Download Epson L210 Scanner Software more. The Virtual Window Interactive By Anne Friedberg Design by Erik Loyer Editor's Introduction 'As we spend more of our time staring into the frames of movies, television, computers, hand-held displays -- 'windows' full of moving images, text, icons, and 3D graphics -- how the world is framed may be as important as what is contained within that frame.' This opening declaration in Anne Friedberg's new book The Virtual Window: From Alberti to Microsoft, offers a glimpse of what is at stake in her expansive survey of visual culture over the past 500 years. The Virtual Window, published by MIT Press just weeks before the launch of the Vectors 'Perception' issue, offers the opportunity to think deeply about the entangled forces that contribute to the evolution of technologies of vision -- everything from the etymology of key terms in visual culture to the science of glass manufacturing. Along the way, Friedberg seeks to theorize and historicize vision itself through a variety of critical 'lenses,' each of which operates in conjunction with certain technologies at specific moments in time. At first glance, Friedberg's elegantly crafted written work might not seem like an obvious source for digital reinterpretation.

Canon Ws 1200h Manual Treadmill. Indeed, it is a rare historian who is willing to subject such exacting scholarship to an interactive format that allows (and even encourages) playfulness, anachronism and surprise. But the Virtual Window Interactive should not be regarded as a mere translation of the book. Through her collaboration with Erik Loyer, Friedberg uses the interactive format to construct a literal enactment of her critical paradigm of the 'split optic,' a form of parallel vision that considers both past and present simultaneously. Through juxtaposition of apertures, contents and avatar-viewers, The Virtual Window Interactive invites us to think critically about the past in light of present sensibilities, while using the past as a vehicle for thinking critically about the present. A genuinely eclectic range of primary source material places Stephen Colbert's 'Green Screen Challenge' on a continuum that includes both Hitchcock and Rembrandt; and there is nothing to prevent a user from viewing a cinemascope film within the aperture of a video iPod, or watching excerpts from I Love Lucy in the frame of a Renaissance era stained glass window.