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If graffiti's gestural forms connote animation of the human body as well
as the fragmented bodies of our cities, cinema's ability to animate is
more descriptive than connotative. Computers, again through their
replicative functionality, already suggest a certain degree of animation
of information as it moves and streams through pathways connecting
memory and processors. But this in itself does not suggest the movement
effected by cinematic representation. However, where the sense of
movement we associate with computers intersects the history of cinema
and moving images in general, becoming relevant to Kinograffiti, is the
moment within the short history of computers when viewing screens become
an integral part of how we work with these devices. It is not that the
screen, this object that references not only film, but also the psyche,
is absolutely necessary to the functioning of a computer. In fact, it
has been pointed out that the work performed by computers is not
particularly attuned to visual perception. However, it is precisely this
device's supplementary status which renders it so important to an
investigation of our relationship to digital media. The Cathode Ray Tube
(CRT) gave humanity to the monstrosity of room-sized computing machinery
by acting as a sort of face in scale with our own. Certainly the
keyboard allowed us to communicate to these devices. Printers even
allowed computers to write to us on long ribbons of paper. Like paper,
CRT's represented text on a flat, legible surface. Unlike paper, the
glowing, ephemeral surfaces of CRT's could be used to display different
information over time, depending on the state of the computer. A CRT was
like a window into the state of a computer at a particular moment in
time. In this way, CRT's were unlike film, which projected the same
fixed play of forms every showing. CRT's were perhaps, as they continue
to be, more akin to television. Like television, the computer display
appears to bring closer a vision of something our own bodies cannot
reach. Nonetheless, the possibility for temporal fiction shared between
those early computers equipped with CRT's and films was soon exploited
in the form of video games. Early video games animated simple graphics
to show dynamic game boards where triangle spaceships traveled black
space shooting point-sized projectiles at each other. Expressing more
than the computer's origin in a culture of war, these early video games
reveal something of the relationship of programmer to machine. At work
between them is a repetitive structure of design and play (of a play
between design and play) whereby neither the player nor the game is
understood as finished or completed. A player may master a game, become
bored with, or break a game, but it will always be possible to redesign
the game. In this way, a certain temporality is put in play. This
temporality corresponds to a sense of infinity, of possibility without
bounds. It also resonates with a cultural sense of self understood as
collection of drives and desires in play, interacting dynamically with
each other.
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