Stephen Monteiro is Assistant Professor of Communication Studies at Concordia University, Canada. He is the author of Screen Presence: Cinema Culture and the Art of Warhol, Rauschenberg, Hatoum, and Gordon (2016).

The volume’s multidisciplinary approach provides a comprehensive range of insights into the screen’s social, historical, and cultural significance.

• PrefaceAcknowledgementsPermissionsEditor’s NoteIntroduction: Reflecting on the Screen Section One: Screens and Their HistoriesIntroduction to Section One1.1 Screen IdentitiesCharles R. Acland (Concordia University, Canada), “The Crack in the Electric Window”Francesco Casetti (Yale University, USA), “What Is a Screen Nowadays?”Sean Cubitt (Goldsmiths, University of London, UK), “Current Screens”Anne Friedberg (University of Southern California, USA), “The Multiple”William Henry Fox Talbot (Inventor of the calotype process, UK), “The Magic Mirror”1.2 Evolution and RevolutionPlato, from The RepublicErkki Huhtamo (UCLA, USA), “Screenology; or, Media Archaeology of the Screen”Lev Manovich (CUNY, USA), “A Screen’s Genealogy”Edmond Couchot (Digital Artist and Art Theoretician, France), “The Ordered Mosaic, or The Screen Overtaken by Computation”Uta Caspary (Art Historian/Architecture Critic, Germany), “Digital Media as Ornament in Contemporary Architecture Facades: Its Historical Dimension”Section Two: Images and FramesIntroduction to Section Two 2.1 The Production of ImagesLouis-Jacques-Mandé Daguerre (‘Father of Photography’, France), “Description of the Process of Painting and Lighting in...Pictures of the Diorama”Lara Baladi (MIT, USA), “When Seeing is Belonging: The Photography of Tahrir”Ron Burnett (Emily Carr University of Art + Design, Canada), “Building New Worlds”Brad Chisholm (St. Cloud University, USA), “On-Screen Screens”Sarah Atkinson (King's College London, UK), “Mobile Cinema”Marcel Proust, from Swann’s Way2.2 Terms of DisplayGiambattista della Porta, from Natural Magick: in XX Bookes Frederick Kiesler (Architect, Ukraine), Building a Cinema TheatreJean-Louis Baudry, “Ideological Effects of the Basic Cinematographic Apparatus”Harper Cossar (Emory College, USA), “The Shape of New Media: Screen Space, Aspect Ratios, and Digitextuality”Stephen Monteiro (The American University in Paris, France), “Fit to Frame: Image and Edge in Contemporary Interfaces”Mitchell Whitelaw (University of Canberra, Australia), “After the Screen: Array Aesthetics and Transmateriality”Section Three: Environments and InteractionsIntroduction to Section Three 3.1 Moments of InterfaceO. Winter, “The Cinematograph”Paul Frosh (The Hebrew University of Jerusalem, Israel), “The Face of Television”Douglas Engelbart, from Augmenting Human Intellect: A Conceptual FrameworkHeidi Rae Cooley (University of South Carolina, USA), “It's all about the Fit: The Hand, the Mobile Screenic Device and Tactile Vision”Alexandra Schneider (Johannes Gutenberg-Universität Mainz, Germany), “The iPhone as an Object of Knowledge”Virginie Sonet (Université Paris II - Panthéon-Assas, France), “The Smartphone Screen in All Its States”Amy Herzog (Queens College, CUNY, USA), “In the Flesh: Space and Embodiment in the Pornographic Peep Show Arcade”3.2 Systems and NetworksHaidee Wasson (Concordia University, Canada), “The Other Small Screen: Moving Images at New York’s World Fair, 1939”Anna McCarthy (New York University, USA), “From Screen to Site: Television’s Material Culture, and Its Place”Onookome Okome (University of Alberta, Canada), “Nollywood: Spectatorship, Audience and the Sites of Consumption”Stan VanDerBeek (Experimental Filmmaker, USA), “‘Culture: Intercom’ and Expanded Cinema: A Proposal and Manifesto”Robert Edgar, “The Aesthetics of the Arena: Live and Recorded”Nanna Verhoeff (Utrecht University, The Netherlands), “Performative Cartography”Further ReadingList of ContributorsIndex

Stephen Monteiro is Assistant Professor of Communication Studies at Concordia University, Canada. He is the author of Screen Presence: Cinema Culture and the Art of Warhol, Rauschenberg, Hatoum, and Gordon (2016).

The volume’s multidisciplinary approach provides a comprehensive range of insights into the screen’s social, historical, and cultural significance.

• PrefaceAcknowledgementsPermissionsEditor’s NoteIntroduction: Reflecting on the Screen Section One: Screens and Their HistoriesIntroduction to Section One1.1 Screen IdentitiesCharles R. Acland (Concordia University, Canada), “The Crack in the Electric Window”Francesco Casetti (Yale University, USA), “What Is a Screen Nowadays?”Sean Cubitt (Goldsmiths, University of London, UK), “Current Screens”Anne Friedberg (University of Southern California, USA), “The Multiple”William Henry Fox Talbot (Inventor of the calotype process, UK), “The Magic Mirror”1.2 Evolution and RevolutionPlato, from The RepublicErkki Huhtamo (UCLA, USA), “Screenology; or, Media Archaeology of the Screen”Lev Manovich (CUNY, USA), “A Screen’s Genealogy”Edmond Couchot (Digital Artist and Art Theoretician, France), “The Ordered Mosaic, or The Screen Overtaken by Computation”Uta Caspary (Art Historian/Architecture Critic, Germany), “Digital Media as Ornament in Contemporary Architecture Facades: Its Historical Dimension”Section Two: Images and FramesIntroduction to Section Two 2.1 The Production of ImagesLouis-Jacques-Mandé Daguerre (‘Father of Photography’, France), “Description of the Process of Painting and Lighting in...Pictures of the Diorama”Lara Baladi (MIT, USA), “When Seeing is Belonging: The Photography of Tahrir”Ron Burnett (Emily Carr University of Art + Design, Canada), “Building New Worlds”Brad Chisholm (St. Cloud University, USA), “On-Screen Screens”Sarah Atkinson (King's College London, UK), “Mobile Cinema”Marcel Proust, from Swann’s Way2.2 Terms of DisplayGiambattista della Porta, from Natural Magick: in XX Bookes Frederick Kiesler (Architect, Ukraine), Building a Cinema TheatreJean-Louis Baudry, “Ideological Effects of the Basic Cinematographic Apparatus”Harper Cossar (Emory College, USA), “The Shape of New Media: Screen Space, Aspect Ratios, and Digitextuality”Stephen Monteiro (The American University in Paris, France), “Fit to Frame: Image and Edge in Contemporary Interfaces”Mitchell Whitelaw (University of Canberra, Australia), “After the Screen: Array Aesthetics and Transmateriality”Section Three: Environments and InteractionsIntroduction to Section Three 3.1 Moments of InterfaceO. Winter, “The Cinematograph”Paul Frosh (The Hebrew University of Jerusalem, Israel), “The Face of Television”Douglas Engelbart, from Augmenting Human Intellect: A Conceptual FrameworkHeidi Rae Cooley (University of South Carolina, USA), “It's all about the Fit: The Hand, the Mobile Screenic Device and Tactile Vision”Alexandra Schneider (Johannes Gutenberg-Universität Mainz, Germany), “The iPhone as an Object of Knowledge”Virginie Sonet (Université Paris II - Panthéon-Assas, France), “The Smartphone Screen in All Its States”Amy Herzog (Queens College, CUNY, USA), “In the Flesh: Space and Embodiment in the Pornographic Peep Show Arcade”3.2 Systems and NetworksHaidee Wasson (Concordia University, Canada), “The Other Small Screen: Moving Images at New York’s World Fair, 1939”Anna McCarthy (New York University, USA), “From Screen to Site: Television’s Material Culture, and Its Place”Onookome Okome (University of Alberta, Canada), “Nollywood: Spectatorship, Audience and the Sites of Consumption”Stan VanDerBeek (Experimental Filmmaker, USA), “‘Culture: Intercom’ and Expanded Cinema: A Proposal and Manifesto”Robert Edgar, “The Aesthetics of the Arena: Live and Recorded”Nanna Verhoeff (Utrecht University, The Netherlands), “Performative Cartography”Further ReadingList of ContributorsIndex