Behind the Screen: Inside European Production Cultures by Petr Szczepanik, Patrick Vonderau (eds.)

By Petr Szczepanik, Patrick Vonderau (eds.)

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7–8 (1970): 1–8([published in English as “Ideological Effects of the Basic Cinematographic Apparatus”), or Jean-Louis Comolli’s series of articles on “Technique et idéologie” in Cahiers du Cinéma, no. 229–241 (May 1971–October 1972). 13. Christian Metz, “La grande syntagmatique du film narratif,” Communications 8, no. 8 (1966): 120–124; see also Metz, Film Language: A Semiotics of the Cinema. Translated by Michael Taylor (New York: Oxford University Press, 1974). A CONVERSATION WITH JOHN T. CALDWELL 25 14.

96. See Tia DeNora, “Music as Agency in Beethoven’s Vienna,” in Myth, Meaning, and Performance: Toward a New Cultural Sociology of the Arts, eds Ron Eyerman and Lisa McCormick (Boulder, CO, and London: Paradigm Publishers, 2006), 103–120. Yaneva, “Scaling Up and Down”; Albena Yaneva, “How Buildings ‘Surprise’: The Renovation of the Alte Aula in Vienna,” Science Studies 21, no. 1 (2008): 8–28; Albena Yaneva, The Making of a Building: A Pragmatist Approach to Architecture (Oxford: Peter Lang, 2009); Albena Yaneva, Made by the Office for Metropolitan Architecture: An Ethnography of Design (Rotterdam: 010 Publishers, 2009).

Potential participants make up their mind about the project and choose to connect or disconnect themselves from the process based on how they feel about the evolving object. 58 These two moments could lead one to think that successful development is simply a matter of externalizing an idea and becoming attached to it—a matter of stabilizing the product and constructing a network around it. However, the third instance is equally important and involves postponing closure by keeping the product open for as long as possible to enable creative experiments.

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