim. In this sense, the main experiential features of the




experience. The attention is to be directed towards the formal and functional feature of space-im-
age. From time to time, the synthesis of these two sets of traits give birth to a microcosm. This in-

formal and functional part of the mechanism able to shape visuality and reality. It is precisely the


weaves the cinematic element and the spatial dimension it enters. The space-image resulting from
this weaving process represents the direct effect of the disposition operated by the cinematic ele-

  Further develoments of such a research should consider a number of images and situations,
which testify to the presence of moving images outside its precinct. Emphasizing the potential of
the cinematic element for differential use33 will possibly be useful in composing a catalogue of
different space-images.


126
                                               IMAGE, SPACE, AND THE CONTEMPORARY FILMIC EXPERIENCE

                      Expanded Cinema
2   Among the recent initiatives which can be described as an expanded form of cinema, there is for example
                              Tulse Luper VJ Performance, or the complex Urbanscreens project directed

    Fluid Screens, Expanded Cinema
    (eds.), Future Cinema: The Cinematic Imaginary After Film, The MIT Press, Cambridge (MA)-London
    2003; Martin Rieser, Andrea Zapp (eds.), New Screen Media: Cinema/Art/Narrative, BFI-ZKM, Lon-
    don-Karlsruhe 2002; Domenico Quaranta, Media, New Media, Postmedia, Postmedia, Milano 2010;
    Philippe Dubois, Lùcia Ramos Monteiro, Alessandro Bordina (eds.), Oui, c’est du cinema. Formes et
    espaces de l’image en mouvement, Campanotto, Pasian di Prato 2009; Philippe Dubois, Elena Biserna,
    Frédéric Monvoisin (eds.), Extended cinema, Campanotto, Pasian di Prato 2010; Alice Autelitano (ed.),
    The Cinematic Experience: Film, Contemporary Art, Museum, Campanotto, Pasian di Prato 2010.
3   This implies an updating of theory as well; on the one hand this means that the research has to encompass


    efforts to elaborate a “post-textual” approach and the so called “post-cinema” debate. The theoretical ba-


    turn – to a number of more recent contributions about “post-media aesthetics.” The most important refe-
    rences are: Rosalind E. Krauss, “Sculpture in the Expanded Field,” in October, no. 8, Spring 1979, pp.
    30-44; Id., “Reinventing the Medium”, in Critical Inquiry, vol. 25, no. 2, Winter 1999, pp. 289-305; Id.,
    A Voyage on the North Sea. Art in the Age of the Post-Medium Condition
    1999; Id., Perpetual Inventory, The MIT Press, Cambridge (MA) 2010; Staley Cavell, A World Viewed.
                                           , Harvard University Press, Cambridge (MA) 1979 (1971); with re-
    gards to the more recent debate, please refer to Lev Manovich, The Language of New Media, The MIT
                                                                                   Reinventing Film Studies, Ar-
                                                                                 Window Shopping: Cinema and
    the Postmodern                                                                          The Virtual Window:
    from Alberti to Microsoft                                                                    Screen Cultures:
    History and Textuality
    Explosion of Cinema,” in Screen, vol. 50, no. 1, Spring 2009, pp. 114-123; Francesco Casetti, “Theory,
    Post-theory, Neo-theories: Changes in Discourses, Changes in Objects,” in CiNéMAS: Journal of Film
    Studies
    in Fata Morgana, Esperienza, no. 4, 2008, pp. 23-40; Id., “Filmic Experience,” in Screen, vol. 50, no. 1,
                                                                                                          Screen,
    vol. 52, no. 1, Spring 2011, pp. 1-12 (already published in Montage AV. Zeitschrift für Theorie und Ge-
    schichte audiovisueller Kommunikation, Erfahrung, vol. 19, no. 1, 2010, pp. 10-35 and in Fata Morgana,
    Visuale, no. 8, 2009, pp. 173-188).
4   Among the others, see Wu Ming, Prefazione                                                          Convegen-
    ce Culture: Where Old and New Media Collide
    ed. Cultura convergente, Apogeo, Milano 2007), especially pp. vii-xv.
5   See Ithiel De Sola Pool, Technologies of Freedom: On Free Speech in an Electronic Age, Harvard Uni-
                                                                             Convegence Culture, cit., p. 10.
6   A rich literature is available as this regards; see, at least, Francesco Casetti, “I media dopo l’ultimo big
                                                                         Link. Idee per la televisione, Che fare?
    La tv dopo la crisi, no. 8, 2009, pp. 197-209; Matteo Bittanti (ed.), Intermedialità. Videogiochi, cinema,
    televisione, fumetti, Unicopli, Milano 2008; Nicola Dusi, Lucio Spaziante (eds.), Remix-remake: prati-
    che di replicabilità
    in International Journal of Cultural Studies
    Own Hands,” Technology Review, http://www.technologyreview.com/biomedicine/13905/, last visit 7
    May 2012.

                                                                                                            127
MIRIAM DE ROSA

                                          Rethinking Media Change. The Aesthetics of Transition, The
      MIT Press, Cambridge (MA)-London 2003, p. 3.
                                   Remediation. Understanding New Media, The MIT Press, Cambridge
      (MA)-London 1999.
                                         Rethinking Media Change. The Aesthetics of Transition, cit.

                                                          Technology Review, http://www.technologyreview.
   com/biotech/13052/, last visit 7 May 2012; Id., “La vendetta dell’unicorno origami. Sette concetti chiave
   del transmedia storytelling,” in Link. Idee per la televisione, Vedere la luce. Dio e la televisione, no. 9,
   2010, pp. 17-28.
11 William Uricchio, Historicizing Media in Transition                                                 Rethin-
   king Media Change. The Aesthetics of Transition, cit., p. 26.
12 The notion of culture is here intended as in the grounding contributions of cultural studies. See, for
   example, Raymond Williams,
   Television: Technology and Cultural Form, Fontana, London 1974; Id., Politics of Modernism: Against
   the New Conformists, Verso, London 1989; Stuart Hall, David Morley, Kuan-Hsing Chen (eds.), Stuart
   Hall: Critical Dialogues in Cultural Studies                                                            Re-
   presentation: Cultural Representations and Signifying Practices, Sage – The Open University, London
   1997; Id., Cultural Studies and Its Theoretical Legacies
   Treichler (eds.), Cultural Studies
   of the concept, see Michele Cometa, Dizionario degli studi culturali, Meltemi, Roma 2004; Lawrence
               Cultural Studies in the Future Tense                                                           -
   cular, chapter IV,                                                                      ).
13 William Uricchio, Historicizing Media in Transition, cit., p. 24.
                                                                                Bildwissenschaft, which is to
                                              th
                                                 century and has developed afterwards, with some important

      object see, for example, AA. VV.,“Visual Culture Questionnaire,” in October, no. 77, Summer 1996, pp.
      25-70.
                                                   iconic turn.

      of visual studies in general. The question has been addressed by so many scholars that it would be im-



                                                                                                               -
      nitions are determined by the type of materials […] rather than by the degree of aesthetic sophistication.


      the same time, when mass culture items are placed in a museum, the border is reset as much as erased
                                                                                 Visual Culture: The Study
      of the Visual after the Cultural Turn, The MIT Press, Cambridge (MA)-London 2005, p. 70.

                                                                          , Fondazione Ente dello Spettacolo,
      Roma 2010; Barbara Klinger, Beyond the Multiplex. Cinema, New Techonologies, and the Home, Uni-
                                                                                                              -
      trollo dei big media sui contenuti generati dagli utenti,” in Link. Idee per la televisione, News from
      Everywhere, no. 6, 2008, pp. 107-112.
                                             The Address of the Eye: A Phenomenology of Film Experience,
      Princeton University Press, Princeton 1992 (in particular, chapter 1); Antonia Lant, “Haptical Cinema,”
      in October                                               Atlas of Emotion. Journeys in Art, Architecture,

128
                                               IMAGE, SPACE, AND THE CONTEMPORARY FILMIC EXPERIENCE

   and Film
   Phenomenological Approach to the Ethics of Film,” in Quarterly Review of Film and Video, vol. 19, no.
                                                  Perception and Illusion. Historical Perspectives, Springer,
                     Infant Behavior and Development, The Development of Haptic Perception (edited by
                                                                                                           Un’im-
   magine alla mano. Note per una genealogia dello spettatore tattile, in Antonio Somaini (ed.), Il luogo
   dello spettatore. Forme dello sguardo nella cultura delle immagini                                            -
                     The Tactile Eye. Touch and the Cinematic Experience, University of California Press,
                                                                                                        Racconti
   di Corpi.                         , Kaplan, Torino 2009.
19 The idea of “contemporary iconosphere” is used here as understood by Antonio Somaini. See Antonio
   Somaini, Sul concetto di cultura visuale                                                    Potere delle im-
   magini?, Mimesis, Milano-Udine 2009, p. 211.
                                What Do Pictures Want? The Lives and Loves of Images, The University of
   Chicago Press, Chicago-London 2005.
                            Visual culture: The Study of the Visual after the Cultural Turn, cit., p. 79; see also

                  The Limits of Limit-experience, in Id., Cultural Semantics. Keywords of our Time, University
     of Massachussets Press, Amherst 1998, p. 78.
                                                                                                             -
     thesis of the author’s perspective, see Francesco Casetti, “Filmic Experience”, cit.
24   See Ruggero Eugeni, Semiotica dei media. Le forme dell’esperienza, Carocci, Roma 2010.
25   Ibidem.
26   Nicholas Mirzoeff, An Introduction to Visual Culture, Routledge, London 1999, p. 13.
27   Ibidem.
28   The almost obvious reference is to the idea of Erfahrung and the implicit sense of movement it conveys
                      fahren, namely to go).

                                                                                                                 -

     assume them and focus on the notion of being as “being in the world.” This is something which mainly
     characterizes Heidegger’s thought and his further conception of phenomenology, leaving somehow the
     fundamental logics of eidetic reduction and epoché
     encompasses a situated subject, who directly experiences the authenticity and historicality of reality, plus
     the subsequent feeling of thrownness. Experience rouses in this sense as something “alive,” occurring as
     an event which unfolds itself in space and time as “projected” action (etymologically, from Anglo-French
               , from Latin            , to throw, send forth). Such a connotation represents an important hint,
     because at least it describes one of the two meanings of experience, that’s to say its immediacy and its
                                                                                                                -
     rience and the notion of design, which will be introduced further on. The two categories share the idea
     of an ideal progression: the movement of experience which develops as occurrence on the one hand,

     something tangible. For the most important references on the phenomenological and the experience issue
     in the frame of Heidegger’s literature, see Martin Heidegger, Sein und Zeit
     (eng. ed. Being and Time                                             Der Ursprung des Kunstwerkes, in
     Id., Holzwege                                    1950 (eng. en. The Origin of the Work of Art, in Id., Off
     the Beaten Track, Cambridge University Press, Cambridge 2002); Id., Vorträge und Aufsätze
                                        Poetry, Language, Thought
     Identität und Differenz                                             Identity and Difference, Harper and

30 I refer to the concepts of Erlebnis and Erfahrung, intended as two aspects of a complex structure which

                                                                                                             129
MIRIAM DE ROSA

   encompasses a double temporality. The former concerns to things as they are happening (the event di-
   mension), while the latter is connected to what remains after the manifestation of events and feeds our
                                                                            Erlebnis. These notions intersect
   a vast literature, belonging to philosophy of experience and to different Western philosophical tradi-
   tions; see, for example, Wilhelm Dilthey, Das Erlebnis und die Dichtung. Lessing – Goethe – Novalis
                                                                                   La nozione di esperienza.
                                                                                                 Esperienza
   estetica                                                                    La questione dell’esperienza,
                                                                          La dimensione estetica dell’espe-
   rienza, Franco Angeli, Milano 1995; Alfredo Marini,
   Dilthey. Antinomie dell’esperienza, fondazione temporale del mondo umano, epistemologia della con-
   nessione                                                                                   Esperienza, in
   Nicola Abbagnano (ed.),                         , UTET, Torino 1998, pp. 393-400.
31 Nicholas Mirzoeff, An Introduction to Visual Culture, cit., p. 26.
32 Please refer to the research on the notion of “relocation” developed by Francesco Casetti. See Francesco

33 This expression is drawn from Rosalind E. Krauss, A Voyage on the North Sea. Art in the Age of Post-Me-
   dium Condition, cit.




130
