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[1] Lucas D. Introna and Fernando M. Ilharco, “On the Meaning of Screens: Towards a Phenomenological Account of Screenness,” Human Studies 29, no. 1 (January 1, 2006): 57–76, https://doi.org/10.1007/s10746-005-9009-y.
[2] Robrecht Vanderbeeken, “The Screen as an In-Between,” Foundations of Science 16, no. 2 (May 1, 2011): 245–57, https://doi.org/10.1007/s10699-010-9191-x.
[3] W.J.T. Mitchell, “Screening Nature (and the Nature of the Screen),” New Review of Film and Television Studies 13, no. 3 (July 3, 2015): 231–46, https://doi.org/10.1080/17400309.2015.1058141.
[4] Lev Manovich, “Archeology of a Computer Screen,” Kunstforum International, 1995, http://manovich.net/index.php/projects/archeology-of-a-computer-screen.
[5] Lev Manovich, “Avant-Garde as Software,” Artnodes, no. 2 (2003), https://doi.org/10.7238/a.v0i2.681.
[6] Anne Friedberg, The Virtual Window: From Alberti to Microsoft (Cambridge, MA: The MIT Press, 2009), https://mitpress.mit.edu/9780262512503/the-virtual-window/.
[7] Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, October Books (Cambridge, MA: The MIT Press, 1992), https://mitpress.mit.edu/9780262531078/techniques-of-the-observer/.
[8] Bernhard Siegert, Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Real, trans. Geoffrey Winthrop-Young (New York: Fordham University Press, 2015), https://www.fordhampress.com/9780823263769/cultural-techniques.
[9] Erkki Huhtamo, “Elements of Screenology: Toward an Archaeology of the Screen,” Navigationen – Zeitschrift Für Medien- Und Kulturwissenschaften, no. 2 (2006): 31–64, https://doi.org/10.25969/mediarep/1958.
[10] Malte Ziewitz, “How to Attend to Screens? : Technology, Ontology and Precarious Enactments,” STS Encounters 4, no. 2 (February 6, 2011), https://doi.org/10.7146/stse.v4i2.135128.
[11] Charu Maithani, “Intermediality of Screens in Post-Media Assemblages,” Acta Universitatis Sapientiae, Film and Media Studies, no. 17 (2019): 63–80, https://doi.org/10.2478/ausfm-2019-0015.
[12] Nick Kaye, “Hardware in Real Time: Performance and the Place of Video,” Contemporary Theatre Review 15, no. 2 (May 1, 2005): 203–18, https://doi.org/10.1080/10267160500118988.
[13] Corina MacDonald, “Scoring the Work: Documenting Practice and Performance in Variable Media Art,” Leonardo 42, no. 1 (February 1, 2009): 59–63, https://doi.org/10.1162/leon.2009.42.1.59.
[14] Sabine Himmelsbach, “Presenting, Mediating, and Collecting Media Art at HeK, House of Electronic Arts Basel,” OnCurating, April 2020, https://www.on-curating.org/issue-45-reader/presenting-mediating-and-collecting-media-art-at-hek-house-of-electronic-arts-basel.html.
[15] Dorothee Richter, “Curating the Digital – A Historical Perspective,” OnCurating, April 2020, https://www.on-curating.org/issue-45-reader/curating-the-digital-a-historical-perspective.html.
[16] Friedberg, The Virtual Window: From Alberti to Microsoft, pp. 15.
[17] Kevin R. Brooks, “Depth Perception and the History of Three-Dimensional Art: Who Produced the First Stereoscopic Images?,” I-Perception 8, no. 1 (January 1, 2017): 2041669516680114, https://doi.org/10.1177/2041669516680114.
[18] Friedberg, The Virtual Window: From Alberti to Microsoft, pp. 15.
[19] Alberti, On Painting I.19, pp. 55. Quoted in Friedberg, The Virtual Window: From Alberti to Microsoft, pp. 27.
[20] Friedberg, The Virtual Window: From Alberti to Microsoft, pp. 28.
[21] Ibid, pp. 42.
[22] Ibid, pp. 46.
[23] Erwin Panofsky, Perspective as Symbolic Form, trans. Christopher S. Wood (Zone Books, 1991), https://doi.org/10.2307/j.ctv1453m48, pp. 67.
[24] Friedberg, The Virtual Window: From Alberti to Microsoft, pp. 47.
[25] Alberti, On Painting II.31, pp. 69. Quoted in Quoted in Friedberg, The Virtual Window: From Alberti to Microsoft, pp. 28.
[26] Albrecht Dürer, Underweysung Der Messung (Nuremberg, 1538), 1527, 1532 1538, Woodcuts, 12 9/16 × 8 7/16 × 1 13/16 in. (31.9 × 21.5 × 4.6 cm), 1527, 1532 1538, https://www.metmuseum.org/art/collection/search/336657.
[27] Gilbert Simondon, On the Mode of Existence of Technical Objects, trans. Cecile Malaspina and John Rogove (Univocal Publishing, 2017), https://www.upress.umn.edu/9781517904876/on-the-mode-of-existence-of-technical-objects/, pp. 251.
[28] Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, pp. 27.
[29] According to Allan A. Mills, “Vermeer and the Camera Obscura: Some Practical Considerations,” Leonardo 31, no. 3 (1998): 213, https://doi.org/10.2307/1576575, there are number of scholars have done this, including J. Pennell (1891), A. Hyatt Mayor (1947), L. Gowing (1952), C. Seymour (1964), H. Schwarz (1966), A. Fink (1971), A.K. Wheelock (1977, 1981, 1995), P. Steadman (1994), and Q. Williams (1995). Also, a new study by Noriko Sato (2010) suggested a consistent use of camera obscura in at least 13 paintings created by Vermeer.
[30] Alfred Ely Beach, The Science Record (Munn, 1874), https://library.si.edu/digital-library/book/science-record.
[31] Simondon, On the Mode of Existence of Technical Objects, pp. 251.
[32] Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, pp. 39.
[33] Ibid.
[34] Ibid, pp. 43-47.
[35] Giorgio Avezzù, “The Deep Time of the Screen, and Its Forgotten Etymology,” Journal of Aesthetics & Culture 11, no. 1 (January 1, 2019): 1610296, https://doi.org/10.1080/20004214.2019.1610296.
[36] “Screening | Meaning of Screening in Longman Dictionary of Contemporary English | LDOCE,” accessed August 30, 2024, https://www.ldoceonline.com/dictionary/screening.
[37] “Computed Tomography (CT),” National Institute of Biomedical Imaging and Bioengineering, June 2022, https://www.nibib.nih.gov/science-education/science-topics/computed-tomography-ct.
[38] “Screen,” August 28, 2024, https://dictionary.cambridge.org/dictionary/english/screen.
[39] “Procreate® – The Most Powerful and Intuitive Digital Illustration App Available for iPad.,” Procreate, accessed August 30, 2024, https://procreate.com/procreate.
[40] Lev Manovich, “Inside Photoshop,” Computational Culture, no. 1 (November 1, 2011), http://computationalculture.net/inside-photoshop/.
[41] Friedberg, The Virtual Window: From Alberti to Microsoft.
[42] Ibid, pp. 231-234
[43] Yuk Hui, On the Existence of Digital Objects, Electronic Mediations (University of Minnesota Press, 2016), https://www.upress.umn.edu/9780816698912/on-the-existence-of-digital-objects/, pp. 2.
[44] Ibid, pp. 1.
[45] Ibid, pp. 14, 56.
[46] Ibid, pp. 35.
[47] Ibid, pp. 56.
[48] Ibid, pp. 183.
[49] Ibid, pp. 47.
[50] Siegert, Cultural Techniques.
[i] Besides Alberti’s calculative method applied on the drawing plane, it is also because paintings created at that time were commissioned by religious authorities for religious purposes with religious themes.
[ii] However, you can still argue there are physical and environmental matters involved, such as those applications are always packed with features of syncing to a cloud storage or another devices – they require network providers and platform companies to build more data centres to accommodate more data, which emits more harmful chemicals and produces waste. This is another field of study so that is not mentioned.