„Cinema (..) is a way of seeing, a form of technological vision that exptends beyond the material production and spectatorship of films. It structures a way of seeing and a way of understanding visuality and its objects. It also produces a new understanding of living bodies; we can say, even, that it creates them.”

Levitt, D. (2018). The animatic apparatus (pp. 6-7).

draw the human outside of itself

„Cinematic bodies exist in the space of an ontological crisis: Present or absent? Here or there? Living or dead?”

Levitt, D. (2018). The animatic apparatus (pp. 17).

„I look at a photo I took of a deer sprinting through the woods in the rain, and I see that it is blurry, because the phone mistook the drops hitting it for so many fingers belonging to some obscure subject who can’t decide where to set the focus, what is worth recording, or where skin ends and rain begins.”

Williams, E. C.(2017). Shard cinema (p. 49).

„I think this is one of the most critical points of contact between games and other moving images in the past two decades: games make us incredibly familiar with the expereince of simultaneous independent control and of decoupling vision from the perspective of a subject, including the one who stands in as proxy for us. This is part of a diffuse visual education in the ubiquity of distributed sight, and it’s a complicated operation that we havea come to do without a second thought, piloting a clumsy body or drifting truck through uneven terrain while also adjusting the camera that frames the scene, so that we can not only make it through the crisis but also watch how the sun plays off the water, how the dust rises and falls in our wake. Especially coupled with the prospect of live streams and sharing feeds and stills from the games, this kind of aesthetic encounter and the staging of visually captivating moments – if not fully-fledged tableaus – can’t be separated from any „practical” point of the game and its syntax of interaction.”

Williams, E. C.(2017). Shard cinema (p. 195).