Simply put, an increase in resolution can motivate the "wasting" of monitors and screen technologies. Similarly, it's an emblematic way of thinking about the overall speed of technological reproduction, which leads to technological waste and death.
At the same time, resolution can also refer to the solving of a problem or a dispute.
But what's being resolved?
I thinking through the question of vehicle and tenor here, I've been thinking a lot about what a screen technology or what imaging in general does for us.
Cavell suggests that the silver screen screens us from ourselves, from our problems, and encourages us to lay aside our skepticism in favor of a renewed relation with the world. In short, it resolves the disjunction between our subjectivity and the world's relentless objectivity.
Yet Lacan reminds us that the world as is already exists in us as we take our cues and our innermost intimate actions from it (the term is extimacy).
So, back to resolution. With our continual increases in resolution, what are we attempting to do? Earlier, it was decided that E-Waste partially comes as a result of our desire to see. But how does that desire fulfill itself through these particular technologies?
The screen is a window, connecting us to another world. High resolution is a term for both the amount of lines capturing that world but also describing the possibility that these screens serve as a means for us to reconnect to the world.
E-Waste is then a reminder that these screens have their own cosmogony, one with a will and desire of its own, a desire that's satisfied when it's destroyed (paradoxically).
When its housing is destroyed, E-Waste becomes manifest.
Housing divides interior from exterior, ourselves from the world. It demarcates private space and allows us to carve a space out for ourselves.
Yet the world also comes in.
That's the trope!
Vehicle: E-Waste
Tenor: The relationship between our subjectivity and the objective world
The switch: House/Housing?
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