Introduction Part I: Threshold: When a Ritual Process Speaks of Machine Vision and Cyborg Prototypes: A Film Document, Circa 1929 Chapter 1. Manufacturing Vision and the Posthuman Circa 1929: Kino-eye, The Man with a Movie Camera, and the Perceptual Reconstruction of Social Identity Part II: Enigma of the Central Region: A Microhistory of Machine Vision and Posthuman Consciousness, Circa 1969-1972 Chapter 2. La Region Centrale: Basic Cultural, Technical and Formal Filiations. Chapter 3. Toward a Cosmic Rite of Passage: External & Internal Locations and a Play of Authorship Chapter 4. La Region Centrale: Liminality, Knowledge Production, Pedagogy. Chapter 5. La Region Centrale: From Cosmic to Posthuman Rite of Passage Chapter 6. De La (1969-71): Authorship, Automation and the Posthuman. Chapter 7. A Comparative Schematic Analysis of the Automated Narrative and its Mechanical Logic in Vertov's The Man with a Movie Camera (1929) and Michael Snow's De La (1969-1972). Part III The Public Deployment of Machine Vision and the Programmed Materialization of the Posthuman in Collective Social Space, Two Early Twenty-First Century Video Documents Chapter 8. A Posthuman Future in the Age of the Algorithm: Farock's Documentation of the Operational Image and its Culture of Surveillance Bibliography Index
David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada.