"...his interface was a film camera, that is, an anthropomorpic simulation of human vision - not computer algorithms. Thus, Vertov stands halfway between Baudelaire's flaneur and today's computer user. No longer just a pedestrian walking down a street, but not yet Gibson's data cowboy who zooms through pure data armed with data-mining algorithms[...] In his research on what can be called the 'kino-eye interface,' Vertov systematically tried different ways to overcome what he thought were the limits of human vision. He mounted cameras on the roof of a building and a mvoing automobile; he slowed and sped up film speed; he superimposed a number of images tofether in time and space (temporal montage and montage within a shot). Man with a Movie Camera is not only a database of city life in the 1920s, a database of film techniques, and a database of new operations of visual epistemology, but also a database of new interface operations that together aim to go beyond simple human navigation through physical space." pp. 275~276
Manovich, Lev. The Language of New Media (Leonardo Books). The MIT Press, 2002.
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Lev Manovich draws an important parallel between the analogue and the digital in the context of visual motion narratives. This places the element of interactivity, in and out of screen, alongside other cinematic techniques. Vertov's work and involvement in Kino-Eye is equivalent to Shaw, Gibson and Naimark in that they utilizaed an interface to create a new mode of experience, an alternate method of seeing.
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