Movement as Meaning -- Table of Contents -- Foreword: What this book is and what this book isn't: -- Preface: Arriving at the scene: -- Introduction: Two pictures of a rose in the dark -- Part I: Modes of Perception and Modes of Expression -- 1. First ideas in new media: the cinematic suspension of disbelief -- 2. Describing how the mind moves toward understandings: -- 3. New paradigms for viewing experience and new ways of creating meaning: -- 4. Theories of meaning - media, messages and how the mind moves: -- 5. The relevance of the mechanism - lessons to carry forward from an already ancient medium: -- 6. Frames vs. shots, surface vs. window: -- 7. What the surface of the screen can tell us about language: -- 8. Language integrates our perceptions as surely as the nervous system integrates our sense data: - Hallucination or Metadata? -- 9. Letting the mind surround an idea: an introduction to Wittgenstein: -- 10. Ascertaining understanding: What one language must evoke, another may stipulate (and vice versa). -- 11. Dynamic and static theories of meaning: -- 12. Color, types of reference and the inveterate narrative: -- 13. The polyvalence of the picture: -- 14. Meaning and mutual experience - kinds of reference redefined: -- 15. What has art got to do with it? -- 16. A whole new way of reading - the surface of the screen and the modulation of self-consciousness: -- 17. The anteroom of meaning and our conception of space: -- 18. Meaning and mental habits: -- 19. Assumed and earned meaning: -- 20. The spectrum of shared reference: -- 21. The story sequence and the montage - prologue: -- 22. When the editor learns about meaning: -- 23. Montage and metaphor: -- 24. The imitation of perception: -- Part II: Dynamic And Syntactic Universals -- 25. Non-Verbal Universals: -- 26. The polyvalence of the picture and the omnivalence of the movie:.

27. The description of omnivalence as a floating target: -- 28. Dynamic universals: beginning, middle and end - a prologue: -- 29. Language and the momentum of the body: -- 30. Syntactic universals: interval, context and repetition: -- 31. The synergy of symmetry: -- 32. Sidebar - another parallel model and another speculative future: -- 33. Formal references in music and cinema: -- 34. The developmental leap - keeping the referent a mystery: -- 35. Resemblance and resonance: -- 36. The subliminal pull of the flicker: -- 37. Aural and visual cadence: -- 38. The frame of the experience: -- 39. Resonance among frames: -- 40. Ancient history - the medium as the model: -- 41. Illustration, induction and repetition: -- 42. The material and the medium: -- 43. Sonics and seamlessness: -- 44. The private language machine and the evolution of a medium: -- 45. Illusions and ontological linchpins: -- 46. Delimiting an audience: -- 47. Summarizing the singular window en route to the panoramic view: -- Part III: The Moving Target -- 48. Digital ubiquity - the memosphere & the mediasphere: -- 49. Compression and consciousness: -- 50. Indeterminacy of translation revisited and context reconsidered: -- 51. The reconfigured attention span: -- 52. The synergy of the mediasphere: -- 53. The search engine and the editor-in-chief: -- 54. A sidebar on consciousness: -- 55. So, where is the screen? -- 56. Definitions and boundaries: -- 57. The meaning is the metaphor (or not): -- 58. The raw and the cooked. -- 59. A final reflection on method: -- 60. From the grain to the pixel: -- APPENDIX A: -- Acknowledgements: -- Bibliography -- Filmography -- Index.