. Manning does suggest–in the mode of counterfactual speculation–that Marey’s
work might have opened up a fundamentally different trajectory of cinema than
the trajectory that was actualized, and that now comprises the empirical history of
cinema:“had Marey’s experiments with movement been foregrounded within the
history of cinema, cinema’s early emphasis on theories of semiosis might have been
derouted into a more developed exploration of how cinema moves. This might have
redirected the study of cinema from its early academic embeddedness within form-
alist thought toward early twentieth-century expressions of movement such as the
invention of modern dance, Futurism’s concern with ontogenesis, Bergson’s theory
of duration. The effect of this convergence of cinema and movement would have
been a foregrounding less of narrative strategies within the cinematic than experi-
mentation with how images provoke durational flows that are themselves mobile
even before passing through a projector”(). Notwithstanding its questionable
claims regarding cinema’s early emphasis on semiosis and formalism (which prob-
ably arose with the advent of post-classical film theory), this is an interesting sug-
gestion. Indeed, I would suggest that Metz’s privileging of movement–and Gun-
ning’s return to it–marks a moment in what we might, in fact, consider to be
Marey’s cinematic legacy.
. Erin Manning,“Coloring the Virtual”,Configurations,.(Fall):-, here
, emphasis added.
. I borrow the concept of a direct sensory“pickup”from psychologist James Gibson,
who argues against a theory of the senses as subjective mediators of perceptual ex-
perience. Rather than the senses“translating”environmental information into a
form that can be experienced by human mindbodies, sense perception for Gibson
involves the direct pickup of information from the environment. See J.J. Gibson,The
Ecological Approach to Visual Perception(New York: Taylor & Francis,), Chap..
. Georges Didi-Huberman,“La Danse de toute chose”inMouvements de l’air: Etienne-
Jules Marey, Photographe des fluids, Didi-Huberman and Laurent Mannoni (eds.) (Edi-
tions Gallimard/Reunion des musees nationaux,)p..
. See Didi-Huberman,:“It is as if the graphic method and chronophotography
had as their ultimate stake to make us see and understand thedance of every thing.”
He specifies that this ultimate stake operates a subversion of“the explicit intentions
formulated by his system.”
. Didi-Huberman,.
. This is my definition oftechnogenesis. See myBodies in Code. Interfaces with Digital
Media(New York: Routledge,).
. Joel Snyder,“Visualization and Visibility”inPicturing Science, Producing Art, eds.
Caroline A. Jones and Peter Galison (New York: Routledge,), p., last em-
phasis added.
. Etienne-Jules Marey,La Méthode Graphique, cited in Snyder.
. Snyder,; Marey, cited in Snyder,.
. Hollis Frampton,“A Pentagram for Conjuring the Narrative”inOn the Camera Arts
and Consecutive Matters,-.
. Hollis Frampton,“Incisions in History/Segments of Eternity”inOn the Camera Arts
and Consecutive Matters,-.
. Frampton,“For a Metahistory of Film”,.
70 Mark B.N. Hansen